Workshops & Teaching:
Alternative Print, Camera-less, Alternative Photography & Artist Books
As well as her independent practice, Eileen also works within Arts education, as a freelance educator and lecturer working with Museums, galleries, organisations and institutions. She designs bespoke workshops to run alongside exhibition programmes and educational curriculums.
Eileen has worked with Schools, FE & HE, Young Audience and CPD programmes designing, curating and facilitating bespoke sessions. She runs regular workshops for adults and specialises in creating and facilitating individual projects from KS1-5 to Degree and Masters level.
All workshops listed below are tailored for your specific requirements and are suitable for a range of ages, without requiring any previous experience. Workshops can range from all day classes ranging over one or two days, to drop-in short sessions. Whatever type of workshop you choose (apart from Anthotypes), will always result in finished prints/books to be taken away. Many of these processes are non toxic and are safe to use for most students. Some classes offer plant based alternatives to commercial darkroom chemicals.
Please get in touch for more information. Scroll down for examples
Eileen White
instagram.com/eileenwhiteart
www.eileenwhite.co.uk
[email protected]
Member of London Alternative Photography Collective @londnaltphoto, The Sustainable Darkroom @sustainabledarkroom and KilnPhotoworks @kilnphoto
Alternative Print, Camera-less, Alternative Photography & Artist Books
As well as her independent practice, Eileen also works within Arts education, as a freelance educator and lecturer working with Museums, galleries, organisations and institutions. She designs bespoke workshops to run alongside exhibition programmes and educational curriculums.
Eileen has worked with Schools, FE & HE, Young Audience and CPD programmes designing, curating and facilitating bespoke sessions. She runs regular workshops for adults and specialises in creating and facilitating individual projects from KS1-5 to Degree and Masters level.
All workshops listed below are tailored for your specific requirements and are suitable for a range of ages, without requiring any previous experience. Workshops can range from all day classes ranging over one or two days, to drop-in short sessions. Whatever type of workshop you choose (apart from Anthotypes), will always result in finished prints/books to be taken away. Many of these processes are non toxic and are safe to use for most students. Some classes offer plant based alternatives to commercial darkroom chemicals.
Please get in touch for more information. Scroll down for examples
Eileen White
instagram.com/eileenwhiteart
www.eileenwhite.co.uk
[email protected]
Member of London Alternative Photography Collective @londnaltphoto, The Sustainable Darkroom @sustainabledarkroom and KilnPhotoworks @kilnphoto
Cyanotype Printing.
The Cyanotype is a camera-less photographic printing process twhen it was invented by the astronomer Sir John Herschel in 1842 . It’s low toxicity means it is a very safe and easy process to use for all types of groups and ages of students. It produces a beautiful cyan-blue print. It does not use commercially produced photographic paper, but other materials such as paper, fabric, wood or cardboard, which can be coated with a light sensitive cyanotype solution and dried in a darkened space. Once dry, the material is layered with objects or large format negatives such as acetate prints and exposed to a source of ultraviolet light (either the sun or a UV exposure unit).
Exposure time will vary depending on the strength of the UV light and can be anywhere from 2 minutes to a few hours. Once thoroughly washed in water, areas of the material that have been touched by light, remain blue, while any areas that were hidden from UV light source will become white.
During an extended workshop, cyanotypes can be toned using a range of household substances to produce a variety of shades and hues.
(Image: Anna Atkins)
Cyanotype Printing.
The Cyanotype is a camera-less photographic printing process twhen it was invented by the astronomer Sir John Herschel in 1842 . It’s low toxicity means it is a very safe and easy process to use for all types of groups and ages of students. It produces a beautiful cyan-blue print. It does not use commercially produced photographic paper, but other materials such as paper, fabric, wood or cardboard, which can be coated with a light sensitive cyanotype solution and dried in a darkened space. Once dry, the material is layered with objects or large format negatives such as acetate prints and exposed to a source of ultraviolet light (either the sun or a UV exposure unit).
Exposure time will vary depending on the strength of the UV light and can be anywhere from 2 minutes to a few hours. Once thoroughly washed in water, areas of the material that have been touched by light, remain blue, while any areas that were hidden from UV light source will become white.
During an extended workshop, cyanotypes can be toned using a range of household substances to produce a variety of shades and hues.
(Image: Anna Atkins)
Anthotypes
An Anthotype is a cameraless photographic printing process that uses photosensitive pigments made from plants.
Each plant will produce a different coloured pigment and will have a different exposure time.
Light sensitive plant materials; petals and leaves, are collected, ground down and mixed with distilled water or denatured alcohol
o make a pigment. This pigment is applied to paper or another dye absorbing material and left to dry in a darkened area.
Once dry, the material is layered with objects or large format negatives and exposed to the sun.
(image: Nettie Edwards)
Photograms
A Photogram is a cameraless photographic printing process produced in the darkroom. It requires a light source for exposure- this could be an enlarger, torch, match, lamp or phone -and light sensitive photographic paper.
Objects, materials or digital negatives are placed onto the light sensitive photographic paper and exposed to a light source. Different light sources will produce different shadows, contrasts and effects.
