Blog - John Paul Caponigro

Ollie Treadway – Simplifying Workflow

Alumni, Workshop Comment

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For Ollie it all came together on the final day of our workshop The Fine Art of Digital Printing (this time at the Hallmark Institute for Photography). He was able to untangle his workflow and his file structure and produce better results in less time.
Here are a few core concepts he absorbed. Keep it simple; amid multiple methods that offer equal quality, the simplest way is best. Work globally first, then regionally. Don’t fix problems created during the editing process, fix the adjustments that created the problems. Organize and label your layers.
Now that the technical issues have been answered and simplified, Ollie’s freer to direct his energies in more important areas of his creative growth – finding and developing his own authentic voice.
These are the kinds of dialogs Mac Holbert and I have every day with participants in our the Fine Art of Digital Printing workshop during our extensive One on One and Review sessions.
Look for future workflow sessions from Mac and I at PhotoPlus East and the Epson Print Academy.
Check out my workflow PDFs here.
Check out Ollie’s website here.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Print workshop series here.

Presenting Your Work

Business, Workshop Comment

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What’s it take to succeed in fine arts? Perseverance, smart work, hard work, information, luck, talent, and friends – in that order. Oh, and it’s not pick two out of eight, it’s all of the above.
In my workshops I not only show my students my work (professionally presented), but I also discuss presentation practices, packaging, marketing, and the business of fine art. There’s an art to the business of fine art. And high quality sources of information on the topic are sorely lacking in this area.
Mary Virginia Swanson does a better job of outlining the business of fine art and identifying opportunities than anyone else I know.
Check out her blog here.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Print workshop series here.

Marc Siegner – Testing Sharpness

Alumni, Workshop Comment

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Marc creates multimedia prints and installations. He uses a wide variety of media for their material characteristics. So naturally he’s particularly sensitive to the look and feel of his images. We tested sharpness (low, medium, and high) with one of his images. Then the whole class had the opportunity to see the results side-by-side. Consensus wasn’t instant. Some like it sharp. Some like it soft.
One thing became clear, sharpness influences spatial relationships – especially when applied selectively. Typically, sharper image areas appear closer to the viewer, while softer areas appear further away.
So sharpness not only involves aesthetic choices, it can also be used to control spatial relationships within an image. Texture and contour are essential elements in visual vocabulary that you can use to further your personal expression.
Test it for yourself! On your images! Do it! While you can imagine the results, there’s nothing like experiencing it.
How important is sharpness in your images? Do you like your images sharp or soft? Comment here.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Print workshop series here.

Christine Carr – Testing Substrates

Alumni, Workshop Comment

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Christine’s been working on images of projected light and screens. So she decided to explore presenting her images as screens with projected light. She found some alternate substrates – transparency, transparent material with a translucent backing, tissue paper, glossy film. We did a little brainstorming about presentation. We played with light and shadow. The light and shadow itself took on a presence in the presentation. Essential elements of photography, light and shadow, what photography represents and uses to represent, are beginning to be incorporated into the presentation – sometimes abstractly and dynamically. A whole new set of doors opened up. It’s important to explore the potential of new materials. After all, this is what has propelled photography all along, including fueling the digital revolution.
How many ways can you think of extending printmaking for your work?
These are the kinds of dialogs Mac Holbert and I have every day with participants in our the Fine Art of Digital Printing workshop during our extensive One on One and Review sessions.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Printing workshop series here.

Jay Strojnowksi – Testing Substrates

Alumni, Workshop Comment

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Jay took a risk. He brought in large scale photographs printed on canvas for review. They were different. This triggered a long dialog on mixed media and installations. Now he’s no longer thinking in conventional terms about making prints. In 30 minutes we listed dozens of ideas for expanding the possibilities of printmaking and presentation; multiple media – silk, mylar, metal, transfers; multiple picture languages – photographs, blueprints, text, code; and multiple installations – hung on walls, becoming the walls, drapes, projections. This is one of the things that’s so stimulating about teaching. It’s inspiring to see diverse perspectives. And it’s a privilege to be able to help others realize their visions. I highly recommend you take time to explore your options. Think of the possibilities! You might surprise yourself … and us!
How many ways can you think of enhancing your images with media? Make a list. Then rank the list and try the most promising options.
These are the kinds of dialogs Mac Holbert and I have every day with participants in our the Fine Art of Digital Printing workshop during our extensive One on One and Review sessions. This week we’re at the Hallmark Institute of Photography.
Check out Jay’s website here.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Printing workshop series here.

Cemal Ekin – Crafting a Signature Style

Alumni, Workshop Comment

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Cemal was fairly confident that he wanted an alternative process look so he printed a key image for a series of black and white images on Epson matte papers – UltraSmooth, Velvet, and Watercolor paper. He like the rich black of the Velvet surface. Then Cemal made two unexpected moves that gave what at first seemed like an antique treatment a very contemporary edge. He “crunched” his shadows running the contrast high, heavily darkened regional areas, and he used heavy sharpening (both Unsharp Mask and High Pass), making them look like photographs drifting towards etchings. He confirmed that this was indeed the most compelling treatment for his images by printing renditions with more shadow detail and less sharpening. Some experiments succeed, some fail. You need to risk failure. In fact, failures aren’t failures if you learn from them – they bring confirmation and direction. This kind of experimentation is necessary to create more distinctive and expressive prints. The key is to do focused experiments that are most likely to give useful or relevant information.
What kinds of focused experiments would help you most? List a few now!
Cemal brought with him a beautiful portfolio of small prints (printed on Moab Entrada and collected in a companion folio). Comparing them to prints of larger scale revealed yet one more facet of his work.
These are the kinds of dialogs Mac Holbert and I have every day with participants in our the Fine Art of Digital Printing workshop during our extensive One on One and Review sessions. This week we’re at the Hallmark Institute of Photography.
Find out about Cemal Ekins here.
Find out about the Hallmark Institute of Photography here.
Find out more about The Fine Art of Digital Printing workshop here.
Find out about my The Fine Digital Printing workshop series here.

