Portfolio Workshop December 2018

IMG_2896.JPG

What: Portfolio Workshop

Where: Alternative Photo Services at 1840 Danforth Ave, Toronto

When: December 27-December 30 2018

Spots: Minimum 4 maximum 6

Cost: $1,000 plus tax + materials (material list provided upon request)

This workshop is for anyone who is looking to build a portfolio of alternative prints. Students will be printing their own work under the guidance of printer Bob Carnie using gum bichromate and/or platinum palladium.

Print sizes range from 8×10 all the way up to 20×28.

Once the prints are finished, they will be custom matted using cotton rag 4 ply board.

To sign up or ask a question, email Bob or Carissa

bob@alternativephotoservices.com

carissa@alternativephotoservices.com

Vancouver and Capture!

Carissa just returned from Vancouver where she was stationed for ten days. We rented a pop up space for two weeks in Chinatown, installing Series, Clearcut and Ipseity.

Series

From Front 2

SERIES brings together five photographers with five different stories to tell. Salina Kassam, Thomas Brasch, Larry D. Hayden and Skip Dean have explored their own environments through the photographic medium.


Clearcut

Window.jpg

The intersection of man and nature is a dominant theme in Matthew Plexman’s work. Clearcut captures the evolution of an old logging road in northeastern Ontario: old sections are blocked off and new routes added, leading to new areas of logging activity. The borders between clearcut and forest are abrupt at first—open areas of chewed-up earth and toppled trees abut untouched woodland. Over time, the process of healing begins and the borders blur. Plexman attempts to find beauty and symmetry in the tension between destruction and regeneration, inviting dialogue about the conflict inherent in our dependence on nature for both resource extraction and emotional sustenance.


 

Meeting New People

IMG_4138.JPG

Carissa had the pleasure of meeting some really interesting folks on her travels. Sally Buck and Kent Lins popped up their photos in cube vans every weekend during the Capture Photo Fest.

She also got a fantastic tour of the new Emily Carr University campus by photo studio tech Geoffrey, and met up with Kathy from Beau Photo.

With a bit of down time, she also got to take in some of the sights of Vancouver and Whistler.

 

 

Artist Spotlight: Lauren Young

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

Ruby1-©LaurenCHoward.jpg

Statement

I think the mark of a good image is if it tells a good story. When I look at these images, I see a story about the relationship between young girls. It’s about the things we go through, the people we love or hate, and the looks we give each other when something interesting happens. I wanted to capture these faces so that I could look back on them and see the differences between ourselves now and then. This project allows me to document such a prevalent time in the lives of the people closest to me as we go through such pivotal shared experiences.

How has your photographic process been informed by your experiences

I photograph the things I see in life, the moments I experience. My goal for every picture I take is to capture an intimate moment shared between me and the subject, this is why having some sort of relationship with the subject is quite important to me. I am constantly trying to have unique experiences with those whom I photograph. Being a teenage girl myself, it makes the most sense for me to take pictures of my closest friends as they go through the same things I am.

Service Spotlight: Lith Prints from Negative

Cory 23 and front smaller

Image courtesy – Cory Wilyman

I have been making lith prints on silver gelatin paper for clients since the mid 90’s. I was introduced to Star Trax a book by Anton Corjbin. The images in this book were all printed by Mike Spry and were jaw droppingly beautiful to me.

Over the years I have used many papers and as chemicals died off have pretty much stayed with Fotospeed LD20 as the developer. In this process we use the emergence time in the developer to determine pull time, certain papers require different Snatch Points and each paper will exhibit a different tonal effect.

In all cases Lith prints are processed after developer exactly like any silver gelatin print and can be toned as well to create further variations.

These prints are highly desirable as they will outlast modern day prints and thus are coveted by collectors and galleries.

Almost any type of negative, colour or black and white will work with this process and one needs to be careful trying to match prints for editions as it is almost impossible to do so.

