CARBON TRANSFER WORKSHOPS

WHO

Just you. These workshops are individual so we can adjust the speed and what we cover to meet your interests. Since there is so much information to cover about advanced carbon practices, it is recommended that workshop attendees have some experience printing in carbon or have an extensive background in alternative processes.

WHAT

A 5 day workshop ending in you being able to make multilayer double transfer carbon prints, and understanding important concepts about that process that will allow you to create your own methods to suit your own needs.

WHERE

In the Wet Print Studio in beautiful Valencia, Spain.

WHEN

Limit is one workshop per month. Contact me for availability.

WHY

Understanding how the carbon process works will save you thousands of hours in failed attempts and allow you to make wise investments in equipment and materials. I’ll also give you all the carbon recipes I use, Photoshop curves, and samples of materials, so you can make prints with minimal effort. You will also walk away with two perfect 11x14” carbon prints.

 

BASIC OUTLINE FOR THE WORKSHOP

Day 1- Make a multilayer double transfer print together

Day 2- Prepare luster and matte paper

               Prepare temporary support

               Prepare tissue

Day 3- Learn to make and calibrate tonal separations

Day 4- You’re turn to make a print from start to finish

Day 5- Package prints for safe travels

              Package samples for you to reverse engineer and test

              Go over theory and do some experiments

              Review notes

 

TOPICS TO COVER

Some topics we will definitely get to, others we probably won’t have time for. Since the workshop is individual we can spend as much or as little time on anything you want, including any topics omitted from this list.

 

DAS instead of Dichromates: Looking at problems and solutions to staining, microbubbles, self masking, heat degradation, and cyrstalization.

Digital Inkjet Negatives: Making custom qtr curves, ink choices and the importance of a hard dot vs continous tone.

Imagesetter and Photoplotter Negatives: Why you should be using imagesetter instead of inkjet negatives. Design issues when making tissue for use with imagesetter negatives.

Pigments: Good and poor choices and how we can use different types to effect the final image.

Sizing Paper for Single and Double Transfer: Various sizing methods: comb, rod, roller, tray. Additives and how to make perfectly matte paper. Hardening for single transfer

Toning Prints: How to soft proof a tone then replicate it exactly in your print.

Tonal Separations: Why I do it the way I do.

Single Transfer Prints: If you don’t have any experience in carbon we can go over this in a morning.

Dark Effect: Why it happens and how to prevent it- importance of humidity, temperature, time, and ph.

Double Transfer and Multilayer Prints: Registration, reticulation, moisture control, mating, tissue design, etc...

Making Tissue: Recipes, tricks, and an overview of additives such as surfactants, antifoaming agents, alcohol, fungicide, humectants and matting agents.

Miscellaneous: Triple and quadruple transfers, exotic papers, metallic pigments, multiple double or single transfers to a single paper sheet, registration for carbon over platinum, and other weird stuff I might be trying at the moment.

Gloss Layer: How to add depth to the darks in your print when working on matte paper, or selectively control gloss in parts of a print.

Achieving good Density: Pigment choice, self masking, sensitizer, light source, max exposure time, perception of black.

How to Make CMYK Prints: How to design the tissue, make separations, and calibrate.

Color Theory and Color Pigments: Metamers, icc profiles, color space geometry, colormaking attributes, lightfastness, and a thousand other concepts that will help you make color carbon prints.

Quad Tone Rip: How to export/import curves, set ink density, choose correct inks for separations, calibrate, masking curve,  and custom ink sets. 

Highlights: Why do highlights wash away, and how we can prevent it from happening. You should be able to easily reproduce 1-5% gray without any visible grain or defects.

 

BY THE END OF THE WORKSHOP...

you'll understand what causes, and how to fix: frilling, blown out highlights, microbubbles, staining, misregistration, calibration errors, shiny specks, and many other problems that have simple solutions. This will allow you to focus on the artistic side of printing.

 

The cost for the workshop is 850 euros before tax.  

 

WANT TO LEARN MORE?

I'll be happy to answer any questions you have.

REVIEWS

KANE STEWART

I recently took The Wet Print’s one-on-one workshop on making multilayer, carbon transfer prints and could not be happier with the experience! The five-day workshop was organized, professional, and nicely paced so as to make each step in the process manageable. Calvin’s clear and concise instruction helped me understand each variable in the process by using a mix of demonstration, experimentation, and discussion. He has a solid grasp of the carbon transfer process. His focused and interactive style of teaching tailor-made the experience to fit my goals and dovetail nicely into my photographic printmaking experience. After the five-day workshop, I felt confident and eager to put into practice what I had learned—and left with two outstanding carbon prints. I highly recommend this workshop for anyone desiring to learn one of the most beautiful photographic printing processes there are.  

 

PILAR RUBI

The workshop with Calvin was more than I had imagined. They were intense days of work with a perfectionist. I learned everything about carbon printing, which I'll now be able to practice in Habana, Cuba. I am a wet plate collodion photographer as well, a technique which goes well with carbon. Not to be missed by whoever wants to get into this fabulous process!

 

 

 

ROBERTO ALGUILAR

I have been a photographer for the better part of my life.  I come from a film background and ran a black and white lab at a prestigious university in Paris.  Nothing can compare to the quality of what Calvin teaches.  This was an intense week for me with tons of information.  Although I took lots and lots of notes, anything I would have missedCalvin was more than happy to send to me after the workshop was over. He is one of the most knowledgeable printers I have ever met.  Calvin is so passionate that he reminded me of a mad scientist.  I cannot recommend this workshop enough.  It has opened my eyes to some of the most beautiful prints I have ever seen.