B&W Printing & Workshops www.csibellow.com B&W Analogue Printing and Intensive workshops in the darkroom in English
B&W PRINTING
Black and white analogue photographic enlarging
Handling small, middle and large format negatives
Archival printing up to two meters
Dodging, burning, toning, retouching
Working, shipping internationally
http://csibellow.com/
PRINTING IN THE DARKROOM - BASICS WORKSHOP
In this intensive workshop I will teach you the basics of making a black & white print enlargement from (optionally your) negatives.
No previous darkroom experience is required and this workshop would also benefit someone who has not been in the darkroom for a long period and who wishes to get a revision course. http://csibellow.com/printing-basics/
PRINTING IN THE DARKROOM - ADVANCED WORKSHOP
In this intensive workshop I will teach you archival quality printing. Previous darkroom experience is required. http://csibellow.com/p
No previous darkroom experience is required and this workshop would also benefit someone who has not been in the darkroom for a long period and who wishes to get a revision course. http://csibellow.com/printing-basics/
PRINTING IN THE DARKROOM - ADVANCED WORKSHOP
In this intensive workshop I will teach you archival quality printing. Previous darkroom experience is required. http://csibellow.com/p
Wie gewohnt öffnen
Master photographer Irving Penn ( 1917 - 2009 ) and some of his iconic images. 🎞
More about Irving Penn and his fashion work you can read here:
https://www.vogue.com/article/vogue-phyllis-posnick-irving-penn
All about Irving Penn you can find on the Irving Penn Foundation side:
https://irvingpenn.org
A video about Irving Penns work you can watch here:
https://youtu.be/39mPCf3fzx0
Keep film alive. 🎞
https://m.youtube.com/watch?v=yT2-xpKBafs&feature=share
Take a step back in time into Edward Weston's darkroom, and then come forward with us to get a tour of it from his grandson Kim Weston. Hear secrets of how h...
SRF Archiv
Wer fotografiert noch mit Negativ-Filmen? 📸 1980 begleitet ein Fernsehteam die Fotoverarbeitung in einem Fotolabor. 24 Stunden brauchte das Labor für die Verarbeitung eines Filmes. 🎞️
Many years ago this body of work was exhibited in Berlin. Those beautiful, huge prints! Breath taking. It was a real treat for a printer.
Richard Avedon ( 1917 - 2009 )
Pictures from " In the American West " from 1979 - 1984.
Shoot by daylight on 8/10 inch.
More about this project you can read here:
https://americansuburbx.com/2011/01/richard-avedon-richard-avedons-in.html
More about Richard Avedon you can read here:
https://erickimphotography.com/blog/2014/09/26/5-lessons-richard-avedon-taught-street-photography/
A documentation about Richard Avedon you can see here: https://youtu.be/4XElT1udbFM
A interview with Richard Avedon you can see here:
https://youtu.be/qvldmimdEJE
Keep film alive. 🎞
The decaying Forte factory in Hungary... What an amazing paper it was! Very sad...
(Hungarian article, but mainly pictures of the ghost factory)
https://kepek.444.hu/2016/08/21/igy-rohad-a-magyar-ipar-egykori-buszkesege-a-legendas-vaci-forte-film-es-fotopapirgyar?fbclid=IwAR01s5E5iiw8NpWdszRna1SzFuEQz3D0VpC8GFQLHoyl_iYfx9h8c296GAw
A valaha 74 országába exportáló váci vállalat 2007-ben leállt, utcára kerül az összes dolgozó. Az elhagyatott váci épületek és a berendezések lassan rohadnak széjjel.
In her life and work, photographer Germaine Krull challenged traditional gender roles and antiquated ideas about s*x.
Movies to watch in the time of the Corona
Top biopics and documentary films about the lives of famous photographers
Csibellow's cover photo
https://www.anatomyfilms.com/katherine-gillis-retouching-lost-art/
retouching analog prints a photography website. Stories on film, digital and Instant cameras, Photography news, Photo stories on old and new photographers
Developing film in coffee:http://www.caffenol-cookbook.com/The%20Caffenol%20Cookbook%20&%20Bible%20-%20Recipes%20and%20Tutorials.pdf
The Voraciousness and Oddity of Dora Maar’s Pictures
Maar’s work did not begin or end with Surrealism. She was several sorts of artist in the decade or less that her photography had free rein.
