We will be using the Epson 7600, 4000, 2400, 2200 and 1280 printers which we have on site. In our studio we also use the Polaroid Sprintscan 120, for 35mm and 120 film, and the Epson 4990, for 4x5 film and print scanning. These scanners are used with SilverFast AI as well as their native software. We can also discuss the use of the Nikon 4000, 8000, 5000 and 9000 scanners. These courses highlight using the Epson 7600, 9600, 2400 and 2200 with Ultrachrome inks and various profile editing techniques to get the best quality with these printers and to have the prints match your monitors. We also will discuss using the Epson print drivers verses using ColorByte Imageprint and the advantages of each. Differences in print dialog settings between the newer 2400, 4800, 7800 and 9800 series Epson printers and the 2200, 4000, 7600 and 9600 series will be covered. The workshop fee includes your letter size test prints and two 24" wide final 4000 or 7600 prints per student. We will also show you how to prepare images for Lightjet 5000 or Chromiera digital printers at off site locations.

You will need to bring your own images to work on during the course. We will help you figure out how to solve any problems you have been having with your own print making so please bring any scans or raw captures that you have already made or files you have printed, as well as print samples so we can discuss any problems you may be having and improve your work during the class. You can also bring your own portable USB or Firewire digital printers or scanners, like the Nikon 4000 or 8000, for us to help you make better use of during the course. Each student is provided with a Mac G4 computer.



If you want to use your own Mac or PC portable during the course, our studios have external CRT monitors you can hook up to. If you plan to do this, please mention it to Barry or Wendy before coming to the workshop. We don't usually recommend doing color correction on a portable LCD monitor as it is harder to calibrate as you move them around. Some students have done this though and it worked well for them since they were able to set up their systems and Photoshops during the workshop. If you are bringing a PC portable, please bring your own monitor calibration hardware/software. I have Monaco and Color Vision monitor calibration sensors but only have Mac versions of their software. I have hardware/software to calibrate Mac monitors. If you don't have your own quality scanner, we recommend you get scans of the images you want to work on before coming to class. Please bring these with you to class or bring unedited RAW files from your digital camera. You can do some scans here with our scanners but please also bring at lease 10 prescanned or RAW images to avoid having too much of your couse time spent scanning. Digital Cameras shooting Raw format seem to be most common for workshop students these days but we are also still quite comfortable with film.

The above three images are of Gibsons, B.C., a short ferry ride north of Vancouver. On the 2nd, 3rd or 4th morning or afternoon, depending on the weather that week, we usually go out for a photo shoot for two or three hours. There are lots of great places to shoot within 20 minutes to an hour from our Oregon and Gibsons studios. A digital camera is great for these shoots since you can then work on the images right away if you got some good shots. The amount of time we spend on photo shoots will depend on the desires of the students in a particular workshop. In Corvallis, Oregon there are woods with wild turkeys, deer, horses, and mountain scenes within walking distance then the beautiful Oregon coast and cascade mountains are both within an hour or two. In Gibsons, B.C., we are at the entrance of the "Sunshine Coast", Canada's resort area having breathtaking views of snow covered mountains, many waterways with hundreds of islands, harbors and boats, sea birds, beaches, hiking, sea kayaking and some of the world's best skiing and scuba diving spots. In either location, you should plan to spend several days shooting on your own either before or after the workshop. If you want to do this, we can give you directions to many great locations. It's not hard to convince Barry to go along on a photoshoot, especially if it's to a location where he hasn't been before or at a time when the light and colors will be just right. We'll be planning new courses that photographically explore beautiful places up in the B.C. area. Our new location is in Gibsons, B.C., in Canada's "Sunshine Coast" north of Vancouver. See http://www.Gibsons.ca for more info about this great area and here are Barry's pictures of the Sunshine Coast.

If you are interested in taking this workshop in either location, please call us at 604-886-2214 so we can discuss your particular interests and needs to be sure this class will meet them. We can then also fit you into a course with people who have similar interests where we can focus and get the most accomplished for each student. I'm sure we will all learn from each other in this type of course. I look forward to hearing from you. You can also pay at the very bottom of this page by credit card.

