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Harry Sandler – The Fine Digital Print Expert Workshop Finding Your Voice

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(The above images are after and before.)
This is just one of the many reasons to teach. You make a real difference for some really great people. Harry Sandler had a breakthrough last week. He connected emotionally and intellectually to the work he was doing with a level of clarity he hadn’t achieved before. It’s given him a better sense of himself, the reasons he does the work he does, and how to approach both his old and new work. Mastering any tool (especially Photoshop) means more than knowing how to use it; it means knowing how to apply it to achieve specific results. To achieve those, you first have to know what you want to achieve – and why.
Here’s the letter Harry sent me after he left the workshop.
“John Paul,
First of all many thanks for a wonderful experience at your Fine Digital Print Expert workshop – it far outweighed my expectations. I am most appreciative of how technical information was balanced with the idea of discovering one’s artistic voice.
Having dabbled in imagery for most of my life without ever fully realizing what moved and in turn motivated me I enjoyed being pushed a bit toward finding a technical solution to being able to express myself physically, a breakthrough, albeit just a start, that happened on the third day of the workshop.
When asked to stretch the limits of one image (an image that we felt to be a cornerstone for a body of work) by taking it in various directions I had an epiphany of expression within myself. In particular it would appear that I connected this photo (and the way it was printed) with some inner turmoil from my childhood that opened during this exercise, and, that sense of discovery continued after working on another file from the same body of work. The instant feedback from the print resonated deeply and appears to be the catalyst for moving farther down the road to more self-discovery.
A quote came to mind that evening while viewing the image: “Be still with yourself until the object of your attention affirms your presence” – Minor White
PS: On my drive back on Saturday I also noticed myself drifting off into the cloudy sky noticing small shifts of saturation and color so maybe there is hope for this old time black and white brain of mine.
Regards,
Harry Sandler”

Download my PDF Portfolio Review here.
Download my PDF Aesthetics of Printing here.
Find out about my Fine Digital Print workshop series here.
Find out about The Fine Digital Print Expert workshop here.

I Use – ExpoDisc

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A majority of the time, I treat white balance subjectively. But, that doesn’t mean I don’t use a white balance target. Targets give you the option of setting white balance objectively. Without them you have to fall back on the SWAG method (Scientific Wild Ass Guess). My favorite white balance target is ExpoImaging’s ExpoDisc. (I use a Flat; while they’re more expensive, they can be used with any and all lenses.) Why do I like the ExpoDisc so much? It performs three functions at once – white balance, dust map, vignetting map. In addition to setting white balance you can use it to precisely map dust on you sensor and vignetting. Once you’ve identified these with a single exposure, you can automatically apply those corrections to all images shot during that session. Automatic retouching? Yes! Dust mapping will save you hours. Often, I’ve felt a resistance to using white balance targets in the field. Because the ExpoDisc offers so much more and is so easy to use, I use it consistently.
I demonstrate these kinds of techniques in all of my field workshops.
Download my Review of the ExpoDisc here.
Find out more about the ExpoDisc here.
Find my Review of the ExpoDisc here.
Get Insights free here, for upcoming alerts of new Reviews.
See more of the products I use here.
Check out my field workshops here.
Get a 20% discount on my Iceland (8/18-22) workshop here – expires 8/10.
Get a 15% discount on my Fall Foliage (10/17-20) workshop here – until 8/17.
The first 5 Insights Members get $1000 off South America (2/2-14/09), thereafter $250.

