This workshop is presented in conjunction with exhibition Formulation of Time – Photography by Phyllis Schwartz, Edward Peck, Desiree Patterson and Sand Wan, which is on view from April 6 – 30, 2019 Monday – Friday 10am-5pm weekends by appointment. Her photography has been exhibited and published across Canada and internationally her works are in both public and private collections. She uses photography to investigate and record what eludes the eye. As a visual artist, she seeks detail, texture, and poetic elements. She was the recipient of the Canon Photography Award.
Her work at Emily Carr University consolidated these interests with a concentration in photography.
Phyllis Schwartz is a multi-disciplinary artist who works in photography, ceramics and publishing based in Vancouver, Canada. Lumen Prints are both photographic and x-ray like, producing both documentation of nature and artistic renderings of botanical specimens. Schwartz rediscovered this process while studying the Victorian botanists who sought a method of documenting their fieldwork. The workshop extends the concept of analogue photography as the pencil of nature. Phyllis Schwartz explains, “In this hands-on workshop, participants will make photograms of plant materials, and discover how they leave marks and traces on photosensitive paper the work will look like colourful x-rays.” There will be an opportunity to participate in the entire process beginning with gathering materials, composing two images and developing two prints (8 x 10 inches). So if your experience with botany is limited to a gin and tonic, then why not try making a lumen print Select a plant specimen. In this workshop, the lumenprint (photograms made without a camera) image making process will be explained and demonstrated. The appeal of lumen prints rests in the way they capture nature’s fleeting beauty its vulnerability, strength, form, color, and physicality. The exhibition and workshop are participating in the 2019 Capture Photography Festival and supported by London Drugs Printing Grant.
#Lumen prints registration#
3 Road, Richmond, BC V6X2C3 (604) 285-9975 Saturday April 13th, 2019 11am – 3pm (break for lunch 12-1pm) Admission: $15/person/two prints Registration is required. Photography without Cameras Lumen Printing Workshop by Phyllis Schwartz at Lipont Place 4211 No. The exhibition and workshop are participating in the 2019 Capture Photography Festival and supported by… LIPONT PLACE - 4211 NO.3 ROAD, RICHMOND, BC LIPONT PLACE DD/MM/YYYY aJpZteKcUzmrvhxzDmrM23513 $ Buy Buy Tickets Ages LIPONT PLACE - 4211 NO.3 ROAD, RICHMOND, BC View Map Whenġ3-04-2019 11:00 13-04-2019 15:00 America/Toronto Photography without Cameras – Lumen Printing Workshop by Phyllis Schwartz Normal darkroom printing, can be combined with lumen….to achieve interesting combinations of B&W with colours of lumen, on the same paper*.Photography without Cameras – Lumen Printing Workshop by Phyllis Schwartz Event Ended Where If the photographic paper is ‘painted’ with fixer, prior to exposure to the sun, you can achieve a ‘liquid emulsion’ look to your lumen print*. Prior to ‘fixing’ a print, one can ‘paint’ an image with normal print ‘developer’ to create local detail in the print. Extreme over-exposure to ultra-violet light can produce surprising colours from normal black and white photographic enlarging papers! Botanical specimens generally work best, because the plant juices can locally dye the paper, and induce formation of umbra. The finished image does not require ‘development’.*** It is simply ‘fixed’ in photographic fixer chemistry and may be toned. An ultra-violet light box can also be used for exposure.
#Lumen prints full#
In this case regular (light sensitive) photographic enlarging paper is sandwiched in contact with objects, and exposed in full sun for a length of time (usually 20 min. Is a contact printing process that can make use of aged and badly fogged silver gelatin photographic papers***. Purchase my own Lumen process book through Blurb! Lumen Printing *** Am honoured to have my Lumen work featured over 7 pages in “The Experimental Darkroom – contemporary uses of traditional black & white photographic materials” by Christina Z.
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