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DTSTART;TZID=America/Denver:20141001T200000
DTEND;TZID=America/Denver:20141001T220000
DTSTAMP:20260419T055424
CREATED:20150801T204932Z
LAST-MODIFIED:20170207T002800Z
UID:1848-1412193600-1412200800@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10012014/
LOCATION:Filmkoop Wien\, Wickenburggasse 15\, Vienna\, 1080\, Austria
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140927T190000
DTEND;TZID=America/Denver:20140927T210000
DTSTAMP:20260419T055424
CREATED:20150801T204200Z
LAST-MODIFIED:20170207T002801Z
UID:1842-1411844400-1411851600@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/09272014/
LOCATION:ANALOGICA\, Ora/Auer\, South Tyrol\, Italy
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140712T120000
DTEND;TZID=America/Denver:20140713T230000
DTSTAMP:20260419T055424
CREATED:20150201T000655Z
LAST-MODIFIED:20170207T002801Z
UID:1612-1405166400-1405292400@www.processreversal.org
SUMMARY:Handmade Emulsion
DESCRIPTION:Abstract:\nIn this two day workshop\, participants will study the craft of producing black and white\, silver gelatin emulsion by formulating\, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop\, providing participants with a foundation to develop their own processes and methodologies. \nAttending the Workshop:\nThis workshop is being produced in conjunction with Sight Unseen (Baltimore\, Maryland) and will be occurring on July 12th & 13th between the hours of 12:00 PM – 8:00 PM\, EST. Sight Unseen policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \nPrevious experience working with film is not required for attending the workshop\, though some film processing experience is recommended — In any event\, we will do everything possible to clarify questions that you may have before\, during or after the workshop. \nAdditionally\, participants are encouraged to bring in film negatives or positives for contact printing\, or objects for photogramming. \nFrequently Asked Questions:\nQ:​ I’ve never worked with motion picture film before. Will that limit my experience?\nA:​ While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ:​ I have some film I would like to bring into the workshop to work with. Is this okay?\nA:​ Yes\, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with. \nQ:​ I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA:​ 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 look into ​couch surfing​. \nQ:​ I missed the opportunity to attend this workshop. Will you be running it again?\nA:​ If the demand exist\, absolutely. Send us an email or ​message​ requesting it. \nWorkshop Resources:\n\nWorkshop Proposal\nWorkshop Resources\nWorkshop Report\n\n 
URL:http://www.processreversal.org/pr/07122014/
LOCATION:Current Space\, 421 North Howard Street\, Baltimore\, MD\, 21201\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/Image-6.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140417T150000
DTEND;TZID=America/Denver:20140417T210000
DTSTAMP:20260419T055424
CREATED:20150129T040216Z
LAST-MODIFIED:20170207T002801Z
UID:1552-1397746800-1397768400@www.processreversal.org
SUMMARY:Photochemical Initiatives: The Artist Run Film Lab
DESCRIPTION:Abstract\nIn this six hour workshop\, participants will be introduced to the theory & execution of the artist-run film lab\, including their history\, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally\, participants will have the opportunity to gain hands on experience with several basic film lab procedures\, such as printing and processing\, as well as two advance techniques originating from the artist run film lab community\, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally\, films from a variety of artist will be screened\, illustrating some of the key concepts of an artist run film lab. \nAttending the Workshop\nThis workshop is being hosted by the Rhode Island School of Design. Anyone not a student of RISD who wishes to attend should contact host Bryan Papciak (bryan|a|handcrankedproductions.com). \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: Nope. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Sure. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Documents\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)
URL:http://www.processreversal.org/pr/test-event-2/
LOCATION:Rhode Island School of Design (RISD)\, 2 College Street\, Providence\, RI\, 02903\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Featured_scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140414T190000
DTEND;TZID=America/Denver:20140414T210000
DTSTAMP:20260419T055424
CREATED:20150129T202448Z
LAST-MODIFIED:20170207T002801Z
UID:1560-1397502000-1397509200@www.processreversal.org
SUMMARY:KATAH-DIN
DESCRIPTION:Process Reversal is pleased to announce that fellow member Taylor Dunne will be premiering her new film\, KATAH-DIN\, at 7:00 PM on April 14th\, 2014 at the University of Colorado at Boulder (Visual Arts Center\, Room 1B20.) Following her film\, she will also be presenting a rare 16mm archival print of H.P. Carver’s 1930 feature The Silent Enemy\, written by Douglas Burden and featuring performances by Buffalo-Child Lance and Molly Spotted Elk. \nKATAH-DIN\nTaylor Dunne\, 2014\, USA\n16mm\, 33 minutes \nThe Silent Enemy\nH.P. Carver\, 1930\, USA\n16mm\, 77 minutes \nThe event is free for all to attend. View the flyer here.