I Use – X-Rite ColorChecker

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The X-Rite ColorChecker is the standard target for getting accurate color in the studio. But, it’s useful in any shooting situation. You can create a custom calibration setting for your camera using the X-Rite ColorChecker and Tom Fors Adobe Camera Raw camera calibration script. Do this once for significantly different lighting situations; daylight, overcast, full shade, tungsten, florescent, etc. You only have to do it once for each lighting situation. The calibration is model specific and chip specific, so do it for every digital camera you use. Performing this routine makes an appreciable improvement in color rendition. Saturated hues will be represented more accurately.  In the field, I use the credit card sized ColorChecker.
I demonstrate these kinds of techniques in all of my field workshops.
Click here for a step-by-step guide to using the X-Rite ColorChecker and the Tom Fors script.
Download Tom Fors script here.
Find my Review of the X-Rite ColorChecker here.
Get Insights free here, for upcoming alerts of new Reviews.
See more of the products I use here.
Check out my field workshops here.
Get a 20% discount on my Iceland (8/18-22) workshop here – expires 8/10.
Get a 15% discount on my Fall Foliage (10/17-20) workshop here – until 8/17.
The first 5 Insights Members get $1000 off South America (2/2-14/09), thereafter $250.

I Use – 3 Filters / Polarizer, ND, IR

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Because it offers so many more options, digital imaging may change the way you use your tools.
For instance, I use only 3 filters – a circular polarizer, a neutral density filter, and a infrared filter.
No other filter is as useful to me as a polarizer. Polarizers remove glare making colors more saturated and reflections allowing you to reduce or remove images on the surface of reflective surfaces. No software filter can do this. I use Canon’s circular polarizer. Whenever possible, I prefer to match filters to the manufacturer of the lens,
I’ve been experimenting with long exposures. Singh Ray makes a unique neutral density filter – the Vari-ND filter. Rotate it and you can slow reduce light between 2 and 8 stops. This eliminates the need to carry multiple filters and to stack them during exposure. It’s fantastic. (As an aside, I prefer all graduated filtration to be done with software because you can control both the effect and the graduation precisely.)
For infrared imagery I use an infrared filter. It’s not exactly the same as converting a camera to infrared, but it’s closer than simulating IR effects with software and it’s doesn’t permanently change your camera. I prefer to carry as little equipment as possible, move freely, and take long walks. Because I prefer to keep my options open, many times I will shoot in full color and use software to create an IR effect. If you take both a full color and IR filtered exposure of the same subject you have many more options.
I demonstrate these kinds of techniques in all of my field workshops.
See more of the products I use here.
Check out my full Review on the Singh Ray Vari-ND filter here.
Get Insights free here, for upcoming alerts of new Reviews.
Read about essential camera tests techniques here.
Check out my field workshops here.
Get a 20% discount on my Iceland (8/18-22) workshop here – expires 8/10.
Get a 15% discount on my Fall Foliage (10/17-20) workshop here – until 8/17.
The first 5 Insights Members get $1000 off South America (2/2-14/09), thereafter $250.

Video – Dove's Evolution of Beauty, Onslaught & Fried

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Since their release less than 2 years ago, Dove’s Evolution of Beauty, Onslaught, and Fried videos have been viewed by millions of viewers and inspired numerous spin offs and spoofs.
Evolution reduces hours of makeup and digital retouching to one minute with time-lapse images.
Onslaught raises challenging questions about perception of femininity and early stereotyping.
Fried’s display of coiffure creation is more tongue and cheek with an inevitable conclusion.
Many people like to criticize contemporary notions of idealized beauty. I feel the core problem is not fantasy itself but confusing fiction with reality. Our fantasies (cultural or individual) can tell us a lot about ourselves psychologically. But, we all know that disaster can strike when we confuse fiction and fact, fantasy and reality. In the case of confusion over contemporary western female beauty, a long list of problems arises – greatly reduced self-esteem, prejudice, stigma, anorexia and bulemia, even death are just a few. All of us suffer when we adhere to limited definitions of beauty. Expanding our awareness of the many kinds of beauty (both external and internal, physical and social) that surround us is not only conscientious but enlightened. Imagine how much more inspiring your life would be if every day you saw more beauty all around you. Kudos to Dove (a company in the business of selling beauty products) for taking this stand and not only effectively raising awareness but also offering education, skills, and choice.
The Dove Self-Esteem Fund was developed to help free the next generation from self-limiting beauty stereotypes. Committed to reaching 5 million young women by the end of 2010, the Dove Self-Esteem Fund invites you to play a role in supporting and promoting a wider definition of beauty.
“At Dove®, our mission is to make more women feel more beautiful everyday. We believe women with strong confidence and positive self-esteem are beautiful. That is why we have partnered with the Woodhull Institute for Ethical Leadership, a not-for-profit organization, to encourage real women to share real success stories and learn from one another. We invite you to participate in these online training modules as a first step to begin a successful and beautiful journey.”
See the Dove videos here (including Amy).
Find out more about the Dove Self-Esteem Fund here.
Find out about Dove’s partnership with the Woodhull Institute for Ethical Leadership here.
What do you think about Dove’s initiative? Comment here!