Therefore I refer to any Lith Print as a unique print

Service Spotlight: Inkjet

RussellRobertson.jpg

Courtesy Rita Leistner / Stephen Bulger Gallery

I have been making colour prints now my whole career, in my past jobs before I opened my own shop, I worked  in many capacities as a colour corrector, colour printer and photo comp specialist. One of my past specialty’s was making mural prints from 8×10 colour film. Thirty years later, we are seeing the same quality from the new Phase Back systems.
For me making colour prints is magical and even though we have state of art white balance capabilities, thanks to technology advances, the fine print always need collaboration with the artist and printer. Subtle colour balances, or contrast changes are required to produce work that is outstanding.
For many of my clients I work very closely balancing a body of work so that it can hang cohesively together, this is not a simple task. As well striking the right balance requires testing and then final print.
Today I use a Canon 12 ink printer and my maximum size (to date) is the image above which is 60 x 77 inches. I like inkjet for the different papers that we can use, as well with good profiling the consistency assured print to print. Inkjet prints can be hung within box frames, can be mounted to dibond mounts for displays, using spacers within frames or aluminum mounting systems to hang on walls.

Service Spotlight: Lambda Silver

Lambda Silver.jpg

Robertson Davies –  by Nigel Dickson

Lambda Silver Gelatin prints are prints made from any type of digital file, either scanned from film as in this case or from current state of the art digital cameras.
In our lab we expose the file on a Durst Lambda 76 and then take the paper downstairs and process as we would an enlarger based print. We have one of Canada’s largest commercial fibre base darkrooms and can handle prints up to 30 x 72 inches .
The paper is Ilford Galerie grade 4 and the contrast and tonal adjustments are controlled in Photoshop, Capture One or Lightroom. Or these adjustments can be tweaked at time of printing on the imaging device.
These prints are the ultimate in reproduction and exhibit the traditional silver gelatin look: deep blacks, silvery midtones and brilliant highlights.
As with all silver gelatin prints, the image resides in the emulsion and to the viewer the image glows from within.
These prints follow the same Ilford archival process sequence and can be further enhanced with toning, selenium or split sepia or a combination of both.
Silver prints are the museum and top gallery standard for exhibiting and collecting and are designed for the very best images for long term storage or display.

2017 in Review

2017 saw us renaming the main gallery, changing from the Dylan Ellis Gallery to the Connections Gallery. This name change reflects our mandate to “connect” artists, curators and gallerists.

Thank you to all of the photographers who showed such an amazing variety of images.

 

Human memory / The soul of the earth

January 12 to January 31

Sylvie Pinsonneault, Karl Desmarais


Toronto Offsite Design Festival

January 16-January 22

SUMO Projects and artist Michele Guevara


Visual Calculus in Photography

March 3-31

Alain Laforest, Catherine Aboumrad, Daniel Miller, Guy Glorieux, Guy Lafontaine

Jean Lauzon, Marie-Reine Mattera and Emmanuel Joly, Robert Slatkoff


A Foundation of Ash

April 17-May 13

Will Gill


Alternative Photo Revolution

Glen Echo, Maryland March 28, New Orleans March 31/April 1 Toronto, Contact Photography Festival May 15-June 17

Alexis Jackson, Kin Lon Ma, Scott Davis, David Armentor, Marc Betsworth, Tamiko Winters, Paul Taborovsky, Kevin Kelly, Alan Dunlop, Lisa Murzin, Ron Erwin,  John Migicovsky, Evan Dion, Salina Kassam, Philip Jessup, Marlene Hilton Moore, Juli Lyons, Skip Dean, Thomas Brasch, Matthew Plexman, Laura Paterson, Bob Carnie, Monica Glitz, Jeff Suchak, Hugues Rochette, Jean Lauzon, Madeleine Marcil, Claude Dagenais, Guy Lafontaine, Mirabelle Ricard, Guy Glorieux, Brittany Fleming, Jennifer Crane, Brendan Meadows, Andrej Gregov, Larry Hayden, Bryan Helm, Ginette Clément, Stephen McNeill , David Christensen


