New Digilogue printing service at DNDR

We are pleased to announce a new fine art black and white wet (darkroom) print service for
digital photographers at DNDR. We’re calling it Digilogue* printing.

Double Negative Dark Room has, since its inception, been at the forefront of the analogue and hand process revival.

We were the first London teaching space to offer regular wet plate collodion workshops and we’re proud to be one of the first labs to be offering not just the quality and feel of silver gelatin fine art print but actually a silver gelatin print for digital photographers.

Whether you shoot with an HD DSLR or an iphone, we strongly believe that the best quality monochrome print can only be achieved with a wet darkroom print.

We believe a silver gelatin darkroom print gives you the deepest blacks, the best tonal ranges and optimum, proven archival stability. We believe the only rival for a high end silver gelatin fine art print is a professional platinum print.

This is how we do it;

We transfer your high res digital image (from any source material – so you can also reneg old or hard to print negatives) onto fine grain film Using our new CCG PCR4 film writer. We can make a general purpose negative or further calibrate it for printing technique or paper type.

This gives you the possibility of firstly:

• A fine grain, archivally stable 35mm silver negative of your image. This is for your image archive, future prints or a last resort back-up.
You may also choose to take up the option of a comprehensive analogue archive for your entire archive or your most important images. The analogue archive offers the digital photographer the security and stability of a medium proven to be archivally stable for 150 years as well as the peace of mind that their image data will always remain in a format that can be read or printed.

And secondly;

• A print or edition of hand-made wet darkroom prints. We can work with any silver technique. Fine art darkroom printing is always a collaborative act between photographer and printer. Together they should decide upon paper type, toning and printing technique. with Digilogue negatives we can fine tune the negative to work with any paper type or technique. This may be multigrade or graded fiber paper, liquid emulsion on paper or glass or fabric, a lith print on vintage paper, maybe a series of darkroom printed wet plates on aluminium. We can work with any silver process as well as a selection of alternative processes.

please contact Seb – Seb@dndr.org.uk or Kentaro – Kentaro@dndr.org.uk for more info or an information pack

*Apparently Digilogue is also an obscure british avant garde music record from ’98 and a mind theory from a Swedish futurist.

NEW ALT PROCESS CHEMISTRY SHOP

Have a look at the new DNDR chemistry shop.  For more info email: info@dndr.org.uk

 

Sebnem Ugural DNDR artist in residency

Sebnem Ugural DNDR artist in residency

When did you start making pinhole cameras and why?

I started pinhole photography almost 3 years back. Pinhole photographs captures dreamlike circumstances and creates a multiple sensation of time. Taking photos with a simple box is always magical for people including the ones who are into pinhole photography for many years. The most attractive part of it to me is its unpredictability. It also provides so many options for creativity. Once I started to make cameras, I became more curious to try different ones. And the question of “ What if I turn this or that into a camera?” follows me all the time. When you turn different objects into cameras, they all give different results and open up new windows for new experiments.

Pinhole photography, and other types of non-digital photographic processes let us to use our intuitions and hands more. They teach us to be patient through their long exposure durations and printing processes. Also, their limitations increase creativity while searching for the new possible ways and pushing our boundaries.

 

Are you working on any particular project at the moment? 

I turned a grow tent into a camera obscura and my project is to take photos with it, and develop the photos inside the camera. As I do not use a lens, the exposure time is too long. However, this challenge attracts me.

I created a self-portraits portfolio. I took my self-portraits with a drink can on my bed in my bedroom. I posed more than 20 minutes for each photo.

My pinhole self-portraits are exploration of my self.  The whole process from making my own cameras to developing my own photographs expands my creativity. And taking self-portraits develops this creative process more because it enables me to be the photographer, sitter and spectator.  So, I gain a comprehensive awareness of self and photography.

Taking self-portraits is active and performative because you go beyond being a passive subject by posing. It is a way of deconstructing and reconstructing the self in terms of identity and the relation with the inner self. Once you experience the whole process and see yourself on the pictures, you start questioning your representation easier. For me, creative ways of expressions make easier to reconstruct my self in terms of rebuilding my ideas and feelings about myself. And pinhole photography, at the moment, is the best means for it.

 

Why did you decide to run workshops on pinhole cameras?

Pinhole photography enthusiasts me very much and I like to share this with people. Especially with children, it is really fun and I learn from them as well. It is not a one-sided thing that I teach and others learn. I share what I have and learn from the participants. Because I work on pinhole photography, I find it useful to run workshops to improve myself. It is also a good way to earn little amount of money from what I really like to do.

In this digitalised era, I believe in that pinhole photography brings a lot to our lives. Those workshops remind us those valuable things that we forget in their daily rush. As I said, it improves our intuitions, reminds us using our hands more and being more patient, also increase creativity. I am happy to be a part of those workshops.

 

Any future plans?

In 2014, I ran pinhole photography courses for socially disadvantaged children. I worked collaboratively with a charity. This project was funded by BBC Children Inn Need. I ran 3 hour sessions over 6-week for each group. I tailored the sessions according to the participants’ ages and needs. They were second-generation migrants and refugees. Some of them were victim and/or witness of domestic violence; some of them had learning disabilities. After finalizing the workshops successfully, we had an exhibition of the children’s works.