URL:http://www.processreversal.org/pr/1560/
LOCATION:University of Colorado at Boulder\, Visual Arts Center\, Room 1B20\, 1125 18th Street #223\, Boulder\, CO\, 80309\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/hair.jpg
ORGANIZER;CN="Process Reversal | Taylor Dunne":MAILTO:taylor@processreversal.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140408T160000
DTEND;TZID=America/Denver:20140408T220000
DTSTAMP:20260419T055424
CREATED:20150129T200957Z
LAST-MODIFIED:20170207T002801Z
UID:1556-1396972800-1396994400@www.processreversal.org
SUMMARY:Photochemical Initiatives: The Artist Run Film Lab
DESCRIPTION:Abstract\nIn this six hour workshop\, participants will be introduced to the theory & execution of the artist-run film lab\, including their history\, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally\, participants will have the opportunity to gain hands on experience with several basic film lab procedures\, such as printing and processing\, as well as two advance techniques originating from the artist run film lab community\, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally\, films from a variety of artist will be screened\, illustrating some of the key concepts of an artist run film lab. \nAttending the Workshop\nThis workshop is being hosted by the Maryland Institute College of Art. Anyone not a student of MICA who wishes to attend should contact host Allen Moore (amoore|a|mica.edu). \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: Nope. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Sure. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Documents\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)
URL:http://www.processreversal.org/pr/04082014/
LOCATION:Maryland Institute College of Art (MICA)\, 1300 West Mount Royal Avenue\, Baltimore\, MD\, 21217\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Featured_scaled.jpg
ORGANIZER;CN="MICA | Allen Moore":MAILTO:amoore@mica.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140315T120000
DTEND;TZID=America/Denver:20140317T170000
DTSTAMP:20260419T055424
CREATED:20150128T221639Z
LAST-MODIFIED:20170207T002801Z
UID:1546-1394884800-1395075600@www.processreversal.org
SUMMARY:Investigations I: Basic Silver Gelatin Emulsion Making
DESCRIPTION:Abstract\nWorking with motion picture film today is both an intimidating prospect as well as an exciting one —  prior to this point in history\, film was the product of a highly competitive industrial science which rapidly developed from the primal photographic processes of the late 18th century to the multi-layered\, monopack films of meticulously engineered silver halide grains produced today. Despite this maturity\, however\, film was never anything more than a means-to-an-end for an industry which never really cared to understand what film was or what film could be. Given the comparative convenience of digital photography\, therefore\, both the technological and theoretical development of film has undergone a widespread abandonment among industry figures. However\, in the wake of this abandonment\, we’ve also been left with perhaps the most intriguing of opportunities: to take this industrial science and build within it a new medium with new ways of speaking\, new ways of thinking and new ways of seeing… \nIn this first part of a series of investigations into photochemical engineering\, we will be focusing on preliminary theories concerning emulsion chemistry and it’s practical application in the contemporary darkroom. Topics that will be explored include the history of silver gelatin photographic materials\, the theory of emulsification and latent image formation\, and the practical experimentation of various techniques for hand making motion picture film. The seminar will culminate in a simple silver gelatin emulsion which we will coat on to pre-existing 35mm cellulose triacetate and then photograph and develop as a negative. \nAttending the Workshop\nAll prospective participants should register via email at contact@processreversal.org. Additionally\, we will be seeking a 10 dollar registration fee from each participant to help cover the cost of producing the workshop. There are no other requirements for attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Yes\, participants are encouraged to bring in previously processed film for use in contact printing. Additionally\, participants should consider bringing in objects for photogramming as well. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: We unfortunately do not have any funds to provide scholarships\, but we may be able to find volunteers to help you with accommodations. Please send us an inquiry at contact@processreversal.org \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: Since this is a one-off series of seminars\, we technically won’t be able to offer this specific workshop again. However\, we’re open to trying to organize a similar themed workshop\, if the demand exist. \nWorkshop Resources\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)\nLegal Sized Flyer (for advertisement of the workshop)
URL:http://www.processreversal.org/pr/03152014/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Investigations_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140222T120000
DTEND;TZID=America/Denver:20140223T210000
DTSTAMP:20260419T055424
CREATED:20150129T204551Z
LAST-MODIFIED:20170207T002801Z
UID:1563-1393070400-1393189200@www.processreversal.org
SUMMARY:The Mirror: Reshaping & Lighting Film Emulsion
DESCRIPTION:Abstract\nIn this two day workshop\, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape\, destroy and sculpt the films emulsion. Techniques such as reticulation\, bleach etching and mirror toning will all be covered and applied to previously processed strips of film\, followed by their analysis and interpretation on an optical printer. Additionally\, issues concerning both the aesthetic and practical application of these techniques will be addressed through discussions and film screenings\, providing participants with a grounds for establishing a sound working method for each process. \nFilm stock\, chemistry and found footage will all be provided for the workshop\, but participants may also considering bringing in their own footage keeping in mind that this is essentially a course on destroying film… \nAttending the Workshop\nWorkshop Listing & Registration via balaganfilms.com \nThis workshop is being produced in conjunction with Balagan Films (Boston\, MA) and will be occurring on February 22nd & 23rd between the hours of 12:00 PM – 8:00 PM\, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \n \nThere are no additional requirements for workshop attendance\, but participants are encouraged to bring their own footage for experimenting with during the workshop. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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. \nIf 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. \nAs 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… \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources\n\nWorkshop Agenda (concerning the structure and content of the workshop)\nWorkshop Proposal (concerning the workshops budget and equipment demands)
