GALLERY WORKSHOPS


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Schedule 2024

Location Date Time Instructor Fee
Wet Plate Tintype TBD TBD Will Gibson

DETAILS HERE

Beginning Large Format Camera TBD TBD John Clark DETAILS HERE

Cyanotype: Wet & Dry

June 30th, Sunday 10am - 4:30pm

Barbara Beck  &

Donna Cosentino

DETAILS HERE

Get It On The Wall: Matting & Framing Tips & Tricks

NEW DATE: November 3rd, Sunday

10am-2pm

w/30 minute lunch break

Brandy Sebastian DETAILS HERE
 
The Art of Making Lumens NEW DATE: September 22nd, Sunday

10am-3pm

w/30 minute lunch break

Brandy Sebastian DETAILS HERE

        Platinum/Palladium:      2 Day Class

TBD TBD Dave Marsh TBD
     Polymer Photogravure:   3 Day Class Sunday August 18th, Monday August 19th & Tuesday August 20th 2024 TBD Clay Harmon DETAILS HERE
Kallitypes July 23rd, Tuesday 2024 TBD Mitch Eckert DETAILS HERE
Salt Prints July 24th, Wednesday 2024 TBD Mitch Eckert DETAILS HERE
          Portfolio Review:        2 Day Class TBD TBD TBD TBD
Pinhole Magic: Learn Paper Negative and Digital Pinhole TBD TBD TBD TBD
Digital Dark Room 1 w/PreClass Meeting TBD TBD TBD TBD

PROSEPCTIVE CLASSES LISTED BELOW

       
Beginners Lightroom TBD TBD Theresa Jackson TBD
 
Making Digital Negatives: Platinum Palladium TBD TBD Will Gibson & Donna Cosentino TBD
 

ONCE SIGNED UP FOR A WORKSHOP PLEASE DOWNLOAD THE WAIVER HERE, FILL OUT, AND MAIL TO THE GALLERY ADDRESS ON BOTTOM OF FORM.

 

 



Workshop Information:



  • Cyanotype Wet & Dry Workshop

With Instructors Barbara Beck & Donna Cosentino

Barbara Beck CyanotypeBarbara Beck Cyanotype

Explore the Cyanotype Process!

WORKSHOP DETAILS:

  • Learn about the history, chemicals used, safety, toning, and hand coloring. 
  • Learn to make Wet and Dry Cyanotypes on paper or fabric.
  • You will walk away with your own artwork on paper.

This is a magical process one can do without a darkroom. Come learn with a small group of passionate folks. 

When: June 30th 10am-4:30pm 

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Tuition: $165 (includes materials & lunch)

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For more information:

Email: [email protected]

 



  • Wet Plate Collodion Workshop

With Instructor Will Gibson

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Learn how to shoot modern tintypes with our 4x5 camera or yours.

 

WORKSHOP DETAILS:

  • Day 1: Informational- 

Safety concerns • Chemistry (collodion - silver nitrate - developer - fix) • Shooting in the orthochromatic spectrum • which cameras can you use • exposure control • dealing with long exposures • waxing vs varnish • references available • pouring collodion practice • full demonstration of the process from start to finish

  • Day 2: Experiencial- 

Full day of hands-on shooting and processing. Chemistry and plates included in tuition!

 

When: TBD

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Tuition: $225 (includes materials)

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For more information:

Email: [email protected]

Instructor Email: [email protected]

 

Wet Plates by Will Gibson



  • Large Format Workshop

With Instructor John Clark

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John Clark has taught large format at Palomar College as well as privately. His studies with John Sexton have informed his fine printing and he is a master black and white darkroom printer.

WORKSHOP DETAILS:

  • Using a large format camera is one of the most frustrating, unforgiving ways to make a photograph. However, it is also one of the most satisfying experiences in photography. 
  • This short course will teach you the basics of large format camera operation, sheet film handling, focusing and exposure.  You’ll get an introduction into focal plane manipulations, otherwise known as view camera “movements,” and lots of tips that will make using a view camera easier.
  • During the course, you’ll get hands-on experience with your own camera in exercises designed to increase your familiarity with view camera functions.  You will be exposing film for the exercises, and we’ll process the film.

When:  TBD

With a preview gallery meeting in person (or on zoom) TBD. This preview meeting will identify specific requests or problems that can be addressed in the course.

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Tuition: $210. (film and chemistry for exercises will be provided)

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For more information:

Email: [email protected]

 



  • Get It On The Wall: Matting & Framing Tips & Trick

With Instructor Brandy Sebastian

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Brandy Sebastian possesses over 15 years of experience in the meticulous practice of framing and matting not only her own artistic creations, but also those of clients and fellow artisans. Throughout her journey, she has delved into various framing techniques in a quest to craft the most enduring solutions for the preservation of framed photographs. In her view, the art of framing and matting holds equal significance to the artwork itself, culminating in a harmonious and polished ensemble that enhances any space it adorns.