Once the exposure is made, the paper
is developed as a traditional photographic print and will display a negative image of the objects and materials that were placed on the paper. Objects with translucent
or transparent properties can achieve particularly interesting results.
During an extended workshop, prints can be reversed to produce both a negative and positive print.
Workshops can range from 1-hour sessions to 1 or 2 day classes and will result in finished prints and cameras to be taken away.
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Pinhole Cameras
A pinhole camera is a basic camera made without a lens. It uses a pinhole as an aperture to let the light in. They can be easily made from old boxes, tines or household containers.
Once the camera has been constructed, light sensitive photographic paper is loaded into the camera in the darkroom and sealed up. Participants can try using normal photogaphic paper to produce a negative image and/or direct positive paper, to create a positive image. Exposure times will be calculated according to the strength of light and size of pinhole.
Once the exposure has been made, the paper is removed in the darkroom and developed as a traditional photographic print. Additions to this can include making a solar graph, whereby a pinhole camera is made, loaded with paper and left in situ for long periods of time to capture the arc of the sun.
Workshops can range from drop-in 20 min sessions to 1 day classes and will result in finished prints to be taken away. (Image: Eileen White)
A pinhole camera is a basic camera made without a lens. It uses a pinhole as an aperture to let the light in. They can be easily made from old boxes, tines or household containers.
Once the camera has been constructed, light sensitive photographic paper is loaded into the camera in the darkroom and sealed up. Participants can try using normal photogaphic paper to produce a negative image and/or direct positive paper, to create a positive image. Exposure times will be calculated according to the strength of light and size of pinhole.
Once the exposure has been made, the paper is removed in the darkroom and developed as a traditional photographic print. Additions to this can include making a solar graph, whereby a pinhole camera is made, loaded with paper and left in situ for long periods of time to capture the arc of the sun.
Workshops can range from drop-in 20 min sessions to 1 day classes and will result in finished prints to be taken away. (Image: Eileen White)
Lumen printing
Lumen printing is another camera-less photographic printing process, using any new, old, out of date or fogged photographic paper.
One of the most effective ways of producing some incredible results are collecting plant matter and using these for the workshop.
These are placed onto the photographic paper and weighted down inside a frame and exposed to a source of ultraviolet light
(either the sun or a UV exposure unit). Exposure time will vary depending on the strength of the UV light
and can be anywhere from 10 minuets to 2 hours.
The paper can be fixed using a fixer to make them permanent or left to gradually fade over a period of time.
Colours usually change during the fixing process, so if a scanner is available,
work can be scanned beforehand.
(Image: Eileen White)
Chemigrams
A Chemigram is a camera-less photographic printing process that uses any old, out of date or fogged photographic paper along with photographic chemicals or plant based alternatives alongside common house hold substances.
Chemicals and substances are applied to the surface of the photographic paper; acting as a resist. The resist holds back the chemicals from the surface of the photographic paper and prevent selected areas from developing or fixing. This allows patters and images to form according to the rate that the resist is removed by the photographic chemical. Using other household chemicals an array of colours can be achieved from normal black and white photographic paper.
During an extended workshop, prints can be left flat for chemicals to crystallise on the surface, producing a more textured and fragile print.
(Image: Pierre Cordier)
Phytograms
This type of photographic print is created by using the internal chemistry of plants, creating visible chemical traces and marks on photographic emulsion. This process works both with photographic paper and film, making it possible to create either still or moving images.
This type of photographic print is created by using the internal chemistry of plants, creating visible chemical traces and marks on photographic emulsion. This process works both with photographic paper and film, making it possible to create either still or moving images.
Flower Printing.
Flower pounding is natural printing process that uses fresh flowers
and leaves. Materials and specimens are collected and picked for the workshop. These fresh plant materials are placed between a piece of cloth and watercolour paper and, using a hammer or smooth stone
they are pummelled to release the natural pigments. This results in dye staining both the paper and the fabric, to leaving behind a natural print.
Natural Pigment Making
Workshops can range from 1-hour sessions to 1 day classes and will result in colour samples and charts to be taken away.
This workshop uses a wide range of plant and vegetable materials to create your own natural pigments. These colours can then be altered and adapted to create different hues and tones by adding common household ingredients.
Once a range of dyes have been produced, there is the option of dying natural fibres ranging from silk, cotton, linen, wool and paper and also produce an annotated colour chart, detailing the ingredients used for each colour, so that they can be replicated at home.
(Image: Eileen White)
Plant Based Developers for Film and Paper
This workshop will show you how to collect and make your own plant based developer recipe, Gathered plant material is cut and either steeped the day before or boiled in class before adding household substances to make the developer. Students will either shoot a roll of film and then be taken through the steps of making the developer and developing their film. No darkroom is required, just Patterson tanks and black chaining bags. If producing paper prints then previously developed negatives are required and a darkroom. Again students will be guided through gathering plant materials and making their own developer. Each session lasts 3 hours.
(Image: Eileen White)
Artists Books
Each workshop can be especially tailored to a project, for example a portfolio housing, hand made sketchbook, container for a walk, field studies etc.
There are many different structures and bindings that can be made simply or modified for your individual project. Examples include: Different types of folding,
simply glued or stitched, scrolls and accordions, movable books, envelopes or boxes and slipcases.
(Image: Eileen White)