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Black & White Reversal

Black & White Reversal

(Note: this film workshop has already occurred)

Black & White Reversal – An Abstract:

Previously a staple of the home-movie business, the black and white reversal process (i.e. the process of rendering a direct-to-positive image without the need of printing) has become an integral part of the independent lab movement, favoured for it’s ‘bare-bones’ approach to film making with the only equipment demands being a camera, bucket and projector.

Yet, the process itself is one of the most complex of all photo-chemical procedures. This is because it requires a dedication beyond the scope of chemicals, times and temperatures; instead, all forms of the films production, whether it be photography or projection, must be carried out with a strict precision to achieve an images of remarkable integrity. Even than, however, it is more of a process of faith; one whereby the film maker and the film strip become entwined and inseparable — each one, an allegory of the other…

In this workshop, we will be exploring this process through discussions, screenings and hand’s on collaborations.

Workshop Agenda:

The following concepts will be explored in this workshop.

  • Black and white reversal history & theory
  • Black and white reversal film stocks
  • Black and white reversal photography
  • Black and white reversal chemistry
  • Black and white reversal processing
[detailed agenda]

Attending the Workshop:

This workshop will be occurring on September 13th, 2012 at Macky Auditorium on the University of Colorado, Boulder campus.

Due to the generous contributions of Sarah Biagini and Kevin Rice, this workshop will be free and open to the public, including the use of chemistry, film stock and film equipment. However, both space and resources are limited and therefore we can not guarantee that we will be able to facilitate all prospective participants. Therefore, it is in your best interest to contact us and reserve a space ahead of time.

There are no additional requirements for workshop attendance.

Selected Screenings:

  • Confessions [excerpt] (Kevin Rice, Super-8mm camera original)
  •  Various technical documentations

Further/ Suggested Readings:

Copies of these books will be provided during the workshop and can also be secured at various local libraries:

  • The Darkroom Cookbook (Steve Anchell)
  • The Film Developing Cookbook (Bill Troop & Steve Anchell)

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in this workshop and we will try and accommodate as many questions you have before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: We may not have enough time for everyone to process a roll in the workshop, but you may stay and use the facilities after the workshop to process your film.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, but we do have a pool of volunteers that are willing to help people with accommodations; however, it’s advised that you contact us at least two weeks before the workshop in order to secure permissions.

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The Color of Salt – Tinting & Toning Workshop

(Note: This workshop has already occurred. Check out our blog to see some of the work produced: Entry 1)

Tinting & Toning Workshop – An Abstract:

From the Daguerreotype to today’s modern film emulsions, tinting and toning has had an almost mythical presence throughout the history of film.

Practically, it is the process of converting black and white images into colour – but in another sense, it is an entirely new medium unto itself. Once familiar with the process, you will find that it leads to new ideas, journeys, and worlds of colour without beginning or end…

In this workshop, participants will have the opportunity to discuss, watch and experience the use of several tinters and toners on motion picture film such as Selenium, Copper, Iron, Mordant Dyeing and Tea. Techniques that will be covered include toning to completion, split toning, partial toning, duo-toning, selective toning and developing reversal by toner.

Additionally, as part of this workshop, we will be toning scenes from a 35mm print of Charlie Chaplin’s Gold Rush and projecting the final results. Also, see below for documentation of previous tinting & toning workshops:

Attending the Workshop:

This workshop will be occurring across three dates (March 12th, March 14th & March 19th, 2013) and between the hours of 1:30 PM & 3:00 PM (Mountain Time).

Due to the generous contributions of Sarah Biagini and Kevin Rice, this workshop will be free and open to the public, including the use of chemistry, film stock and film equipment. However, both space and resources are limited and therefore we can not guarantee that we will be able to facilitate all prospective participants. Therefore, it is in your best interest to contact us and reserve a space ahead of time.

There are no additional requirements for workshop attendance.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

  • Annabelle Serpentine Dance (William K.L. Dickson and William Heise, 1894)
  • Passion (Jürgen Reble, 1989)
  • Wheelchair (Andrew Busti, 2001)
  • Le Voyage dans la Lune (Georges Méliès, 1902)
  • Das Cabinet des Dr. Caligari (Robert Wiene, 1920)
  • Stalker (Andrei Tarkovsky, 1979)
  • Hand Tinting (Joyce Wieland, 1967)
  • Hardwood Process (David Gatten, 1996)
  • Various technical documentations

Further/ Suggested Readings:

Copies of these books will be provided during the workshop and can also be secured at various local libraries:

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to tint or tone the film. Second, it is recommended that you avoid bringing film of particular value or significance as we cannot guarantee that it will not be damaged or ruined by specific processes. However, the choice is entirely your own.