Photoshop World 2008 – $100 Discount Until 8/1

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Photoshop World is coming to he Mandalay Bay Resort & Casino Convention Center in Las Vegas, NV, September 4-6, 2008.
Held annually on the east and west coasts, Photoshop World is the official convention of the National Association of Photoshop Professionals. NAPP is the largest digital imaging and design association worldwide with more than 70,000 members in 105 countries. It’s the leading resource for Adobe Photoshop training, education and news. Now in its 10th year, Photoshop World is the largest Photoshop educational event in the world. There’s something for every type and skill level of Photoshop user. If you want to get up to speed on the latest developments in a short time, there’s no better place to do it. Dont’ miss the opening keynote session – there are always special announcements and previews of exciting upcoming developments.
The cost of this amazing event is $599 for members and $699 for nonmembers. (I highly recommend you become a member, even if you aren’t able to attend PhotoshopWorld.) You can get a $100 discount by registering before August 1.
It’s three days of world-class training by the best in the creative industry lead by Scott Kelby, NAPP president and the world’s bestselling computer and technology book author. This year’s conference offers the biggest and most comprehensive conference schedule. Attendees will choose from 100 classes taught by 40 of the best and most creative industry experts and instructors, including Jack Davis, Julieanne Kost, Jay Maisel, Joe McNally, Dan Margulis, Vincent Versace, Jeff Schewe, Ben Wilmore and many, many more.
I’ll be presenting in four sessions – the pre-con Epson Print Academy (Wednesday pm), The Fine Art of Digital (Friday pm), The Power of Color (Saturday am) and Drawing With Light(Saturday am).
You can see video highlights here.
You can see the complete list of instructors and their sessions here.
Find out more about all of my seminars here.

Jane Davenport – Alumni Success Story

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Australian artist Jane Davenport returned this week for a second workshop with me – The Fine Digital Print Expert. I love to hear success stories from my alumni. Jane’s is exceptional. “In 2001 I took my first workshop with John Paul and decided to follow my bliss. Since then I’ve published 4 books, had 30 solo exhibits, and over 4,000,000 people have attended my large scale outdoor art installations. I know how incredibly lucky I am to be doing this. I also know that you create your own luck.” Jane’s passionate, committed, works hard and smart. It’s a winning combination. She’s gone very far in a relatively short time.
“Workshops make me reassess what I’m doing and why I’m doing it. If you don’t stop and take the time to discover new tools you could miss out on something amazing, something that adds a new dimension to your work. Getting feedback from peers is extremely helpful, particularly people who don’t know you and your work.”
Jane’s created a unique niche focussing on insects. She works with zoos and environmental organization to raise awareness of and promote affection for her subjects. She also licenses her images in interesting merchandising opportunities giving here cause a broader reach.
This week she explored a new developing theme – kites.
Find out more about Jane Davenport here.
Find out about my workshops here.

