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FR  | LABORATORY & WORKSHOP    |    PLATINUM-PALLADIUM    |    LARGE FORMAT    |    PRINTING    |    TOOLS    |    TRAINING COURSES contactfacebookinstagram
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Training courses
   
The content and duration of the courses are adapted for the needs of each participant. Training courses and apprenticeships are for photographers, visual artists...
  The workshop regularly runs courses for the introduction or learning of the printing techniques.
The content and duration of the courses are adapted for each participant. The courses are for photographers, visual artists, etc... who can benefit from a professional training. They are also for amateurs who wish to develop their printing skills for their artistic projects.

The workshop equally teaches courses in schools, high schools, secondary schools, etc... generally with the collaboration of art centers.

 
Stage Argyrotype pour le Sept Off de Nice et la Ville de Vence   Clarification d’un tirage platine-palladium
Argyrotype apprenticeship for Sept Off in Nice and for the town of Vence
 
Clarification of a platinum-palladium print
Laurent Lafolie
Platinum-palladium
 
Over the past few years, the platinum-palladium process has become popular, especially with the appearance of computer tools.

Préparation de la chimie - Formation avec Mikhail Cherkassov
Preparation of the chemicals
 
Préparation de la solution sensible   Repique d’un tirage palladium - Formation avec Oliver Gachen
Preparation of the sensitive solution
 
Retouching of a palladium print
 
Sensibilisation d'une feuille de papier Arches Platine 56x76 cm 145g
Sensitization of a sheet of Arches Platine paper, 145g, 56x76cm
  Over the past few years, the platinum-palladium process has become  popular, especially with the appearance of computer tools. Combined with the latter, prints of an unprecedented precision can be made with this process. Furthermore, the platinum-palladium process involves a manual production process. It thereby enables experimentation, research and creation for photographers who consider their prints more as photographic objects rather than simple mediums for their pictures. Artists, professional photographers and rigorous amateurs can successfully experiment with the platinum-palladium process.

PLATINUM-PALLADIUM
Invented in 1873 by William Willis (GB, 1841-1923), the platinum-palladium process is a contact printing process with distinct visual and tactile qualities. A platinum-palladium print’s look and the touch are similar to an engraving’s. The image’s slightly warm, fine, subtle and mat rendering gives it a unique and timeless character. Indeed, the image is actually embedded in the paper’s fibers. The papers adapted for the process are composed of natural fibers (linen, cotton, mulberry, etc...), with no colorants or additives. In terms of sustainability, the platinum-palladium process is the most stable photographic printing process currently available. A picture printed with the platinum-palladium process lasts just as long as the paper it’s printed on. It’s important to note that platinum-palladium prints are very often valued by museums, galleries and collectors.

AIM
The course is designed to introduce and teach the platinum-palladium contact printing technique to one or two people. The aim is to make the best use of the allocated time so each person may produce his or her own prints at the outcome of the course.

COURSE CONTENT

The training is adapted to the needs of the trainees. It’s the opportunity to acquire or broaden one’s knowledge of the process and its practice. All of the stages of the platinum-palladium process are taught and practiced: the creation of the inkjet negative transparency, the preparation of chemicals and the creation of the prints.

1/ Theoretical presentation of the process and of exhibition prints

2/ List of material, consumables and suppliers


3/ Creation of inkjet digital negative from films digitized at the workshop or from digital files*:
- Preparation and interpretation of digital files on a retouch software
- High-definition inkjet print on negative transparency

4/ Implementation:
- Preparing the sensitizer
- Preparation of chemicals
- Choice of paper

5/ Practice:
- Coating of sensitive solution
- Ultraviolet exposure
- Processing, clarification, washing - Retouch, finish**

* The trainees should preferably bring their own negatives or digital files
** The trainees may keep their negative transparencies and prints at the end of the course

This training course takes place over 2 to 5 days.