URL:http://www.processreversal.org/pr/02222014/
LOCATION:Handcranked Productions\, 144 Moody Street\, Waltham\, MA\, 02453\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/02/the_mirror-e1391403318597-rotated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140215T120000
DTEND;TZID=America/Denver:20140216T210000
DTSTAMP:20260419T055424
CREATED:20150129T205211Z
LAST-MODIFIED:20170207T002801Z
UID:1566-1392465600-1392584400@www.processreversal.org
SUMMARY:Handmade Emulsion
DESCRIPTION:Handmade Emulsion – An Abstract\nThe process of handcrafting film emulsion is one that offers to the filmmaker an unprecedented degree of creative intervention and expressiveness that simply cannot be accomplished with commercial film stocks — by making emulsion\, the filmmaker is given the ability to manipulate its shape\, alter its chemical properties\, apply it to non-traditional bases and adjust it in countless additional ways to create a unique\, photosensitive material. As such\, the process manifests new forms of dialogue within the film’s production\, many of which are still waiting to be explored. \nIn this two day workshop\, participants will study the craft of producing black and white\, silver gelatin emulsion by formulating\, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop\, providing participants with a foundation to develop their own processes and methodologies. \nhttp://vimeo.com/77449068 \nAttending the Workshop\nWorkshop Listing & Registration via balaganfilms.com \nThis workshop is being produced in conjunction with Balagan Films (Boston\, MA) and will be occurring on February 15th & 16th between the hours of 12:00 PM – 8:00 PM\, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \n \nThere are no additional requirements for workshop attendance\, but participants are encouraged to bring their own footage for contact printing\, or objects for photogramming. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Yes\, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nFor all other questions\, email us at contact|a|processreversal.org\, or use the contact form here. \nAdditional Documents\n\nWorkshop Agenda (concerning the structure and content of the workshop)\nWorkshop Proposal (concerning the workshops budget and equipment demands)
URL:http://www.processreversal.org/pr/02152014/
LOCATION:LaPete Labs\, 369 Congress Street\, Boston\, MA\, 02210\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/10/IMGP5195.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131120T080000
DTEND;TZID=America/Denver:20131120T170000
DTSTAMP:20260419T055424
CREATED:20150129T210130Z
LAST-MODIFIED:20170207T002801Z
UID:1568-1384934400-1384966800@www.processreversal.org
SUMMARY:Cinematographe: Hand Cranked Cinema
DESCRIPTION:Abstract:\n“Le cinéma est une invention sans avenir” \n-Louis Lumière\n \nAt the time of the introduction of the Lumière brothers’ Cinématographe camera\, film had yet to become an industrialized medium — there were no film labs for processing film\, no theaters for professionally projecting one’s work\, no skilled operators of cameras…and also\, there were no rules. Instead it was the responsibility of the film maker to explore the vastly uncharted territory of the cinematic invention and to develop\, by experimentation\, methods for each aspect of a films production\, including photography\, processing\, printing and projection. The Cinématographe was an embodiment of this mode of production being a device that not only recorded the image\, but also acted as a contact printer and projector. Even the development of the negative and the print was accomplished by the camera operator\, as per the original instructions for the device: \n“The diverse operations of developing\, fixing and washing films can be carried out conveniently with the help of simple buckets with a capacity of about ten litres. The film is unwound very quickly and plunged in such a way that it unwinds in the developer. When all the film is unwound you move it\, always very quickly\, into the second bucket\, taking care to let it pass between your fingers to make sure that the entire surface is well coated with a layer of developing fluid and to avoid any bubbles or incomplete development which might arise. It is imperative that the immersion in the bucket\, and the movement from the first to the second bucket\, be carried out as quickly as possible.” \nNot only that\, but the Cinématographe was the first device of it’s kind which was easily deployable in the field rather than being tightly constrained to a studio. This was possible not only because of it’s relatively light weight (16 lb. / 7.3 kg)\, but also because of it’s use of a hand-cranked drive shaft as opposed to an electrically powered one such as with Edison’s Kinetograph.  \nAs a result of each of these elements\, the Cinématographe allowed for the film makers to explore both the science of light\, motion and chemistry as well as the science of everyday life; more conductors of research than storytellers… \n\nIn this workshop\, we will be exploring this form of film making whereby the camera\, film strip\, chemistry and projector are seemingly integrated with the body and mind of the film maker themselves. Participants will collaborate with one another to photograph\, print and project 100 feet (approx. 2 minutes) of 35mm motion picture film using nothing more than gears\, buckets and apertures. \nThis workshop will be occurring in association with TIE\, The International Experimental Cinema Exposition \n \nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop will be occurring on November 20th\, 2013 between the hours of 12:30 PM and 9:00 PM. To reserve space for the workshop\, contact us here.  \nThe fees for attendance have not yet been determined and there are no other requirements for attending this workshop. \nAgenda:\nThe following concepts will be discussed and explored in the course of this workshop \n\nPre-industrial / post-industrial cinema\nBasic photography\nOperation of the 35mm hand cranked camera\nFilming of 100′ x 35mm black & white print stock\nProcessing of the film\n\nToning of the film (if time permits)\n\n\nProjection of the film\n\nSelected Screenings:\n(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) \n\nLa Sortie des usines Lumière à Lyon (a.k.a. Workers Leaving The Lumière Factory in Lyon) [Louis Lumière\, 1895]\nThe Sounding Lines are Obsolete [John Price\, 2009]\nVarious Technical Documentations\n\nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: 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. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship? \nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nThe Lumière Cinematograph [Louis Lumière\, 1936]\nKinetica: Lieux d’experimentations cinematographiques en Europe [Various Authors]\nThe Master Photographers Toning Book [Tim Rudman]\nDeveloping [C.I. Jacobson]\nRecipes for Disaster: A Handcrafted Film Cookbook [ed. Helen Hill]
