Intermediate Fine Art Digital Printing

Two Days of Hands-On Printing Refinement

Great Teaching
Real World Experience
Individualized Instruction

March 24-25, 2012
9am to 5pm

Stephen Johnson Photography Studios
Pacifica, California (near San Francisco)
$475

With our Digital Mac Photo Lab
each station has it's own:

  • Mac Dual 2.3 gig G5
  • 21 inch Eizo LCD display
  • 13x19 Epson printer
  • Spectrophotometer for Printer Profiling
  • Monitor Calibrator for each system
  • Network Connection to large-format printers
  • 5000K-6500K Print Viewing lights

Work your photographs into a new level of perfection and beauty with fine teaching, print by print problem solving, great viewing and lighting conditions.

 


Featuring Hahnemühle Fine Art Papers

Topics Include

• Digital Printing Technologies
Monitor Calibration
• Color Management and Profiles
• Profile Creation
• 
Fine-Art Papers
• Print Aesthetics in a Digital World
• Fine-Tuning the Print to Beauty
Print Lighting


This workshop is designed to be a follow-up on previous printing classes, helping the students maintain their growth and increasing control of the printing process. More assistance than lecture, this class focuses exclusively on refining your fine-art digital printing using our first-class Digital Lab, primarily using Epson inkjet printers. Concentration will be on inkjet printing with color pigments and black/gray ink combinations on coated and rag papers working with Steve again to continue your printing progress.

We will cover workflow issues, color management, correcting color casts, adjustment layers, custom profile generation, editing and inspection. There being no magic bullet to making good prints, the workshop will also
explore old fashioned testing, careful color judgments and interactive honing in on the best print possible.

Discussions will also include an exploration of print aesthetics in the digital age - what makes for a beautiful print? - do the new possibilities enhance our notion of what photography can be? - are we merely trying to imitate traditional photographic processes? Papers and their printing problems and advantages will be weighed, as well as their visual qualities.

Pre-requisites: our Digital Printing Class


Workshop Workings
You bring your photographs. We help you learn about the details of digital printing, then we help you make prints that reflect your visual aspirations. We'll supply paper, ink, computer, printer, viewing light and some awesome teaching with the conceptual hurdles of color management, color balance and B&W tonal control left in the dust of former lack of confidence and understanding. These two days will make a difference in your printing.

We have chosen not to add a lab fee to the workshop and are trying instead to establish a budget for ink and paper. Each student will be provided with their own workstation and printer, 20 sheets of letter sized paper and 5 of 13x19. Prints beyond those numbers can be charged on a print basis. Arrangements can be made to bring your own paper and adjust ink allocations. You are also welcome to make paper profiles for your own papers during the workshop, but it will eat into your printing time.

This workshop will expand our workshop program's exploration of photography's evolution into a digitally based medium, demonstrating the technology and discussing the implications and opportunities of this dramatic change as it relates to prints. We will then spend 2 days making your prints and working them into as near perfection as we can manage. In that management is the dedication, skill, aesthetics and sensitivity that seems required to make prints of great beauty.


Learn The Possibilities

The workshop will concentrate on digital photography's possibility as a fine-arts tool using Macintosh computers, Eizo LCD displays, Adobe's Photoshop, and profiling software such as Gretag ProfileMaker, X-Rite Monaco Color, Integrated Color ColorEyes and Colorbyte Software's ImagePrint RIP. All necessary equipment will be provided during the workshop and will be discussed in non-technical terms. Macintosh computer experience definitely helps, but is not required. Enrollment is limited.

This is an exciting exploration of photography's powerful new digital tools with one of the most knowledgeable artists in the field.

To Register:

Credit Card Registration by phone 650 355-7507 (preferred)





Stephen Johnson

A photographer, teacher and designer, Stephen has been teaching and working in photography since 1977. His books include At Mono Lake, the critically acclaimed The Great Central Valley: California's Heartland and Making a Digital Book. He runs his own photography, publishing and design company--scanning and designing his photographic books using a Macintosh computer and since 1994 photographing in the field with digital view cameras.

Current projects include With a New Eye, his groundbreaking and historic all digital national parks project, a new book Stephen Johnson On Digital Photography for O'Reilly, ongoing portfolio development and extensive lecturing.

Stephen's pioneering work in digital photography, desktop color separations and digital imaging has included software and product development for clients such as Apple, Adobe, Eastman Kodak, Leaf, Ricoh and SuperMac. His work with Adobe includes the creation of the duotone curves shipped with their Photoshop software.

His photographic clients have included the Ansel Adams Publishing Trust, the Fine Arts Museums of San Francisco, and the Friends of Photography. Johnson's photographs have been widely published and collected internationally.

In 1999, Folio Magazine declared the publication of Johnson's digital photographs in Life Magazine to be one of the Top 15 Critical Events in magazine publishing in the twentieth century. Stephen Johnson was named as a 2003 inductee into the Photoshop Hall of Fame, recognized for his achievements in Art. Canon named Steve as one of their Explorers of Light in 2006. In 2007 X-Rtie named Stephen as a founding member of their exclusive Coloratti group of photographers and educators honored for their skills in color management.

Photographic clients have included the Ansel Adams Publishing Trust, the Fine Arts Museums of San Francisco, and the Friends of Photography. Johnson's photographs have been widely published and collected internationally.

In 1997, Life Magazine described Stephen Johnson as an artist that "...applies science to nature and creates art." His images create "...an intimacy that brings subject and viewer close in ways conventional photographs cannot." 

The Photographer’s Gallery wrote in 1998: “Stephen Johnson's photography rides on the "bleeding edge" of photography's transition to a digital media. Schooled in the traditions of fine-art western landscape photography, Johnson has taken his understanding of traditional photographic processes and brought those skills to bear on the emerging technologies and aesthetics of digital photography. He has pushed technology companies to rise to the best of what imagemaking can be, and pushed his own vision of how we see and record light in the natural world. This has led him to conclude that the way we have traditionally captured images with silver-based photography has been a poor and distortive view of the real and rich world before our eyes. His photographs look almost "unphotographic" in their clarity and purity of color. He shows us a world we know, but rarely see on paper. His is a truly remarkable vision.



Refunds and Cancellation (note changes)

This workshop is financially dependent on adequate class registration. Where minimum enrollment requirements are not met, the class will be canceled, and a full refund given. You will be notified at least one week in advance if a workshop is not going to take place. Student initiated cancellations received prior to one month before the workshop will receive credit for a future workshop of similar value, a 50% credit will be given for notice received at least 2 weeks immediately prior to the workshop (a full credit less a $50 overhead fee will be given if another student is able to fill the spot from a waiting list). No credit will be given if cancelled less than 2 weeks prior to the workshop. Credits need to be redeemed within one year.

 


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Last updated on January 15, 2010 . Mail comments to: info@sjphoto.com
Photographs and Text Copyright ©2010, Stephen Johnson. All Rights Reserved.