Additionally, one should keep in mind that while it is possible to tint both black & white and color film, it is only possible to tone black & white film (the difference between these two processes will be discussed more thoroughly in the workshop its self) and therefore you will be limited in what is possible with color film. The only exception to this rule is when the color film has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion.

Finally, the gauge (i.e. super-8mm, 16mm, 35mm, 70mm, etc) is not important. We will have equipment to deal with all shapes and sizes of celluloid.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, but we do have a pool of volunteers that are willing to help people with free accommodations; however, it’s advised that you contact us at least two weeks before the workshop in order to secure permissions.

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Chemical Odysseys In B&W – A Workshop with Klubvizija SC

Chemical Odyssey

(Note: this film workshop has already occurred; you can visit our blog entries to see some of the work that was produced: Entry 1)

Chemical Odysseys In B&W – An Abstract:

We’ll begin with light; light falling on our eyes, forming a chemical process; light falling on the film strip, forming a faint silver image. From there, we will proceed into a world of a strange dialect — a world of acids & bases, developers & fixers, and we will document our journey on 16mm print stock, printed over and over again on odd machines and unexpected  inventions. We will add color, subtract emulsion, run in reverse, dissolve in acid. Finally, we will return to light; return to the projector…

In this four day workshop, participants will be given the space and resources to discuss, experiment, and create black & white films on the 16mm format. Topics that will be discussed are the anatomy of film & light as well as the dialect of photochemistry. Processes that will be covered including black & white negative development, printing, toning, reticulation & etching. At the end of the course, participants will be able to project and view their work.

Attending the Workshop [Dates, Fees & Requirements]:

This workshop will be occurring between April 27 and May 1, 2:00PM- 8:00PM (Central European Time).

This workshop is being produced by Klubvizija SC, and as such all inquiries regarding attendance should be handled through Klubvizija SC:

There are no additional requirements for workshop attendance.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

Further Readings & Online Resources:

Copies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web:

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent. This is, after all, a workshop on essentially destroying film — so the choice is entirely yours.

If you do decide to bring film, there are a few things you should keep in mind: first, while it is possible to exercise some of the techniques reviewed in this workshop on all varieties of film, the majority of the techniques work best specifically with an image formed of silver. What this means is that black and white film (which is typically formed solely of silver) will be the most versatile stock to bring, where as color stocks will be more limited (as they typically have the silver removed in processing). The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular interest to you, than email us to discuss the topic further — additionally, we will be discussing it in the workshop itself.

As for film guage (i.e. super-8mm, 16mm, 35mm, 70mm, etc), we will have equipment to deal with all shapes and sizes of celluloid, so this should not be of a concern…

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to contact Klubvizija SC with any advice and to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us a message requesting it.

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Guilty: The destruction of film emulsion – A workshop with no.w.here

Partially Bleached Film Emulsion

Partial bleaching (Kevin Rice)

(Note: this film workshop has already occurred)

Guilty: The destruction of film emulsion – An Abstract

Many film makers have sought out techniques for reworking and destroying film emulsion. In this workshop, we will be using everything at our disposal, from highly formulated commercial chemistry and bleaches through to “that unknown bottle of stuff in the cupboard under the sink,” as we explore classic techniques and hopefully discover some of our own.

This workshop will cover topics such as reticulation (cracking the film images), image bubbling, lifting the emulsion and selective bleaching of film. Stock will be provided for use in the workshop, but you are also welcome to bring your own black & white and colour stock film for reworking.

Produced with the additional support of SilverPrint (www.silverprint.co.uk)

SilverPrint

Attending the Workshop [Dates, Fees & Requirements]:

This workshop is being produced by no.w.here film lab, and as such all inquiries regarding attendance should be handled through no.w.here:

The date of the workshop is set for February 4th, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT)

Aside from no.w.here’s own policies, there are no additional requirements for attending this workshop.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

  • At Hand (Andrew Busti, 2002)
  • Buffalo Lifts (Christina Battle, 2004)
  • oil wells: sturgeon road & 97th street (Christina Battle, 2002)
  • Terminus for you (Nicolas Ray, 1996)
  • Various technical documentations

Further Readings & Online Resources:

Copies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web:

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent.

If you do decide to bring film, there are a few things you should keep in mind when deciding what kind of film to bring: first, while it is possible to exercise some of the techniques reviewed in this workshop on any variety of film, the majority of the techniques will only work with an image formed of silver. What this means is that black and white films (typically formed solely of silver) will be the most versatile stock to bring. Color stocks on the other hand will be more limited as they typically have the silver removed in processing. The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular importance to you, than email Kevin Rice (kevin|a|processreversal.org) to discuss the topic further — additionally, we will be discussing it in the workshop itself.