 

WORKSHOP DETAILS:

  • This is a short course that will teach you the basics of Framing and Matting of your own work. You will learn:
    • Best practices for measuring and cutting over-mats
    • Building a print sandwich and what's involved
    • Best tools to use for each step of the process
    • Glass versus acrylic, What's best?
    • How and where to sign your print
    • And so much more!
  • There will be a 30-minute break, please bring your own sack lunch.
  • You will be given bonus tips and tricks to make your framing techniques more efficient for a more professional finished piece. 

NEW DATE

When: November 3rd, Sunday 10am-2pm (30min Lunch, bring your own)

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Class Tuition: $135 (Info packet will be provided)

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For more information:

Email: [email protected]



  • The Art of Making Lumens

With Instructor Brandy Sebastian

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Since 2019, Brandy Sebastian has immersed herself in the world of Lumen making, tirelessly experimenting and exploring new techniques. Always pushing the boundaries of traditional methods, she elevates her artistry by incorporating alternative chemistries into her creations. This infusion of various elements ensures that her pieces transcend mere botanical imagery, coming to life through dynamic reaction and interaction. Through the inclusion of an array of black and white darkroom papers, Sebastian's work truly blossoms into a multi-dimensional masterpiece, captivating viewers with its depth and complexity.
 

WORKSHOP DETAILS:

  • In this course you will learn the basics of Brandy's Chemi-Lumen Photo Process. You will learn:
    • The difference with expired and new photographic papers
    • What types of added chemistry achieve unique results
    • The process from start to scan, then fix to scan again.
    • Sun versus UV box, is there a difference?
    • What to do with the paper negatives, versus the scanned versions.
    • And so much more!
  • There will be a 30-minute break, please bring your own sack lunch.
  • You will be given up to 1 sheet each of 3-4 different paper types at 8x10 in size, a variety of plant materials, and extra chemistries to choose from. You will be able to use my plexiglass and backboard with clips. 
  • PLEASE feel free to bring plant materials from your garden, laces, etc. Negatives will not work with this wet process. Items must be relatively flat except plants.
  • PLEASE BRING A THUMB DRIVE FOR YOUR SCANNED IMAGES

 

NEW DATE

When: September 22nd, Sunday 10am-3pm (30min Lunch, Bring your own)

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Class Tuition: $225 (Basic info packet will be provided)

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For more information:

Email: [email protected]



Polymer Photogravure

With Instructor Clay Harmon

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Instructor Bio:

Clay Harmon is an active photographer and printmaker living in Asheville, North Carolina. Photography has been an important part of his life for over fifty years, and his interest in older photographic printing techniques eventually led to a mastery of platinum-palladium, polymer photogravure and other alternative printing processes.

His journey in figuring out the technical nuances of polymer photogravure eventually resulted in authoring a book for the Focal Press 'Contemporary Practices in Alternative Process Photography' series. "Polymer Photogravure: A Step-by-step Manual Highlighting Artists and their Creative Practices" was published in 2018, and is a modern reference for the practice of using polymer plates for making continuous tone photographic prints using an etching press. It is a modern analogue to traditional copperplate photogravure printmaking.

Clay is actively producing new photographic work, typically printed in either palladium or photogravure. His subject matter is varied, and ranges from traditional landscape to urban architecture along with some more offbeat projects involving parking garages and trash.

He enjoys sharing his knowledge and has taught alternative process workshops for the Penland School of Crafts, Ansel Adams Gallery, Asheville Bookworks, Cullowhee Mountain Arts, the Houston Center for Photography, the Museum of Fine Arts Houston, the Kalamazoo Institute of Art, and the Paper Book Intensive at the Oxbow School. He also has an active teaching schedule at his spouse's business, Mountain Intaglio in Asheville North Carolina.

His work has been presented in numerous solo and group shows over the last twenty-five years. His prints are in the permanent collection at the Museum of Fine Arts Houston and in numerous private collections in North America, Europe and the Far East. 

 

WORKSHOP DETAILS

This class is an introduction to the polymer photogravure process, a non-toxic alternative to the traditional copperplate photogravure process. This intaglio printing process enables the artist to produce continuous-tone photographic images using ink and paper. Platemaking, inking, wiping and printing techniques will be covered in this class and the student will leave with 6-8 etched plates and numerous prints from each plate.
 
This class will cover direct-to-plate methods for producing polymer photogravure plates. This method uses an inkjet printer to print a positive image directly on the plate that then acts as a light resist. This plate is subsequently exposed with UV light and etched in a water bath. It is a considerably simpler technique and has fewer equipment requirements than the traditional two-exposure method.

After the plate is made, a world of possibilities is now available to make a print. Unlike many alternative processes, a photogravure print is not confined to a narrow set of papers on which to print. Because photogravure is a mechanical rather than a chemical process, the only requirement is that the paper is durable enough to withstand the pressures of the etching press used to transfer ink from the plate to the paper. Both European and Asian papers in weights from tissue-thin to cardboard-thick can be used to make a print. Similarly, the print color is completely at the artistic discretion of the photographer. Virtually any ink color is possible. 

The printmaking step is where we will delve into the world of intaglio printing. The basic techniques of inking, wiping and printing a plate will be taught. Paper preparation, press adjustment and edition planning are an integral part of the learning experience in this class. Advanced techniques such as chine collé, in which the printed image is printed on a gossamer-thin gampi paper and simultaneously glued to a thicker support paper will also be covered. 