Linked

July 8-August 31

Laura Paterson, Wayne Salmon, Al Paterson, Anthony Macri, Kamelia Pezeshki, Aurélien Muller, Carissa Ainslie, Beth Jessup, Paulette Michayluk, Bob Carnie


Urban

October 1-30

Stephanie Kretzschmer, Guy Lafontaine, Robert McIntyre, Joachim Oepkes, David Edwards and Alan Dunlop


Kindred

Montreal October 20 & 21, Toronto November 1-29

Linda Kooluris Dobbs, Salina Kassam

John Migicovsky, Juli Lyons, Lisa Murzin, Thomas Brasch, Bob Carnie, Shelagh Howard, Marlene Hilton Moore, Philip Jessup, David L Hunsberger, ​Anthony DeLorenzo, Normand Blouin, Suzanne Vo-Ho, Jean-Sébastien Vaillancourt, Nathalie Garceau, Daniel Miller, Alexia Righetti, Pierre Dalpé, Guy Glorieux, Céline Lalonde, Martine Michaud, Janick Houle, Francois Spenard​


Emergence

December 1-January 8

Lindsi Hollend, Anna Borcherdt, Adrian Oosterman, Cat Stambolic, Andrew Persaud, Marlene Hilton Moore, Raquel Moliterno

Emergence Spotlight | Andrew Persaud

December 1-January 8 2018 | Opening December 7 2017 6-9pm

Emergence showcases the work of a group of photographers who are presenting new and exciting work. This is the second iteration of this exhibition in which four artists will be chosen to exhibit in Montreal in 2018.

Lindsi Hollend |Anna Borcherdt |Adrian Oosterman |Cat Stambolic | Andrew Persaud

Marlene Hilton MooreRaquel Moliterno

L1

What is your process?
For this particular work that I submitted, it happens to be the final part to a 3 part series I started. In this series, the ones before this one, they are the starting points. Those images began with a model sitting in front of a projection screen which I then projected a short animation that I made or the default mac screensaver. Both of which had to do with spontaneous action of what is being projected, along with the illumination and highlighting of the model’s face and/or body. But for this piece I took photos from the previous ones and then projected that on to my models. While doing so I had them either interact or react to themselves being projected which was then photographed.

Continue reading

Advanced Alt Workshop

bc2.jpg

Bob Carnie/ Gum Bichromate

December 27-30 2017

1840 Danforth Avenue, Toronto

This workshop is aimed at those people who have a desire to learn in a welcoming atmosphere how to make wonderful permanent prints and have:

-Taken a workshop with us before

-Can show that they exhibit the right knowledge base to not slow down the other printers.

The goal of this workshop will be to make a series of 15×20 prints on paper that are multiple layered images, Gum over Palladium, Duotone Gum, or Tri Tone Gum Bichromate. Your choice of process and look rather than teacher directed.

We will stay with this image size to maximize workflow for the course of four days. This size is a traditional aspect ratio for portfolio prints.

The hours of this workshop are from 8 am – 5 :30pm each day with group dinners considered after each long day.

Continue reading

Summer Gum Workshop!

img_2813

photo cred/Monica Glitz

When: July 22/23

Cost: $375 plus tax

Gum Bichromate is one of the simplest and cost effective ways of making permanent colour and black and white prints.

Spend two days in the darkroom with Bob playing with this unique process.

Using your supplied images, we will make printing negatives via inkjet materials and then spend the time coating and printing.

This is not a formal technical workshop, but rather a simple two days of getting a handle of one of our most beautiful printing processes. Gum Bichromate with pigment is one of the oldest photographic processes and with the advent of digital technology, we can make simple negatives that 20 years ago would be out of the reach for most photographers.

This workshop is not intended to create perfect colour density or portfolio work, but rather bring together photographers with a variety of background to play with pigments to create a smorgasbord of possibilities. This workshop is for beginner print makers, no prerequisite is required.

By being exposed to multiple prints and methods of combining colour and black white pigments, each participant can gage whether this is a viable process for their practice.

Contact Carissa to sign up

carissa@dylanellisgallery.ca

HMFA-Logo-horiz-claim-RGB.jpg