Scriptphotography
TIM MANTOANI
Una fotografia non nasce mai icona: lo diventa. Se è vero che a tutti può accadere di fare una buona fotografia non è altrettanto facile che “quello” scatto fuoriesca dalla dimensione immagine per proiettare in eterno la sua luce per diventare assai più famosa dell’autore, né più né meno come un figlio che supera le gesta del padre. Ci sono fotografie che vivono una vita propria. Le abbiamo viste molte volte, sulle riviste, sui giornali specializzati sui libri fotografici, sulle copertine di dischi, per questo alcune fotografie ci sono familiari al punto da ritenerle parti integranti della nostra formazione fotografica. Sono le fotografie “iconiche”, quelle cioè che hanno saputo assorbire lo spirito del tempo con un ritratto, un evento o chissà ancora cos’altro e restituirlo intatto alle generazioni future. Italo Calvino in “Perché leggere i Classici” definiva, appunto, un classico, un libro che si staglia sul rumore di fondo della modernità, una voce che non ha ancora esaurito il suo racconto. L’assunto di Calvino può di diritto essere trasferito alla fotografia, sicché le foto che vediamo sono dei classici che travalicano il tempo e la cui bellezza, mai disgiunta dal racconto di un’epoca, supera ogni datazione chiamando noi e il nostro tempo a confrontarci con quel frammento di Storia, con quel “segno” stabilitosi saldamente nell’Olimpo delle Immagini. Come si è detto fin dal principio, una fotografia non nasce con l’intenzione di diventare un’icona – esattamente come un libro non nasce con il desiderio di farsi capolavoro –, lo diventa. E quando lo diventa dilaga imprimendosi per sempre nel nostro immaginario collettivo. Altro non desideriamo sapere. Osservando una fotografia che ci restituisce un momento di storia della società, della cronaca, del costume, non vediamo solo un’immagine, vediamo piuttosto noi stessi al cospetto della “nostra” storia, con il nostro vissuto e quella fotografia diventa un medium in grado di legare il passato con il presente. C’è di più: una fotografia “iconica” ha il potere non solo di vivificare il passato ma di stabilire l’importanza forse allora sfuggita – nel caso in cui non fossimo stati testimoni – oppure attestarsi come documento storico con una sua valenza. In ogni caso queste fotografie innescano con chi le ha scattate una specie di competizione: molto spesso non conosciamo né il nome né, tantomeno, il volto di chi le ha scattate. A “risarcire” gli autori di quanto le loro stesse foto hanno sottratto, ci ha pensato il fotografo californiano Tim Mantoani. In “Behind Photographs” (un progetto iniziato nel 2006) Mantoani ha ritratto circa centocinquanta fotografi mentre sorreggono la loro foto più famosa. Una restituzione o, almeno, una specie di tregua tra il fotografo e l’immagine che ha corso più veloce di lui e avrà senz’altro una vita più longeva. A ben guardare ogni cosa sopravvive all’uomo.
Giuseppe Cicozzetti
da “Behind Photographs”
foto Tim Mantoani
www.mantoani.com/behind-photographs/
TIM MANTOANI
A photograph is never an icon: it becomes. If it is true that everyone can make a good photograph it is not so easy that "that" click comes out of the image dimension to project its light forever to become much more famous than the author, neither more nor less like a son who he overcomes his father's deeds. There are photographs that live a life of their own.
We have seen them many times, in magazines, in specialized newspapers, in photo books, on record covers, for this reason some photographs are familiar to us so much as to consider them integral parts of our photographic formation. These are the "iconic" photographs, those that have been able to absorb the spirit of the time with a portrait, an event or who knows what else and return it intact to future generations.
Italo Calvino in "Why reading the Classics" defined, in fact, a classic, a book that stands out on the background noise of modernity, a voice that has not yet exhausted his story. Calvino's assumption can by right be transferred to photography, so that the photos we see are classics that go beyond time and whose beauty, never separated from the story of an era, overcomes any dating by calling us and our time to compare with that fragment of History, with that "sign" firmly established in the Olympus of Images.