URL:http://www.processreversal.org/pr/11202013/
LOCATION:Edith Kinney Gaylord Cornerstone Arts Center\, 825 North Cascade Avenue\, Colorado Springs\, CO\, 80903\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/DeVry-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131103T210000
DTEND;TZID=America/Denver:20131103T230000
DTSTAMP:20260419T055424
CREATED:20150129T212448Z
LAST-MODIFIED:20170207T002801Z
UID:1575-1383512400-1383519600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Cineworks \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/11032013/
LOCATION:Cineworks Annex\, 235 Alexander Street\, Vancouver\, British Columbia\, V6A 1C1\, Canada
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131102T110000
DTEND;TZID=America/Denver:20131103T230000
DTSTAMP:20260419T055424
CREATED:20150129T211634Z
LAST-MODIFIED:20170207T002819Z
UID:1572-1383390000-1383519600@www.processreversal.org
SUMMARY:RedOx: Experimental Color Printing and Processing
DESCRIPTION:Abstract:\nIn this two day workshop\, participants will be introduced to color printing on both the contact printer and optical printer so as to generate color positive prints from camera original color negatives. In addition to this\, however\, we will also explore some of the possible interventions in the color printing process to allow for the use of reduction and oxidation (redox) based processes typically reserved for black & white imagery. These include any argentic (silver) based process such as toning\, mirroring and bleach etching techniques\, the application of which has been scarcely explored in color up to this point. \nhttp://vimeo.com/65324775. \nConcepts that will be covered include: \n\nProcessing for camera original color negative stocks (e.g. Kodak 50D\, 500T\, Fuji stocks\, etc)\nBasic timing procedures (i.e. control of density and color balance in the striking of the print)\nProcessing for color print stocks (i.e. generation of a color positive from the color negative)\nConventional and alternative color processing for color print stocks\n\nAttending the Workshop:\nThis workshop will be split into two days. The first day (Nov. 2nd\, 11AM – 7 PM) will be dedicated to demonstrating the operation of the Model C contact printer to strike color positive\, married prints followed by their processing in both traditional and alternative color chemistry. The second day (Nov. 3rd\, 10AM – 11PM) will be an open work day whereby participants will be able operate the model C to print and process their own prints\, explore experimental chemical processes\, strike internegatives on the JK optical printer\, etc. \nIf participants wish\, they can provide their own color negatives for use in the workshop\, but this is not required as found color negative will also be provided. \nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: Yes\, in fact we encourage participants to bring some processed film for printing in the workshop. This can be either color or black and white\, but it preferable it should be a negative. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship? \nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nThe following selection of readings are suggested for those who would like to pursue the subject matter beyond that which we will be covering in the workshop. Copies of these books will be provided during the workshop and many can be acquired through local libraries: \n\nPhotographic Emulsion Chemistry (G.F. Duffin)\nMaking Kodak Film (Robert Shanebrook)\nThe Darkroom Cookbook (Steve G Anchell)
URL:http://www.processreversal.org/pr/11022013/
LOCATION:Cineworks Annex\, 235 Alexander Street\, Vancouver\, British Columbia\, V6A 1C1\, Canada
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/F31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131026T210000
DTEND;TZID=America/Denver:20131026T230000
DTSTAMP:20260419T055424
CREATED:20150129T213202Z
LAST-MODIFIED:20170207T002819Z
UID:1576-1382821200-1382828400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Artists’ Television Access \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10262013/
LOCATION:Artists’ Television Access (ATA)\, 992 Valencia Street\, San Francisco\, CA\, 94110\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131021T200000
DTEND;TZID=America/Denver:20131021T220000
DTSTAMP:20260419T055424
CREATED:20150130T232137Z
LAST-MODIFIED:20170207T002819Z
UID:1584-1382385600-1382392800@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Black Hole Cinematheque\n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10212013/
LOCATION:Black Hole Cinematheque\, 1038 24th St.\, Oakland\, CA\, 94607\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="Black Hole Cinematheque":MAILTO:blackholecinema@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131013T120000
DTEND;TZID=America/Denver:20131018T230000
DTSTAMP:20260419T055424
CREATED:20150130T233005Z
LAST-MODIFIED:20170207T002819Z
UID:1587-1381665600-1382137200@www.processreversal.org
SUMMARY:Photochemical Initiatives
DESCRIPTION:Abstract:\nIn this two part workshop with A Free School\, participants will discuss and explore the art of photochemistry for motion picture film by composing from a selection of raw chemicals a variety of rare tinters\, toners\, bleaches and emulsions. \nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop is being produced by A Free School in Los Angeles\, CA and will be taking place on two separate days: Chemical Mixology – October 13th\, 2013\, 2:00 PM – 6:00 PM PST; Handmade Emulsion – Ocotober 17th\, 7:00 PM – 11:59 PM PST. \nThe workshop is free of charge but is limited to 2013-2014 students of AFS. There are no other requirements for participation. \n \nSelected Screenings:\nWe will be selecting films for exhibition during this workshop which utilize handmade emulsion as part of the dialect of their production. Not every work listed below will be shown in it’s entirety\, or perhaps even at all. Additionally\, only some will be shown in their native format: \n\nSalt (Martha Jurksaitis)\nAt Hand (Andre Busti)\n\nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: 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. \nIf 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. \nAs 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… \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nResources for this workshop can be downloaded here and general resources can be found in the resource section of our website. \nAdditionally\, these books & articles are recommended for those who wish to explore the subject matter deeper\, many of which can be secured at local libraries or on the web: \n\nThe Master Photographers Toning Book (Tim Rudman)\nThe Darkroom Cookbook (Steve G Anchell)\nThe Film Developing Cookbook (Steve G Anchell & Bill Troop)\nSilver Gelatin: A User’s Guide To Liquid Photographic Emulsion (Martin Read & Sarah Jones)\nPhotographic Emulsion Chemistry (G.F. Duffin)\nTinting and Toning of Eastman Motion Picture Film and various other ephemera on Brian Pritchard website.