I am willing to do more works with charities in the future.

Besides, as my academic background is based on social sciences, I am thinking to search for the opportunities of doing Phd on fine arts.

I have some projects to create new portfolios and try different alternative photographic techniques.

 

 

DNDR Art Licks Weekend

DNDR Art Licks Weekend

 

DNDR Art Licks Weekend

DNDR will be hosting Mean Time collective during the Art Licks Weekend 3rd to 5th October. Through the combination of an exhibition and workshop activities, the participants will be introduced to some of the artistic tendencies in regards to the lens based medium and an emphasis will be given to the understanding o the motivation and processes that underpin contemporary art photography practice, foregrounding the ideas before going on to consider their visual outcomes.

The workshops will take place at Double Negative Dark Room on Saturday the 4th & Sunday the 5th of October and they will be FREE!!!

Booking required for the workshops. Please email at : mean.time.info@gmail.com

Exhibition opening:
Thursday, 6–9pm
Friday to Sunday, 12–6pm

Join our event on Facebook: https://www.facebook.com/events/921672137847338/

Smartphone to cyanotype workshop

Smartphone to cyanotype workshop 
On the 30th of August artist and DNDR Project Unit researcher Tina Rowe, ran a test workshop to print images taken with smartphones on cyanotypes. See below some images of this translational process between digital and analogue technologies.

Smartphone to cyanotype workshop- DNDR   Smartphone to cyanotype workshop- DNDR  Smartphone to cyanotype workshop- DNDRSmartphone to cyanotype workshop- DNDR Smartphone to cyanotype workshop- DNDR Smartphone to cyanotype workshop- DNDR

votes

Visitors of the DNDR Spring Salon 2014 chose Sara Moralo as their favourite artist, so as promised we have interviewed her… Congratulations Sara !

When did you start working with photography and why?
I started working with photography and video when I was a teenager. My father has always been passionate about photography, and I started borrowing his camera. Later at university, I acquired a more professional knowledge of it.
I’ve always had an interest in visual culture, especially in photography and video, and how images represent and shape our perceptions of things within our society.

Is your artwork related to any specific subject area? 
Informed by queer and feminist theory, my work explores the performativity and fluidity of gender and deals with issues concerning sexuality and identity. I examine the concepts of masculinity and femininity as social constructions; and try to offer new possibilities of gender construction and the shaping of identities.

Is this photograph part of a new photographic project? / Are you currently working on a particular project?
Yes, I am starting a new project about the politics of the female body. Female nakedness has been dominantly represented in passive, languid and over sexualised positions. I am interested in subversive representations of the female body as active, strong and empowered; representations that politically challenge normative and socially expected gender performances.
I considered it key to start this project with a self-representation –the photograph at the exhibition– for two main reasons: Firstly, I wanted to claim my political right to represent my body the way I want. I also wanted to break with any kind of power relation that can be created between me as photographer and my other subjects, by exposing myself in front of the camera before I ask them to do the same.

What was your last project, is it related to the current project?
My last project, still ongoing, is At twelve s/he cut hir hair, in which I explore gender identities as processes of construction. Through the parallel use of childhood and current images of several female to male transgender subjects, this work aims to create a narrative that opens up wider understandings of gender beyond the binary concept of male and female.
It is related to the new project in the sense that it also deals with issues related to gender, sexuality and the politics of the body, but the approach is different.

Any future plans?
I would like to soon start a video project that plays with the idea of what is considered pornographic and not in society, as well as the limits between pornography and art. Also I want to finish the two projects I’m working on at the moment. So we’ll see what the future brings.

To see more of Sara Moralo’s work click here

 

 

 

Double Negative Darkroom Spring Salon 2014

Double Negative Darkroom Spring Salon 2014

Double Negative Darkroom is pleased to present their annual salon exhibition.
The show will display and celebrate the diverse analogue work produced by DNDR
members, tutors and friends over the last year, including works by Rhiannon Adam,
John Brewer, Miriam Nabarro, Douglas Nicolson, Scarlett Pimlott-Brown , Almudena
Romero, Tina Rowe and Sebastian Sussmann, among others.

Double Negative Dark Room constantly endeavours to search for alternative
photography ideas and processes. Based in East London, it is a budding independent
photographic community, lab, studio and gallery. From humble beginnings in 2009 it is
fast becoming a European centre for alternative photographic and silver gelatin practice,
research, teaching and learning.

The private view will take place at Double Negative Darkroom’s gallery on 10th May at
7pm, featuring performances and installations to mark the opening of this exhibition.
Food and drinks will be available, including live acts and Hackney’s smallest bar.

There will also be open studios at the Glyn Road premises on the following dates:
Thursday 8th May (7.30pm-10pm), Friday 9th May (10am-3pm) and Saturday 10th May
(10am-3pm).

DNDR will also run a tintype portrait session and chill-out day on Sunday 11th May.

The exhibition will be open until 15th June. Throughout the show we will run a people’s
choice award, where members of the public will have the opportunity to vote for their
favourite piece(s) or artist(s). All votes will be submitted to a raffle and we will be
rewarding some photographic prizes to winners