As we said from the beginning, a photograph is not born with the intention of becoming an icon - just like a book is not born with the desire to become a masterpiece - it becomes. And when it becomes rampant, forever imprisoning itself in our collective imagination. We do not want to know anything else. Observing a photograph that gives us back a moment in the history of society, the news, the costume, we do not just see an image, rather we see ourselves in the presence of "our" story, with our experience and that photography becomes a medium capable to link the past with the present.
There is more: an "iconic" photograph has the power not only to vivify the past but to establish the importance perhaps then escaped - in case we were not witnesses - or attest as a historical document with its own value. In any case, these photographs trigger those who have taken a kind of competition: very often we do not know the name nor, even less, the face of those who took them.
To "compensate" the authors of what their own photos have stolen, the Californian photographer Tim Mantoani thought. In "Behind Photographs" (a project started in 2006) Mantoani has portrayed about one hundred and fifty photographers while supporting their most famous photo. A return or, at least, a kind of truce between the photographer and the image that ran faster than him and will certainly have a longer life. To look at carefully, everything that survives man.
Giuseppe Cicozzetti
from “Behind Photographs”
ph. Tim Mantoani
www.mantoani.com/behind-photographs/
FOTOIMPEX
Sam Haskins in his studio.
You need a model - some stuff - inspiration and some tea.
A Brief Compendium of Vintage O***m Underworlds
I don't want to make anyone feel uncomfortable, so if you're reluctant to step inside the world of 19th century junkies, I suggest you close the door and come back tomorrow when I promise to have…
FOTOIMPEX
"Fossils can tell us a lot about the history of living things. Photographer Kent Krugh is creating a “fossil record” of sorts for cameras. His project Speciation is a series of X-ray photos of cameras that provides a brief history of photography, as told through the evolution of the camera."
FOTOIMPEX
Edward Weston.
Pepper from 1930.
8/10 inch negativ.
Little portrait film of a photographer still using the discontinued Cibachrome paper. Those colors! https://www.youtube.com/watch?v=hHINDOtFH1A
Oregon photographer Christopher Burkett is best known for producing large-format film prints of American landscapes, some of the highest resolution color pho...
Tbilisi Art Fair | tbilisiartfair.art
Aligning itself with the historical position of Georgia at the crossroads where East meets West, TAF aims to offer international exposure to galleries, artists, curators, institutions and art professionals from the Caucasus, Eastern Europe, as well as part of the Middle East.
ILFORD PHOTO (Official Page)
Processing your film at home is so rewarding, but can be a daunting experience the first time.
Our learning zone had plenty of advice to help, including some tips for loading films onto a developing spiral.
www.ilfordphoto.com/loading-film-into-a-spiral/
http://www.anothermag.com/art-photography/7981/seven-unsung-heroines-of-photography
Oppressed by their male contemporaries, AnOther spotlights the female image-makers who paved the way for their successors
The latest print I made in my darkroom. If you want to learn how to get around in a photolab, just get in contact, my different workshops, where I can teach you all the secret under the red light are ongoing! www.csibellow.com Hope to hear from you soon! Csilla
And now something quite different: A spooky fish! Inverted, scratched all over, changed in many ways, but all in the analog domain, in the darkroom - I really had a great time making this print! Hope you like it too.
Fish 3, 70x100cm, Silver gelatin print, Edition of 7
Csilla Szabó Photography
Analog B&W portraiture in Berlin.
Please get in touch if you would like to have your portrait taken or you would like to give a portrait session as a gift for someone! Looking forward to hear from you! Csilla
http://www.csillaszabo.com/portraits/
ANALOG B&W DARKROOM WORKSHOPS IN ENGLISH
Would you like to learn, how to develop your own b&w negatives? And / or how to print them?
Do you already have a general idea and some practice in the darkroom, but would like to deepen your knowledge?
Or are you planning on putting an analog show or portfolio together but need help with it?