URL:http://www.processreversal.org/pr/10132013/
LOCATION:A Free School\, 1790 Baker Street\, Los Angeles\, CA\, 90012\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/10/Mixology-scaled.jpg
ORGANIZER;CN="A Free School":MAILTO:info@afreeschool.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131010T200000
DTEND;TZID=America/Denver:20131010T220000
DTSTAMP:20260419T055424
CREATED:20150131T201828Z
LAST-MODIFIED:20170207T002819Z
UID:1591-1381435200-1381442400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Echo Park Film Center\n \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10102013/
LOCATION:Echo Park Film Center\, 1200 North Alvarado Street\, Los Angeles\, CA\, 90026\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="Echo Park Film Center":MAILTO:info@echoparkfilmcenter.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130922T110000
DTEND;TZID=America/Denver:20130922T233000
DTSTAMP:20260419T055424
CREATED:20150131T203351Z
LAST-MODIFIED:20170207T002819Z
UID:1594-1379847600-1379892600@www.processreversal.org
SUMMARY:Handmade Emulsion
DESCRIPTION:Abstract:\nThe process of handcrafting film emulsion is one that offers to the filmmaker an unprecedented degree of creative intervention and expressiveness that simply cannot be accomplished with commercial film stocks — by making emulsion\, the filmmaker is given the ability to manipulate its shape\, alter its chemical properties\, apply it to non-traditional bases and adjust it in countless additional ways to create a unique\, photosensitive material. As such\, the process manifests new forms of dialogue within the film’s production\, many of which are still waiting to be explored. \nIn this workshop with Mono No Aware\, participants will study the craft of producing black and white\, silver gelatin emulsion by formulating\, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop\, providing participants with a foundation to develop their own processes and methodologies. \n \nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop is being produced and hosted by Mono No Aware. All persons interested in enrolling in the workshop should do so through the Mono No Aware’s website here. For further questions about enrollment\, contact Mono No Aware here or Process Reversal here. \nThe workshop will be limited to 6 participants at a cost of 165.00 USD per participant. Previous experience with working with motion picture film is not required\, but it is encouraged that participants at least study basic black & white negative processing prior to the workshop. \nThere are no other requirements for participation in this workshop\, other than those required by Mono No Aware. \nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: Yes\, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship? \nA: 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 look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nThe following selection of readings are suggested for those who would like to pursue the subject matter beyond that which we will be covering in the workshop. Copies of these books will be provided during the workshop and many can be acquired through local libraries: \n\nMotion Picture & Television Film Image Control & Processing Techniques (D.J. Corbett)\nPhotographic Emulsion Chemistry (G.F. Duffin)\nSilver Gelatin: A User’s Guide To Liquid Photographic Emulsion (Martin Read & Sarah Jones)\nMaking Kodak Film (Robert Shanebrook)\nThe Darkroom Cookbook (Steve G Anchell)
URL:http://www.processreversal.org/pr/09222013/
LOCATION:Negativland Darkroom\, 1717 Troutman St. Suite #244\, Brooklyn\, NY\, 11385\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/Image-6.jpg
ORGANIZER;CN="MONO NO AWARE":MAILTO:info@mononoawarefilm.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130920T200000
DTEND;TZID=America/Denver:20130920T220000
DTSTAMP:20260419T055424
CREATED:20150131T204806Z
LAST-MODIFIED:20170207T002819Z
UID:1597-1379707200-1379714400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by MONO NO AWARE\n \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09202013/
LOCATION:Microscope Gallery\, 4 Charles Place\, Brooklyn\, NY\, 11221\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="MONO NO AWARE":MAILTO:info@mononoawarefilm.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130918T200000
DTEND;TZID=America/Denver:20130918T220000
DTSTAMP:20260419T055424
CREATED:20150131T205822Z
LAST-MODIFIED:20170207T002819Z
UID:1599-1379534400-1379541600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \nOrganized by the Available Light Screening Collective \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09182013/
LOCATION:Daïmõn’s Studio\, 82 Rue Hanson\, Gatineau\, Quebec\, J8Y 3M5\, Canada
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130914T200000
DTEND;TZID=America/Denver:20130914T220000
DTSTAMP:20260419T055424
CREATED:20150131T211337Z
LAST-MODIFIED:20170207T002819Z
UID:1602-1379188800-1379196000@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \nOrganized by LOMAA & McIntosh Gallery\n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt. \nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09142013/
LOCATION:The Playground\, 207 King Street\, London\, Ontario\, N6A 1C9\, Canada
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130903T200000
DTEND;TZID=America/Denver:20130903T220000
DTSTAMP:20260419T055424
CREATED:20150131T212510Z
LAST-MODIFIED:20170207T002819Z
UID:1605-1378238400-1378245600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including l’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, The Handmade Film Institute (Boulder\, CO) and LIFT (Toronto\, ON). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Philipe Leonard & Chris Gehman. \nProgram Details:\nPanorama Point – Taylor Dunne (Process Reversal)\n[2.5 minutes\, 1.33:1\, silent\, Tungsten]\n“Using a variety of means-scale\, a use of seriality or theatrical modes of presentation-American landscape painters in the nineteenth century absorbed the challenges to framing and spectatorship exemplified by the various forms of panorama entertainments.  We see in these landscapes the mastery of framing contending with an energy striving to burst them asunder in pursuit of a new relation to the spectator. ” \nTom Gunning from Landscape and the Fantasy of Moving Pictures: Early Cinema’s Phantom Rides \nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \n\nI Swim Now –  Sarah Biagini (Process Reversal)\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal) \n \n[6 minutes\, 1.33:1\, silent\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nRostrum Press: Materials Testing – Chris Gehman\n[3 minutes\, 1.33:1\, silent\, Xenon]\n“In Rostrum Press: Materials Testing\, I used the Oxberry 16mm animation stand as a mechanism to test the response of a variety of objects and materials to the downward pressure of the camera…each shot in “Rostrum Press” is essentially a self-contained little film in which the camera moves inexorably closer to its object\, one-eighth of an inch closer between each frame and the next\, until contact is made and the object is pressed down towards the rostrum table as nearly flat as possible.” \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09032013/