Test Your Palette – Fine Digital Print Expert Workshop

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One of the exercises we do in my Fine Digital Print Expert workshop is to test our palettes. Take your signature image, or the strongest image in a body of work, and make many variations of it. Neutral, semi-neutral, low saturation, average saturation, high saturation, super saturation. Ideal color, ambient color, synthetic color. Etc. Compare the results side-by-side. By process of elimination choose the best solution. Then take your second strongest related image and see if the same palette is equally strong for it. If it is, you’ve found your zone for a body of work.
Many students are astonished at how much potential their images have. Consider John Myer’s image here. He’s torn between the fully saturated and semi-neutral versions. So he’s testing those two palettes on several other related images. With a just little more exploration, he’ll soon have his answers. Too often we commit to a solution before we explore our options. Sometimes we’re too timid with the kinds of explorations we allow ourselves. Take these steps at the beginning of every new body of work. The time you take to explore your options is well spent. It’s extremely rewarding.
Find out about my Fine Digital Print Workshop series here.
Find out about The Fine Digital Print Expert workshop here.

Color Management & Proofing – Workshops, DVDs, Radio

Audio, Store - DVDs, Workshop  Comment
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We go into the ins and outs of advanced color management in my workshop series The Fine Digital Print. No matter what their level, it helps everyone participating. In my workshop The Fine Digital Print Advanced we take it step by step from concept to practice. In my even more advanced printing workshops The Fine Digital Print Expert and the Fine Digital Print Master we assume a higher level of knowledge and go into what doesn’t work perfectly. Here are a few examples. 1 – LCD monitors are too bright for precise prediction to print. 2 – Photoshop’s softproofing Simulate Paper Color is too aggressive.  3 – Printer drivers overink prints delivering slightly dark prints, typically losing subtle shadow detail. 4 – A majority of users don’t view their proofs and prints in ideal light. The cumulative effect leads many to think they’re doing something wrong (They might or might not be.) or that color management doesn’t work. It does. It just doesn’t work perfectly. And it’s important to know what the limitations are.
In my workshops, seminars, and DVDS, I cover what you can do to overcome these imperfections through proofing and then move on to other issues you can only address through proofing. Traditional photographic printing master John Sexton saw my demonstrations during the Epson Print Academy and remarked that watching them felt like deja vu because while the tools have changed the core concepts remain the same.
It’s been my mission to make color management relatively easy to understand and implement without dumbing it down. It can be done. No one else I know takes a more systematic and thorough an approach to proofing as I do.
I sat down several weeks ago with Scott Sheppard of Digital Photo Radio to talk about key Color Management and Proofing. Scott’s a great guy. Easy to talk with. Asks all the right questions. Scott’s one of the little guys doing big things. Digital Photo Radio is done entirely by one man. But the product is so good it seems like it’s created by an entire media team. I love to see individual entreprenuers go for it and succeed big. Scott’s done that.
Check out the audio cast and find out more about Digital Photo Radio here.
Check out my DVD 6 Simple Steps to Good Color Management here.
Check out my DVD The Art of Proofing here.
Check out free Color Management and Proofing resources on my website here.
Sign up for Insights enews to find out when new content is available here.

Appropriate Scale – Fine Digital Print Expert Workshop

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One of the many things that it’s valuable to test is optimum scale. Images affect us differently at different scales. Small prints draw you close to them providing an intimate experience. Large prints envelope you in an immersive experience requiring a greater distance to see the entire image. One of the things my workshop students do is find optimum scales for their images. While there are many practical considerations that may modify their final choices (like final presentation space), determining an optimum scale reveals an artist’s intention and the nature of their work more clearly. How do you determine optimum scale? Test it! There’s no substitute for fully experiencing the effects of changing scale. Make different sized prints and compare them side by side. Alternately, projecting an image on a wall at different scales can be similarly revealing. Here, again, side by side comparison reveals more. Then, put your impressions into words – verbally or in writing.
Here veteran professional landscape and garden photographer Roger Foley shows two prints of the same image at different scales. While he feels a larger scale is ideal for his imagery, he’ll sometimes make smaller prints to accommodate smaller presentation spaces and client requests.
Find out more about Roger Foley here.
Look for my upcoming article on Scale in Photoshop User magazine. Find out about PSU here.
Find out about my Fine Digital Print Workshop series here.
Find out about The Fine Digital Print Expert workshop here.