Find us on Facebook!

We crossed the digital divide last week and created the @MonalogCollective Facebook page.  Now you can keep track of news, events and members new work in real time. The Monalog Collective website will remain the destination for in-depth information on our group as well as hosting member bio pages and galleries. So, take a moment to visit the Collective’s home page and click the FB link at the bottom of the page, follow @MonalogCollective’ new page and see what our photographers are up to. One exciting bit of news we just announced is the publication of “Survivors”, Jim Fitzgerald’s handmade, fine press edition book of 8×10 carbon prints depicting Yosemite Nation Park’s black oaks. And keep watch for more new work from our members! https://www.facebook.com/MonalogCollective/

 

Michael Marks Inclusion in the 2020 Photo Review 36th Annual International Photography Competition Exhibition

Michael Marks had one of his photographs selected to be included in the 2020 Photo Review 36th Annual Photography Competition have been posted on the Photo Review website for a virtual exhibition.  You can see them here: https://www.photoreview.org.  The 2020 competition was juried by Kathy Ryan, Photo Editor, and Jessica Dimson, Deputy Director of Photography, of The New York Times Magazine.

Michael Marks Inclusion in the 2020 DaVinci Art Alliance Members Exhibition, Philadelphia, December 2nd – December 20th, 2020

Michael Marks will have one of his photographs, Our American Gothic exhibited at the 2020 Davinci Art Alliance Members Exhibition at the DVAA gallery in Philadelphia and virtually on line at https://davinciartalliance.org/light

There will be a virtual Public Opening Reception on Wednesday, December 2, 7-8pm at https://davinciartalliance.org/calendar/light-opening-reception

Jim Fitzgerald is a Featured Artist at Veritas Editions on Artsy, November 18 – December 22, 2020

Monalogue member and carbon transfer artist Jim Fitzgerald is happy to announce that he is the featured artist at the Veritas Editions site from November 18, 2020 to December 22, 2020 on Artsy.
Several of Jim’s carbon transfer prints are on display in this online gallery including his two hand made carbon transfer fine press edition books. All are available for sale.
Please spend a moment or two to travel into these beautiful prints as you view them. Jim is always available to answer any questions.

Workshops and Tutorials Offered By Monalog Member David Haas

Discover the ease, economy and joy of the silver process.  Individual tutorials and small group workshops are tailored for the beginner or those that want to take their skills to the next level.  Design your own workshop or leave it up to David based on your input.

From pin hole to large format cameras, in the filed, studio, or the darkroom, taught at your pace, on your time, weekdays or weekends. Pricing by the hour or the workshop – your choice!

David can provide room board at a very affordable rate for up to three in his comfortable five bedroom row home dedicated to all facets of the silver process, set in the heart of the Lehigh Valley. An environment rich in history, culture and natural beauty, offering a state of the art facility ideally suited for serious artistic endeavors with silver.

To learn more, contact David Haas at:

Carbon Transfer Printing – How It’s Done

Over the years I’ve been asked how I make my carbon prints. The key to carbon printing is patience! There are many steps one must do before you even make a print. It take a lot of time to understand the variables in play with this process and finding the “balance” as I like to call it is the key to success. I have developed my techniques over the years to allow me to print almost any negative. Once you understand how to use the controls it is amazing what you can do. I teach this process at my home studio in Vancouver Washington. When we get the Covid monster under control I hope to continue teaching as it gives me great joy to pass along what I know to others. The following is just a bit of what you need to do.

Trying to simplify this complex process is not easy but I will try. First one must have a negative to print in contact with a pigmented gelatin substrate. Mine are 8×10, 8×20, 11×14 and 14×17 negatives.

I manufacture what is called tissue” which is a substrate coated with a pigmented gelatin. This process takes an entire day. Once dry, generally 4-5 days of curing is needed, the pigmented tissue is coated with a light sensitive liquid, Ammonium Dichromate. This is allowed to dry for 3 hours.

A negative is placed in contact with the pigmented tissue and exposed to ultra violet light. I use a graphic arts plate burner. The negative is then separated from the tissue and the tissue is brought into contact with a final support medium under water in a cold-water transfer bath. This sandwich is then squeegeed together on glass then covered and weighted and allowed to mate” for a half of an hour.

Developing the image is done in a tray of warm water. Once the tissue is softened it is removed from the final support and the image is developed in the warm water to completion.

Each handmade print is unique unto itself and no two are identical. Some may exhibit a beautiful “relief” visible texture and some a subtle relief. Many variables come into play and some of them can cause failure. Still carbon transfer prints are considered to be some of the finest and most archival prints any collector can own. It is considered the Process of Royalty.”

Jim Fitzgerald

My Journey to Carbon Transfer Printing

So how does one decide to go back to 1864 and learn an obscure (at the time) hand made printing process that so few photographers practice?