LOCATION:CineCycle\, 129 Spadina Avenue\, Toronto\, Ontario\, M5V 2L3\, Canada
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130817T220000
DTEND;TZID=America/Denver:20130818T233000
DTSTAMP:20260419T055424
CREATED:20150131T213841Z
LAST-MODIFIED:20170207T002819Z
UID:1609-1376776800-1376868600@www.processreversal.org
SUMMARY:The Mirror: Reshaping and Lighting Film Emulsion
DESCRIPTION:The Mirror: Reshaping and Lighting Film Emulsion – An Abstract:\nIn this two day workshop\, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape\, destroy and sculpt the film emulsion. Techniques such as reticulation\, bleach etching and mirror toning will all be covered and applied to previously processed strips of film\, followed by their analysis and interpretation on an optical printer. Additionally\, issues concerning both the aesthetic and practical application of these techniques will be addressed through discussions and film screenings\, providing participants with a grounds for establishing a sound working method for each process. \nFilm stock\, chemistry and found footage will be provided during the workshop\, but participants may also bring in their own footage keeping in mind that this is essentially a course on destroying film… \n[Below: Documentation from the previous edition of The Mirror and Colour Bleach Etching Test) \n\n\nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop is being produced by LIFT in Toronto\, ON and will be occurring on August 17 & 18th between the hours of 10:00 AM – 6:00 PM\, EST. The second day of the workshop will be divided into two\, four hour seminars. \nAll LIFT policies apply to this workshop (LIFT Policies) and all registration must occur through LIFT (LIFT workshop page) \nThere are no additional requirements for workshop attendance\, but participants are encouraged to bring their own footage for working with during the workshop. Additionally\, those who are particularly sensitive to chemical fumes may consider bringing an acid respirator for use during the workshop. However\, we will be working with relatively mild chemistry. \nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: 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. \nIf 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. \nAs 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… \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nThe Master Photographers Toning Book (Tim Rudman)\nDeveloping (C.I. Jacobson)\nJean-Pierre Sudre (Various Authors)\nGuilty (Georges Bataille)\nMordancage Alternative Printing Process (Elizabeth Opalenik)\nRecipes for Disaster: A Handcrafted Film Cookbook (ed. Helen Hill)\nUnblinking Eye: Mordancage
URL:http://www.processreversal.org/pr/08172013/
LOCATION:The Liaison of Independent Filmmakers of Toronto (LIFT)\, 1137 Dupont Street\, Toronto\, Ontario\, M6H 2A3\, Canada
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/dye_0036.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130721T120000
DTEND;TZID=America/Denver:20130804T170000
DTSTAMP:20260419T055424
CREATED:20150131T214410Z
LAST-MODIFIED:20170207T002820Z
UID:1611-1374408000-1375635600@www.processreversal.org
SUMMARY:The Gurney-Mott Theory: An Introduction to Hand Processing Motion Picture Film
DESCRIPTION:Abstract:\n“The diverse operations of developing\, fixing and washing films can be carried out conveniently with the help of simple buckets with a capacity of about ten litres. The film is unwound very quickly and plunged in such a way that it unwinds in the developer. When all the film is unwound you move it\, always very quickly\, into the second bucket\, taking care to let it pass between your fingers to make sure that the entire surface is well coated with a layer of developing fluid and to avoid any bubbles or incomplete development which might arise. It is therefore imperative that the immersion in the bucket and the movement from the first to the second bucket be carried out as quickly as possible.” \n– Cinematographe Manual \nIn this three day workshop\, participants will learn about the history and theory of Motion Picture Film Processing\, elementary procedures for negative and reversal processing and procedures for mixing and handling chemistry. Special topics\, based on the groups own interest\, will also be discussed on the third day. \nAttending the Workshop [Dates\, Fees & Requirements]:\nThere will be a limited number of open spaces for this workshop. To register\, please contact us here. \nThis workshop consist of three days over a three week period. The dates for these days are as follow: \n\nA Preliminary Introduction (Free)\n\nSunday – July 21st\, 2013: 12:00 PM – 2:00 PM (Norlin Library\, University of Colorado\, Boulder\, CO.)\n\n\nElementary Black & White Processing [Negative + Reversal] (Cost TBD)\n\nSunday – July 28th\, 2013: 12:00 PM – 6:00 PM (Location TBA\, Boulder\, CO.)\n\n\nChemistry\, Mixology & Special Topics (Cost TBD)\n\nSunday – August 4th\, 2013: 12:00 PM – 6:00 PM (Location TBA\, Boulder\, CO.)\n\n\n\nThere are no requirements for attendance other than that participants provide their own materials. A list of necessary materials will be provided on the first day. \nParticipants who would like to bring in their own film for processing may do so on the second day. No processing will be occurring on the first day. \nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: No\, but an elementary understanding of photography and/or cinematography will maximize your ability to learn during this workshop. We will also be touching on this briefly during the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: Yes\, but there are a few things you must keep in mind: While you can bring film to work with\, we will not begin processing film until the second day. Even then\, there is no guarantee that we will be able to get around to processing your film. Additionally\, if we do process your film\, there is no guarantee in “success.” \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship? \nA: Unfortunately\, we do not offer scholarship\, but we may be able to find accommodations pending volunteers. Additionally\, you can also look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nPhotographic Lab Handbook (John S. Carroll)\nThe Darkroom Cookbook (Steve G Anchell)\nThe Film Developing Cookbook (Steve G Anchell & Bill Troop)
