The Fine Digital Print workshop translates traditional photographic language and practices into new digital media. You’ll see, use, and evaluate a variety of printers, ink, papers, RIPs and profiles. Specific focus will be directed to Epson printers. The heart of Photoshop will be revealed. By the end of the week you will have an overview of the digital imaging process, a recommended workflow, and a variety of techniques and tools to help improve and refine your digital files and prints. By the end of the week you'll have a much better sense of where you're going and how to get there. You'll leave with several finished prints and the knowledge you need to get the results you’re looking for when you return home. You'll also leave with a vastly expanded set of possibilities for making images.

Each day builds upon the previous day.

Monday we cover media and color management.

Tuesday we cover scanning and image correction.

Wednesday we cover selection and masking, sharpening and retouching.

Thursday we cover compositing (applicable even for straight photographers).

Friday we cover advanced topics tailored for the needs of each group.

Topics include …

• Color managed workflow from input to output
• Exposing for digital
• Essential camera tests
• Digital file archiving
• Adobe Bridge, Camera RAW, Lightroom, Photoshop
• RAW conversions
• Sophisticated color adjustment strategies         
• Black and white conversions and toning solutions
• Mastering local correction and masking
• Sharpening
• Resampling
• Noise reduction
• RIPs and printer drivers
• Essential printing tests
• Substrate surveys
• Print handling and storage
• Fine art printing techniques

There are demonstrations. There are exercises; some use images that are provided for you; some use your images. There's a booklet of handouts and a CD filled with exercises, informative PDFs, test files, and Photoshop actions designed to make routine tasks as easy as pushing a button. There's more information in these items than we can cover in a week so you'll find them to be invaluable resources long after the workshop ends.

This is not a beginning Photoshop workshop. Familiarity with Photoshop is required. This workshop has a strong photographic perspective but is applicable to all types of artists who want to reproduce their work in digital media.

Limited class size ensures that pace and topics covered may be modified along the way based on the needs and desires of the group.

There has been more change in photography in the last decade than in it's entire history. And, more people are printing their own photographs than ever before. Traditional printmakers and photographers are sharing their techniques with one another. This is a very exciting time to be involved in photography. Come find out why.

One of the best ways to learn how to make better prints is to expose yourself to great masterworks. You'll develop an eye for the aethetics of photographic printmaking. You'll become sensitized to the many nuances that add up to make a great print.

During my workshops you'll see original master works from the history of photography including original prints by Ansel Adams, Wynn Bullock, Paul Caponigro, Linda Connor, Kurt Markus, Arnold Newman, Olivia Parker, Chris Rainier, Joyce Tenneson, George Tice, Jerry Uelsmann, Brett Weston, Minor White, Huntington Witherill, and many more.

You want to master digital printmaking and take your digital imaging skills to the next level. Also see Mastering Black and White Printing, which covers the same material but with more emphasis on black-and-white imagery.

A basic comfort level with Photoshop is required for all of John Paul's sessions.