I have always been a person who is curious. As a large and ultra large format photographer and camera builder (that is a whole story in itself) I decided that contact printing was the way to go for my work. I printed silver gelatin and silver chloride with Azo for years and when I built my first camera, my 8×20, my friends said I was now a Platinum printer! Hell I had two of my sons at the finest universities in California. Stanford and USC are not cheap and there was no way in hell I had money left to by “noble metals.”

I was reading some posts on the large format forum, image posts I think, and I happened on an image that just floored me. It was a carbon transfer print. Knowing that Google is your friend I found everything I could read about the process. It wasn’t until I met Vaughn Hutchins, the one who posted the image, that my life changed forever.

I sent a message to Vaughn and told him I’d love to see a carbon print. He was in a show in Yosemite called “The Yosemite Renaissance” and we decided to meet. I will never forget sitting on the steps of the Ansel Adams gallery next to Vaughn as he showed me print after print. I was speechless.  I think he asked if I was okay? I told him that the images he showed me were the type of images I had seen in my mind for a long long time. It was how I had to present my work. At that moment, my life was changed. I was a carbon printer. That was thirteen years ago and I have done nothing but print carbon ever since.

I owe a lot to my good friend Vaughn Hutchins for his inspiration, friendship and love of traditional carbon printing from our film negatives.

I now co-instruct the carbon workshop with Vaughn at the Ansel Adams Gallery through their workshop programs. I have come full circle and I am fortunate to have found my true voice for my work through carbon printing. The process is not for the faint at heart, for it is very time consuming but so so rewarding. My journey is still evolving and it is so much fun!

Jim Fitzgerald

University of Texas, Austin Briscoe Center for American History to Acquire Archives of Ed Eckstein

Monalog is thrilled to report that the Briscoe Center for American History will acquire the archives of Monalog member Ed Eckstein for its collection of contemporary American photojournalism.  Included will be thousands of images that Eckstein has captured throughout a career that has spanned the past 50 years.  Eckstein has worked extensively documenting civil rights, Native Americans, healthcare, and religion as well as everyday life.  His work captures life from the mid-20th Century to the present.

The Briscoe Center for American History resides at the University of Texas, Austin.  It holds the largest collection of images by contemporary photojournalists in the world.

Postponed: Inaugural Monalog Collective Photographers Outing

Due to the continued danger posed by Covid-19 our members have determined it necessary to postpone our Inaugural Monalog Collective Photographers Outing that was to be held on September 10th – 12th until sometime in 2021 when it is safe for all of us to get together.  As much as we were looking forward to this event and the opportunity to make new friends, the recent uptick in Covid-19 cases makes postponement the responsible thing to do.

As soon as the health situation becomes clearer we will determine a date to reschedule this event, but in the meantime we hope you will continue to visit us here and stay in contact. Even though we are postponing the outing, we have met some wonderful photographers, some who are now members of Monalog!

For those interested in learning more about our collective please contact us and let’s talk about what we love so much!

Stay safe and best wishes.

For more information contact Michael Marks at:

info@monalogcollective.com or 215-348-9171

Call for Work – Lightbox Photographic Gallery

Carbon Transfer artist and Monalog member Jim Fitzgerald will be a juror for “Altered Reality”, a show to be held at the Lightbox Photographic Gallery from September 12th through October 7th, 2020. The gallery is located in Astoria, OR.

“Within the Historical Process Photographic Community there is a spirit of positive reaction when facing uncertainty. Experimentation with new ideas and the perfection of old formulas are part of the photographic process. Have you been affected by the new world disorder? How do we know the Real from an Altered Reality? Your work inspires us. Please share your creative mind and processes.

Thank you Diana H. Bloomfield, Karen Hymer and Jim Fitzgerald for Jurying this years Historical Process Photographic Exhibit for Lightbox Photographic Gallery. Our panel of Jurors have all been affected by the events of 2020 and all excel with the experimentation and perfection of their process. Each is inspired by individual creativity as they are practicing artists in their own right, we are sure you may know of them all. Please share your thoughts, feelings, emotions, your work with them.

With this exhibit we wish to expose the viewers to work created with a variety of Historical photographic processes. Processes including Platinum/Palladium, Cyanotype, Vandyke, Daguerreotype, Saltprint, Wet Plate Collodion, Dryplate , Ambrotype, Kallitype, Calotype, Gum Bichromate, Carbon Transfer, Photogravure, Lith, Albumen prints are desired, to name a few. Darkroom Silver Gelatin and C-prints are considered alternative process for this exhibit. Original works done in an alternative process are required for the exhibit. No digital reproductions of original work will be exhibited. In “Altered Reality” we would like to see visionary contemporary use of Historical processes. We are looking to present the finest works, considering technique, originality and creativity, from photographers using Alternative Historical Processes.”

Deadline for submissions of work is August 10th 2020.

For more information visit http://lightbox-photographic.com/call-for-entries/altered_reality