URL:http://www.processreversal.org/pr/07212013/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/lomo-reels-31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130312T133000
DTEND;TZID=America/Denver:20130319T160000
DTSTAMP:20260419T055424
CREATED:20150502T202902Z
LAST-MODIFIED:20170207T002820Z
UID:1825-1363095000-1363708800@www.processreversal.org
SUMMARY:Зеркало: Reshaping and Lighting Film Emulsion
DESCRIPTION:Abstract\nIn this multi-day workshop\, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape\, destroy and sculpt the film emulsion. Afterwards\, we will study and develop creative methods of lighting and re-photograph the film emulsion via the optical printer… \nBelow: Documentation from “Guilty”\, a workshop in association with no.w.here \n\nAttending the Workshop\nThis 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). \nDue 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. \nThere are no additional requirements for workshop attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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.\nIf 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.\nAs 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… \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Resources\n\nThe Master Photographers Toning Book (Tim Rudman)\nDeveloping (C.I. Jacobson)\nJean-Pierre Sudre (Various Authors)\nGuilty (Georges Bataille)\nMordancage Alternative Printing Process (Elizabeth Opalenik)\nRecipes for Disaster: A Handcrafted Film Cookbook (ed. Helen Hill)\nUnblinking Eye: Mordancage
URL:http://www.processreversal.org/pr/03122012/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/Dye-Plating-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20120913T020000
DTEND;TZID=America/Denver:20120913T180000
DTSTAMP:20260419T055425
CREATED:20150502T201054Z
LAST-MODIFIED:20170207T002820Z
UID:1823-1347501600-1347559200@www.processreversal.org
SUMMARY:Black & White Reversal
DESCRIPTION:Abstract\nPreviously 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. \nYet\, 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… \nIn this workshop\, we will be exploring this process through discussions\, screenings and hand’s on collaborations. \nAttending the Workshop\nThis workshop will be occurring on September 13th\, 2012 at Macky Auditorium on the University of Colorado\, Boulder campus. \nDue 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. \nThere are no additional requirements for workshop attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nAdditional Resources\n\nWorkshop Agenda\nThe Darkroom Cookbook (Steve Anchell)\nThe Film Developing Cookbook (Bill Troop & Steve Anchell)
URL:http://www.processreversal.org/pr/09132012/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/04/Process-Reversal-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20120427T110000
DTEND;TZID=America/Denver:20120501T170000
DTSTAMP:20260419T055425
CREATED:20150502T200350Z
LAST-MODIFIED:20170207T002820Z
UID:1820-1335524400-1335891600@www.processreversal.org
SUMMARY:Chemical Odysseys In B&W
DESCRIPTION:Abstract\nWe’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… \nIn 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. \nAttending the Workshop\nThis workshop will be occurring between April 27 and May 1\, 2:00PM- 8:00PM (Central European Time). \nThis workshop is being produced by Klubvizija SC\, and as such all inquiries regarding attendance should be handled through Klubvizija SC: \n\nKlubvizija SC Website\n\nThere are no additional requirements for workshop attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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.\nIf 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.\nAs 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… \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us a message requesting it. \nAdditional Resources\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nThe Master Photographers Toning Book (Tim Rudman)\nDeveloping (C.I. Jacobson)\nMordancage Alternative Printing Process (Elizabeth Opalenik)\nRecipes for Disaster: A Handcrafted Film Cookbook (ed. Helen Hill)\nUnblinking Eye: Mordancage
URL:http://www.processreversal.org/pr/04272012/
LOCATION:Klubvizija SC\, Savska cesta 25\, Zagreb\,  10000\, Croatia (Local Name: Hrvatska)
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/i-swim-now-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20120204T103000
DTEND;TZID=America/Denver:20120204T180000
DTSTAMP:20260419T055425
CREATED:20150501T230046Z
LAST-MODIFIED:20170207T002820Z
UID:1818-1328351400-1328378400@www.processreversal.org
SUMMARY:Guilty: the destruction of film emulsion
DESCRIPTION:Abstract\nMany 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. \nThis 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. \nProduced with the additional support of SilverPrint (www.silverprint.co.uk) \nAttending the Workshop\nThis workshop is being produced by no.w.here film lab\, and as such all inquiries regarding attendance should be handled through no.w.here: \n\nno.w.here’s workshop page\, including contact information and attendance policies\nno.w.here’s event listing for this workshop\n\nThe date of the workshop is set for February 4th\, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT) \nAside from no.w.here’s own policies\, there are no additional requirements for attending this workshop. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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.\nIf 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.\nFinally\, in regards to film format\, we will have all the necessary equipment to deal with regular 8mm\, super 8mm\, 16mm and 35mm film. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Resources\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nDeveloping (C.I. Jacobson)\nThe Darkroom Cookbook (Steve G Anchell)\nRecipes for Disaster: A Handcrafted Film Cookbook (ed. Helen Hill)