MATERIAL
Computer equipment
- Mac Pro and Eizo CG 31" and 24'' monitors
- Creo IQSmart3 and Epson V700 scanners
- Canon large format color printer and Epson/Piezography® large format black and white printer

Printing
- Fully-equipped laboratory
- Drying and humidification chambers
- Vacuum UV exposure unit
- Vertical print washer with water pressure
- Finish: vacuum hot press, electric paper cutter, etc...

Laurent Lafolie
Argyrotype and cyanotype
   
 
Argyrotypes and cyanotypes are contact printing processes that were invented at the beginnings of photography and updated in 1990 by chemist and photographer Mike Ware.

Argyrotype sur papier coton - Stage pour Le Point du Jour   Cyanotype sur papier coton - Formation avec Sandrine Marc
Argyrotype 20x25 cm sur papier coton
Stage pour Le Point du Jour et avec Le Lycée Millet
 
Cyanotype sur papier coton
  Photographie Sandrine Marc
  Just like platinum-palladium prints, argyrotype and cyanotype prints become one with the paper. Indeed, the image is embedded in the paper’s fibers whereas in other printing techniques, the image is on the paper’s surface. The particularity of the cyanotype process is that it produces Prussian Blue (blue-cyan) prints whereas the images obtained through the argyrotype process are brown in color.

METHOD
Since the implementation of these crafted processes is simple and inexpensive, everyone can try them out.
A photographic negative is applied to a sheet of paper* that has been sensitized with a paintbrush beforehand. Both the negative and the sheet of paper are exposed for several minutes to sunlight or to UV in an exposure unit. The image then appears. Finally, the development and washing of the print is carried out in several trays filled with water (plus a fixing bath in the case of the argyrotype process).

This training course runs over 1 to 5 days. It can be combined with the platinum-palladium training course.

* Other papers that are more porous may be used for these processes, especially for the creation of photograms.

CONTENT OF COURSES

1/ Theoretical presentation of the process

2/ Choice of paper (or of the material)

3/ Practice of the process:
- Application of the sensitive solution coating with a brush - Exposure to sunlight or to UV
- Processing, washing and drying

Laurent Lafolie
Interpretation and printing    
 
The processing and the interpretation of an image, the printing and the choice of printing material are per se an integral part of an artistic approach.

Impression d’un tirage 50x75 cm sur papier coton - Formation avec Isabelle Souriment
Impression d’un tirage 50x75 cm sur papier coton
  Even if this process is linked with the photographer’s sensibility, approach and experience, it also relates to tools or to techniques that have to be assimilated.

AIM
Through the creation of a black and white and a color photo print project, the training consists of learning the inkjet printing process on Japanese or Western papers.

This training course runs over 1 to 5 days.

COURSE CONTENT
All the stages from digital acquisition to finish are taught (the content of the course is adapted to the trainee’s needs):
- High-definition digitization of negatives or opaque documents up to A3+ format
- Paper/printer characterization and screen calibration with a spectrophotometer
- Interpretation and image processing on Photoshop CC: Preparation of digital files, adjustment of white and black levels, interpretation of the images with curves and masks, printing configuration, etc...
- Choice of paper: Japanese paper (Awagami) and/or Western paper (Hahnemühle, Canson, etc...)
- Printing: BW Piezography® on Epson 9880 large format printer and/or color pigment prints on Canon IPF8400 large format printer
- Finish, presentation (exhibition prints, creation of a portfolio, etc...)

MATERIAL
- Mac Pro and Eizo CG 31" and 24'' monitors
- X-Rite i1 Photo Pro 2 spectrophotometer
- Creo IQSmart3 and Epson V700 scanners
- Epson 9880 Piezography® black and white inkjet large format printer
- Canon IPF8400 color pigment inkjet large format printer

 
Laurent Lafolie - Photography laboratory and imaging workshop

12, rue Orbe
64270 Salies-de-Béarn - France


C +33 (0)6 32 22 51 11 - T +33 (0)5 59 38 99 60
email : lafolie.laurent@orange.fr
Laurent Lafolie
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