I first taught how to make carbon tissues and transfer pigment prints printing back when I was at George School in 1996. Imagine high school students making carbon prints! When these kids went to college and said they made carbon prints, their teachers didn’t believe them. A lot of these old processes are made out to be much more difficult than they are. In reality, it’s usually the negatives that give people the most trouble. It’s amazing to me how many experienced photographers can’t tell the difference between an over exposed and an over developed negative. Well, that’s the sort of thing I still teach when it comes to learning a printing process.
Thomas Annan, Close No. 28 Saltmarket, 1868 -1877, Carbon Print
We have a few spaces left for our upcoming carbon printing workshop April 11-14th and if the response from our last workshop [collodion chloride printing out emulsion] is any indication…we’re still giving the public something they can’t get anywhere else. I chose vintage carbon prints for the workshop from the photography archives last week and the work is breathtaking. Selections include original early carbon prints by Thomas Annan and the work of pictorialists Paul Lewis Anderson and Edward Steichen.
With four full days, the workshop will proceed at a leisurely pace. I am really looking forward to getting to know the interesting mix of art photographers, teachers, photo historians and the visually curious our workshops always attract.
Mark Osterman is the Process Historian in the Kay R. Whitmore Conservation Center at George Eastman House. Best known for his depth of knowledge in the area of collodion photography, Osterman is also internationally recognized for his research and teaching of photographic processes from Niepce heliographs to gelatin emulsions. Osterman's curriculum, once reserved for the international conservation community, is now available to the public through a series of hands-on workshops at Eastman House and other venues in the U.S. and abroad.