Finally, in regards to film format, we will have all the necessary equipment to deal with regular 8mm, super 8mm, 16mm and 35mm film.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to contact no.w.here with any advice and to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

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My life as a silver halide – A workshop with no.w.here

My life as a silver halide

(Note: this film workshop has already occurred)

My life as a silver halide – An Abstract:

Do you ever wake up in the night from dreams of floating through salt prints? Have you ever caught yourself wondering weather you can expose Kodak Tri-X in a cellar…with no lights? Have you ever theorized what would happen if you left your film standing in a developer for 12 hours? or perhaps 12 seconds? Do you regularly find yourself wishing you could print from a negative…with no images on it? or have you ever stopped to ask “where am I and who are all you people?” Than this workshop may be able to help you find the solutions to these and many other questions as we explore life as a silver halide.

In it’s essence, this is a workshop that will explore the extremities of black and white motion picture photography, in an attempt to understand the exact nature of working with the silver halide. Topics that will be covered include increasing film speed, pushing and pulling film, controlling density & contrast through various chemical and non-chemical processes and how to effectively execute such procedures before, during and after development…

Produced with the additional support of Silverprint (www.silverprint.co.uk)

SilverPrint

Attending the Workshop [Dates, Fees & Requirements]:

This workshop is being produced by no.w.here film lab, and as such all inquiries regarding attendance should be handled through no.w.here:

The date of the workshop is set for January 21st, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT)

Aside from no.w.here’s own policies, there are no additional requirements for attending this workshop.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

  • The sounding lines are obsolete (John Price, 2009)
  • I Swim Now (Sarah Biagini, 2010)
  • Various technical documentations

Further Readings & Online Resources:

Copies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web:

  • Developing (C.I. Jacobson)
  • The Darkroom Cookbook (Steve G Anchell)
  • The Film Developing Cookbook (Steve G Anchell & Bill Troop)

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: While we don’t want to discourage anyone, this workshop will be geared to people who have worked with and processed film again. With that said, if you do have limited experience but are still interested in attending, we will try and accommodate as many questions you have as possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: While you can bring film to work with, there is no guarantee that we will be able to get around to processing it. Additionally, there is no guarantee in success of development, particularly as we will be discuss theory primarily.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to contact no.w.here with any advice and to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

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Colorado: Tinting & Toning Motion Picture Film – A Workshop with no.w.here

Tinting Toning Film

(Note: this film workshop has already occurred)

Colorado: Tinting & Toning Motion Picture Film – An Abstract:

From the Daguerreotype to today’s modern film emulsions, tinting and toning has had an almost mythical presence throughout the history of film.

Practically, it is the process of converting black and white images into colour – but in another sense, it is an entirely new medium unto itself. Once familiar with the process, you will find that it leads to new ideas, journeys, and worlds of colour without beginning or end…

In this workshop with London based film lab no.w.here, we will be taking you through a hands-on exploration of the history, theories, motivations and concepts behind tinting and toning 16mm motion picture film. The workshop is easily accessible and no previous knowledge of film techniques or technology is required.

Participants will have the opportunity to experience the uses of the following tinters and toners on film; Selenium, Copper, Iron, Gold, Mordant Dyeing and tea. Kevin will also discuss techniques such as full toning, split toning, partial toning, dual toning and selective toning. You are welcome to bring your own b/w 16mm strips for experimentation, stock will also be provided.

[Below: Alice in Wonderland (1903), an early example of tinting and toning motion picture film. The processing of toning is a sort of rabbit-hole in itself…]

Produced with the additional support of SilverPrint (www.silverprint.co.uk)

SilverPrint

Attending the Workshop [Dates, Fees & Requirements]:

This workshop is being produced by no.w.here film lab, and as such all inquiries regarding attendance should be handled through no.w.here:

The date of the workshop is set for January 21st, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT)

Aside from no.w.here’s own policies, there are no additional requirements for attending this workshop.

Selected Screenings:

(Note: not all works will be shown in their entirety, or perhaps even at all. Additionally, we will not be able to secure prints for this workshop, unless otherwise noted)

  • Wheelchair (Andrew Busti, 2002)
  • Le Voyage dans la Lune (Georges Méliès, 1902)
  • Various technical documentations

Further Readings & Online Resources:

Copies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web:

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent.

If you do decide to bring film, there are a few things you should keep in mind when deciding what kind of film to bring: first, while it is possible to exercise some of the techniques reviewed in this workshop on any variety of film, the majority of the techniques will only work with an image formed of silver. What this means is that black and white films (typically formed solely of silver) will be the most versatile stock to bring. Color stocks on the other hand will be more limited as they typically have the silver removed in processing. The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular importance to you, than email Kevin Rice (kevin|a|processreversal.org) to discuss the topic further — additionally, we will be discussing it in the workshop itself.

Finally, in regards to film format, we will have all the necessary equipment to deal with regular 8mm, super 8mm, 16mm and 35mm film.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?

A: No, and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to contact no.w.here with any advice and to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

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