If yes, then please visit my www.csibellow.com website, where you can read about all the different one-to-one workshops I'm offering in my darkroom in Friedrichshain. There is also the possibility of purchasing gift cards / vouchers in case you would like to surprise someone. I hope to hear from you soon! Csilla Szabo, professional photographer and analog printer
ILFORD PHOTO (Official Page)
Making a Photogram is a great introduction to using photographic paper, plus it's lots of fun
Analog photographic workshops in the darkroom in English, in Berlin. Now personalised VOUCHERS are also available in case you would like to give it as a present to someone.
I offer different, one-to-one intensive workshops from learning how to develop your b&w negatives, through making your first b&w prints, till serious exhibition printing. The lab is in Friedrichshain, near Ostkreuz, workshops are ongoing, and we can agree on the time which works for both of us. Details and references are on the website www.csibellow.com. I'm looking forward to hear from you! [email protected] Have a nice day! Csilla
ILFORD PHOTO (Official Page)
The first animation in our introduction to film photography series
www.ilfordphoto.com
Timeline Photos
Film's not Dead
Happy birthday to the 'father of fashion photography', Martin Munkacsi who was born on this day in 1896!
Munkacsi made history and changed the world of photojournalism forever when he took the first spontaneous fashion photograph for Harper’s Bazaar on Long Island beach, of model Lucile Brokaw running.
This is what made Munkácsi stand out above other photographers, at the time, was his ability to capture action in a way no one else had attempted.
During the 1920/30's, fashion was only photographed in studios; entirely staged, where models were posed like mannequins. After taking that groundbreaking photo, Harper’s Bazaar editor Carmel Snow offered Munkácsi a job, allowing him to move to New York and escape the ever growing danger in Germany.
"Never pose your subjects. Let them move about naturally... All great photographs today are snapshots. (1935)"
© Martin Munkácsi Estate
A closer look at modern Hungarian photography
Two exhibitions focused around one influential Hungarian photographer, Laszlo Moholy-Nagy.
:)
#WednesdayWisdom from Robert Capa: "It's not enough to have talent, you also have to be Hungarian."
Moholy-Nagy and Photographic Processes
Conservator Sylvie Pénichon discusses László Moholy-Nagy’s exploratory photographic practices and the challenges they pose to efforts to conserve his works.
ICP - International Center of Photography
Two of Robert Capa’s #DDay negatives.
📷 John Loengard, 1993
Printing the Antanas Sutkus show - work in progress in the silver mine: http://csibellow.com/work-in-progress-printing-the-antanas-sutkus-show/
Work in progress: Printing the Antanas Sutkus show April 26, 2016By csibellow It was a great honor for me when I was asked by Eric Schlosser, the creative director of the ArtVilnius Art Fair, to print large-scale photo murals for the renowed photographer Antanas Sutkus – a living legend, the “Homer…
Lab-to-go service of Csibellow Darkroom: http://csibellow.com/timea-oravecz-what-happens-when-nothing-happens/ with Oravecz Timea Anita
Timea Oravecz: What happens when nothing happens April 12, 2016By csibellow Timea Oravecz, a good friend of mine and a great conceptual artist, asked me to participate in a project of hers in 2012: She built a camera obscura in a Berlin-based gallery, which was big enough that people could walk in a…
Simplon Str 65 Friedrichshain
Berlin
10245
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ANALOG B&W DARKROOM WORKSHOPS IN ENGLISH Would you like to learn, how to develop your own b&w negatives? And / or how to print them? Do you already have a general idea and some practice in the darkroom, but would like to deepen your knowledge? Or are you planning on putting an analog show or portfolio together but need help with it? If yes, then please visit my www.csibellow.com website, where you can read about all the different one-to-one workshops I'm offering in my darkroom in Friedrichshain. There is also the possibility of purchasing gift cards / vouchers in case you would like to surprise someone. I hope to hear from you soon! Csilla Szabo, professional photographer and analog printer
The Shells - Ausflug nach Neu-Friedenwald
Gottlieb-Dunkel-Straße 43
Friends with Books: Art Book Fair Berlin
Invalidenstraße 50-51