Digital Negatives for Alternative Processes

Create enlarged negatives from film or digital capture, and head to the darkroom.


© Alan VlachRecent technological advances have not only expanded the capture and print process in the digital darkroom, but also expanded the printmaking possibilities in the traditional wet and alternative process darkrooms. The developments are groundbreaking. There is no such thing as an impossible negative, as photographers have complete control with Photoshop to produce any necessary adjustments for a variety of print processes. With the current cost and scarcity of many film types, the advent of digital negatives has not only made negative sizes flexible,  but has given some reassurance for the future of silver printing and alternative processes.


Designed for any photographer wanting to make enlarged negatives for either film or digital capture, this workshop teaches a technique using the Quadtone RIP which controls the ink limits used when printing. Utilizing Photoshop, students create the image as conceptualized and increase its versatility by printing using QTR profiles targeted to a particular process whether it be Sliver, Platinum/Palladium, Kallitype or Cyanotype (just to name a few). Students learn the calibration techniques for determining these profiles, then use them to print images in a few selected processes. In addition to files and prints made throughout the week, participants leave with skills, software, and products to take home and apply to their own workflow.


Testimonial:

"The energy once you walk on campus is palatable! You cannot leave the workshops without growing and becoming a better artist"

 

Instructors

Alan Vlach

© Keri WhersAlan Vlach is a fine art photographer with a deep commitment to the traditional darkroom while fully embracing new technologies. He works extensively with digital enlarged negatives and historical processes as well as digital printmaking.

In 2004 – 2005 he attended the Certificate Program at Rockport College. In 2006 he began capturing images digitally, working in Photoshop to create enlarged negatives and positives for use in historical processes including platinum/palladium, kallitype, salted paper, cyanotype and, most recently, photopolymer gravure.

He has been teaching at the Maine Media Workshops since September 2007.

His most recent work is part of the Portland Museum of Art exhibition: “Between Past and Present: The Winslow Homer Studio Project”.

Alan resides in Trenton and Portland, Maine.