Christine Carr – Testing Substrates


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.

Photoshop World 2008 – $100 Discount Until 8/1

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.

Test Your Palette – Fine Digital Print Expert Workshop


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.