The length of the class will allow the student the opportunity to produce a sizable number of prints. Photographers interested in exploring a new printing process will learn all the basic techniques necessary to return to their own studio and begin making prints using this process. 

SYLLABUS

Day 1
•    studio orientation
•    overview of the workshop
•    photogravure examples
•    paper preparation
•    process demonstration
•    ink preparation, inking and wiping technique
•    make first plates and prints
•    printing, printing, printing

Day 2
•    chine collé demonstration
•    plate making and printing expanded
•    Edition planning
•    Portfolio printing techniques and shortcuts
•    Templates for books and portfolios
•    Printing, printing, printing

Day 3
•    Printing on unusual substrates
•    Project printing
•    Clean up and review

 

Open to 10 workshop participants

When: August 18th-20th Time TBD (30min Lunch)

Where: Photographer’s Eye Collective 326 E. Grand Ave., Escondido, CA

Fee: Workshop Tuition: $500 

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For more information:

Email: [email protected]

Instructor: [email protected]



Kallitype: From Digital File to Print


With Instructor Mitch Eckert

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Instructor Bio:

Mitch Eckert is an award-winning artist whose work has been exhibited nationally and internationally and has been included in a variety of publications from textbooks to journals. After receiving his B.F.A. in photography and sculpture from Indiana University he went on to earn an M.F.A. from Ohio University focusing on photography and printmaking. His technical knowledge of photography is well rooted in the mediums rich historic processes including his masterful works in kallitype. For Mitch the choice of photographic equipment, process and materials need to have a good marriage with concept and content. His exploration in the genre of still life has been ongoing for more than 25 years. Other projects revolve around cabinets of curiosities, botanic and formal gardens as well as natural history museums. His work is held in the collections of 21c. Museum, Butler Institute of American Art and the Indianapolis Museum of Art. Mitch Eckert currently lives and works in Louisville Kentucky where he is an Associate Professor of Art teaching all things photographic.

WORKSHOP DETAILS:

Kallitype: From Digital File to Print

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  • The Kallitype has a rich history beginning with Sir John Herschel in 1842 through its 1889 patent by W.W.J. Nicol. Also known as the ‘poor man’s platinum print’ the Kallitype is often indistinguishable from the platinum and palladium printing process. In fact, there are many vintage images out in the world claiming to be platinum prints that are in fact Kallitypes.
  • It has a reputation for being complex and archivally fugitive, but it is quite simple and as archival as any other historic silver-based processes. Join me as I guide you on a journey from creating a digital negative to making an archivally toned print.
  • In this workshop I introduce students to a very simple and effective way of calibrating a digital negative and producing curves using the free online resource Easy Digital Negatives http://www.easydigitalnegatives.com/. Each attendee will print an image on letter size Pictorico transparency film, hand coat a sheet of Hahnemuhle Platinum Rag paper and process the print in a simple developer made from scratch.
  • Handouts with resources and instructions will be distributed so anyone interested can do this at home. All you need is running water and some Christmas lights!

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When: Tuesday, July 23rd 2024 TIMES TBD

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: $175

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TAKE BOTH: KALLITYPE & SALT PRINTING  FEE: $315

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For more information:

Email: [email protected]



Salt Printing


With Instructor Mitch Eckert

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Instructor Bio:

Mitch Eckert is an award-winning artist whose work has been exhibited nationally and internationally and has been included in a variety of publications from textbooks to journals. After receiving his B.F.A. in photography and sculpture from Indiana University he went on to earn an M.F.A. from Ohio University focusing on photography and printmaking. His technical knowledge of photography is well rooted in the mediums rich historic processes including his masterful works in kallitype. For Mitch the choice of photographic equipment, process and materials need to have a good marriage with concept and content. His exploration in the genre of still life has been ongoing for more than 25 years. Other projects revolve around cabinets of curiosities, botanic and formal gardens as well as natural history museums. His work is held in the collections of 21c. Museum, Butler Institute of American Art and the Indianapolis Museum of Art. Mitch Eckert currently lives and works in Louisville Kentucky where he is an Associate Professor of Art teaching all things photographic.

WORKSHOP DETAILS: 

Salt Print: From Digital File to Print
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In this workshop, you will learn one of the earliest photographic processes in the history of photography, salt printing. This process was essential in the Calotype process, which involves converting a negative into a positive image using simple table salt with silver nitrate. Using digital negatives, students will be guided through the process and explore the various toners used to create lovely hues with added permanence. Join us for a hands-on, immersive experience where you will discover the origins of photography and learn this fascinating technique.

 

When: Wednesday, July 24th 2024 TIMES TBD

Where: Photographer’s Eye Collective

326 E. Grand Ave., Escondido, CA

Fee: Tuition: $175

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TAKE BOTH: KALLITYPE & SALT PRINTING  FEE: $315

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For more information:

Email: [email protected]

 



Private camera classes, digital or film, photography field trips and workshops are available, if you have an interest in one of these please contact Donna at [email protected]