2880 vs 2400 – Gamut Comparisons

Printing, Store - DVDs, Workshop Comment

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Today, Mac Holbert and I started teaching The Fine Art of Digital Printing at the Hallmark Institute of Photography in Turners Falls, MA. Epson shipped in new 2880 printers for this special event. Epson’s new 2880 uses UltraChrome K3 with Vivid Magenta. How much does Vivid Magenta expand the gamut? Check out these diagrams – 2D, 3D, and 3D looking at Dmax. The 2400 is in white and the 2880 is in full color. Both are graphing Epson Premium Luster Paper. The graphs indicate warm blues, magentas and greens are where it pays off. Slight increase in Dmax. It’s not a dramatic increase but in specific images (polarized skies and saturated foliage, it can be significant. There are also slight tradeoffs in other areas of the spectrum (wherever the white volume extends beyond the color volume).
Words and pictures can work together to tell a fuller story. These diagrams were made with Chromix’s ColorThink. I use it to graph ICC profiles and compare substrates and to compare inksets. Doing this more clearly illustrates the pros and cons of each.
It’s something I do in all of my color management sessions (like the whirlwind tour of color management participants in the FADP workshop got this morning and the sessions you’ll find on my DVD 6 Simple Steps to Color Management).
Check out my Review of Chromix’s ColorThink used to make these graphs.
Check out Chromix here.
Check out my earlier post on the 2880 here.
Check out the 2880 here.
Check out our workshop the Fine Art of Digital Printing here.
Check out my Fine Digital Print workshop series here.
Check out Hallmark’s post on today’s session.

On Press – Banding

Event - Exhibit, Printing Comment

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We’ve been finishing the last prints for my annual open studio exhibit where I unveil New Work from 2008 for the first time. We ran into subtle banding in a few prints. So how do we trouble shoot it?
First check the file at 100% screen magnification. If it’s in the file add a touch of noise. If you need to use more noise than you’d like, use Noiseware afterwards.
Second check the printer. Is the data transfer fast enough? (Don’t perform other calculation intensive operations while printing. Close other programs if necessary. Make sure your cable connection isn’t too slow or too long.) Are the heads aligned? Are you sure it’s banding and not nozzle clog? (Nozzle clogs are tiny light lines. Banding is dark lines, often thick with soft edges.) Are you printing at high speed? (Try printing it slower.)
Third, as a last resort, rotate the image 90 degrees and try printing it again. Huh? Right! Many of my files are particularly difficult to print – semi-neutral fields with very smooth gradations. These types of images display incompatibilities with printer drivers and their screening frequencies that just don’t happen in most images. It has to do with screening frequencies. Why does rotation help? I don’t have an explanation for it. But it works.
Hopefully all of this will help you with your prints.
Get information on my Annual Exhibit here.
Check my blog for the most up to date information on the event.
Check out my blog during the event to see video of my new installation events.
Check out my Gallery to see more images.
Check out my Gallery during and after the exhibit to see new images.
Check out my workshops series The Fine Digital Print here.

Exhibit – New Work / Annual Open Studio

Event - Exhibit Comment

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You’re invited! My Annual Open Studio Exhibit (in my gallery/studio in Cushing, Maine) of New Work from 2008 is open for one weekend only – August 2-3 from 10 a.m. to 5 p.m. I’ll discuss my work daily at 2 p.m, sign books at 3 p.m, and post content online at 6 p.m. This is the best time to see and purchase new work as introductory prices are available for a limited time only. (Thereafter, private viewings for print purchases will scheduled by appointment only.)
This summer’s event simultaneously presents two galleries of work – one highlighting bold color and the other highlighting drawn forms. These new images are my most painterly to date. Upstairs, bright, bold colors exude a lush sensuality, producing an almost physical sensation while evoking strong emotional responses. These new additions to several of my most popular series simply glow. Downstairs, spaciously atmospheric compositions are filled with subtle iridescent whites, grays, and blacks. New work from the series Refraction reveals an evolution in my recent explorations into incorporating drawn elements with photographs. If photographs are light drawings, these are also drawings of light. Simultaneously representational and abstract, this daring new work contains a powerful energy that transports the viewer.
During the exhibition, video documenting my recent related explorations with environmental performance art can be seen in the studio and here on this blog.
And don’t forget to see the Two Generations (father and son) exhibit at the Maine Media Workshops.
You can see two exhibits in one day!
Get information on my Annual Exhibit here.
Check my blog for the most up to date information on the event.
Check out my blog during the event to see video of my new installations.
Check out my Gallery to see more images.
Check out my Gallery during and after the exhibit to see new images.
Contact us here for print purchases.