URL:http://www.processreversal.org/pr/02042012/
LOCATION:no.w.here\, 316 Bethnal Green Road\, London\, E2 0AG\, United Kingdom
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/DSC_0043-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20120128T103000
DTEND;TZID=America/Denver:20120128T180000
DTSTAMP:20260419T055425
CREATED:20150501T225302Z
LAST-MODIFIED:20170207T002820Z
UID:1817-1327746600-1327773600@www.processreversal.org
SUMMARY:My life as a silver halide
DESCRIPTION:Abstract\nDo 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. \nIn 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… \nProduced with the additional support of Silverprint (www.silverprint.co.uk) \nAttending the Workshop\nThis workshop is being produced by no.w.here film lab\, and as such all inquiries regarding attendance should be handled through no.w.here: \n\nno.w.here’s workshop page\, including contact information and attendance policies\nno.w.here’s event listing for this workshop\n\nThe date of the workshop is set for January 28th\, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT) \nAside from no.w.here’s own policies\, there are no additional requirements for attending this workshop. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nDeveloping (C.I. Jacobson)\nThe Darkroom Cookbook (Steve G Anchell)\nThe Film Developing Cookbook (Steve G Anchell & Bill Troop)
URL:http://www.processreversal.org/pr/01282012/
LOCATION:no.w.here\, 316 Bethnal Green Road\, London\, E2 0AG\, United Kingdom
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/03/Silver-Halide.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20120121T103000
DTEND;TZID=America/Denver:20120122T180000
DTSTAMP:20260419T055425
CREATED:20150429T213400Z
LAST-MODIFIED:20170207T002820Z
UID:1811-1327141800-1327255200@www.processreversal.org
SUMMARY:Colorado: Tinting & Toning Motion Picture Film
DESCRIPTION:Abstract\nFrom the Daguerreotype to today’s modern film emulsions\, tinting and toning has had an almost mythical presence throughout the history of film. \nPractically\, 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… \nIn 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. \nParticipants 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. \n[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…]\n\n\n\n\nProduced with the additional support of SilverPrint (www.silverprint.co.uk) \n \nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop is being produced by no.w.here film lab\, and as such all inquiries regarding attendance should be handled through no.w.here: \n\nno.w.here’s workshop page\, including contact information and attendance policies\nno.w.here’s event listing for this workshop\n\nThe date of the workshop is set for January 21st\, 2012 between the hours 10:30 AM (GMT) and 6:00 PM (GMT) \nAside from no.w.here’s own policies\, there are no additional requirements for attending this workshop. \nSelected Screenings:\n(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) \n\nWheelchair (Andrew Busti\, 2002)\nLe Voyage dans la Lune (Georges Méliès\, 1902)\nVarious technical documentations\n\nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay? \nA: 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. \nIf 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. \nFinally\, in regards to film format\, we will have all the necessary equipment to deal with regular 8mm\, super 8mm\, 16mm and 35mm film. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship? \nA: 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. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nFurther Readings & Online Resources:\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nThe Master Photographers Toning Book (Tim Rudman)\nDeveloping (C.I. Jacobson)\nThe Darkroom Cookbook (Steve G Anchell)\nThe Film Developing Cookbook (Steve G Anchell & Bill Troop)\nRecipes for Disaster: A Handcrafted Film Cookbook (ed. Helen Hill)\nAdditional Resources from Brian Pritchard\n\nTinting and Toning of Eastman Positive Motion Picture Film
URL:http://www.processreversal.org/pr/01212012/
LOCATION:no.w.here\, 316 Bethnal Green Road\, London\, E2 0AG\, United Kingdom
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2011/12/Image-8.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20111011T133000
DTEND;TZID=America/Denver:20111013T160000
DTSTAMP:20260419T055425
CREATED:20150502T202025Z
LAST-MODIFIED:20170207T002820Z
UID:1824-1318339800-1318521600@www.processreversal.org
SUMMARY:The Color of Salt - Tinting & Toning Motion Picture Film
DESCRIPTION:Abstract\nFrom the Daguerreotype to today’s modern film emulsions\, tinting and toning has had an almost mythical presence throughout the history of film. \nPractically\, 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… \nIn 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. \nAdditionally\, 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: \n\nAttending the Workshop\nThis workshop will be occurring on October 11th & 13th and between the hours of 1:30 PM & 3:00 PM (Mountain Time). \nDue 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. \nThere are no additional requirements for workshop attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: 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. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: 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.\nAdditionally\, 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.\nFinally\, 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. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship?\nA: 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. \nAdditional Resources\n\nThe Master Photographers Toning Book (Tim Rudman)\nThe Darkroom Cookbook (Steve Anchell)\nTinting and Toning of Eastman Motion Picture Film and various other ephemera on Brian Pritchard website.
URL:http://www.processreversal.org/pr/10112011/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/01/PCN-1.jpg
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END:VCALENDAR