This workshop will cover the following topics and much more: It will cover these topics in some cases working with my images that are not in Photoshop Artistry and also using your own images. In this very in depth course, you will get much more of a chance to use what you learn while working with your own images. Some of the topics covered in the course, including the Photoshop Artistry chapters you should read to prepare for each topic, will include:

General Issues: tips and tricks with the Photoshop CS2 or CS3 Tool, Layers, Channels, Info, Picker, Navigator, History, Actions, Batch Processing and other palettes. Taking advantage of the improved color correction and measurement features in Photoshop CS2 or CS3. (Chapter xxii, 2)

Setting System and Photoshop Preferences: Setting up your system and Photoshop's preferences for the most effective use of Photoshop, understanding and benefitting from the new Photoshop color managment features, a standard RGB or Lab workspace and better RGB to CMYK conversions, and standardizing Photoshop preferences and systems within an organization. (Chapters 3, 15)

Color Space Usage and System Calibration: monitor, scanner and output calibration using ICC profiles and all of Photoshop's color model and calibration support; understanding Color Spaces, Device Characterization and Color Management to correctly deal with scanner, monitor and printer calibration for predictable input and output to the web, desktop and high end digital printers as well as CMYK print. Making scanner and printer ICC profiles using Monaco EZ color 2.5 with a flatbed scanner verses using Monaco Proof and other high end calibration packages with an X-Rite or other spectrophotometer. Using Photoshop to tweak Epson or Bill Atkinson canned or custom Epson printer profiles to improve their color and better match your monitor. (Chapters 14, 15, 16)

Organizing, Archiving and Automating Digital RAW files using Bridge Digital cameras allow you to create so many more images much more cost effectively than film. Here you learn how to archive all those images. How to organize them and more quickly process them with CS2 or CS3 Bridge and Photoshop CS2 or CS3 Batch Actions is also something you will learn about in this workshop. (Chapter 11)

Overview of use of File formats and Correction Tools: Which file formats to use for what purpose, when and how. Why some color correction tools are more advanced than others, when and why to use each. (Chapters 10, 12)

Evaluating Levels Histograms for Raw Shooting, Scanning and Color Correction: Shooting in RAW or Scanning to produce a Master Image that can then be resampled to accomodate all the sizes, RGB film and printer output, Video and Web screen use and CMYK print output uses you may have for that image. Simplifying bits, bytes, resolution, dpi, percentage, and all the scanning jargon. Using levels and histograms to evaluate and improve your scans with any scanner. Getting the best results from RAW captures and how to embed RAW files in your layers using Smart Objects. Doing 16 bit per channel verses 8 bit per channel Captures or scans and making ICC profiles for scanners. (Chapter 16)

Overall Color Correction: using Levels, Hue/Saturation and Curves for color correction and sharpening of drum, and desktop scans for quality output to desktop and high end digital printers, CMYK separations and film recorders; setting highlights an shadows, correcting neutrals and colors, adding total and selective saturation, improving off colored originals. (Chapters 17, 19, 20, 24)

Creating the Master Image: The optimal steps and color correction techniques for moving your image from initial scan to a final master image which you can then resample and customize for your different final screen, film and print output situations. Includes discussions about preparing the file to get the best results on Epson, Dye-Sub, Lightjet 5000, Lamda, Pictrography and other digital printers. (Chapter 17)

Selective Color Enhancement: using 16 bit Layers, Adjustment Layers, Masks and other advanced techniques along with Levels, Hue/Saturation and Curves to change and enhance colors of selected items; using Color Range, Replace Color and Selective Color to match and improve colors. Making final improvements to specific off-color and dark areas using manual and threshold selections, Adjustment layers and Hue/Saturation tricks, dealing with out-of-gamut colors when converting to Printer profiles or CMYK, and the details of using the Unsharp Mask, the new CS2 Noise Reduction and Smart Sharpen filter and the Sharpen Only Edges BH actions to sharpen an image. (Chapters 21, 22, 24, 27, 29)



In the above Mono Lake image, you see the original scan of this image where the dried bush didn't have the dramatic lighting I wanted, then you see the layers palette I use to improve the image and finally you see the completed image. You'll learn how to use adjustment layers and masks, burn-and-dodge layers and other techniques to create final images of similar quality.

Combining Two or More Captures or Scans to Improve Dynamic Range: Using layers and layer masks to seamlessly combine two different captures or scans of the same high-contrast original or two bracketed originals of the same scene (one to get shadow detail and the other to get highlight detail), aligning and color correcting this difficult yet exciting type of image with multiple grouped adjustment layers. (Chapter 26)

For my ship rock corrections, I first applied two different Levels adjustments to the original 16 bit scan. One to bring out foreground details and the other to bring out sky details. These created the two layers of this image you see in the above Layers palette. This image was created before Photoshop CS so 16 bit layers were not allowed. That is why I had to first apply the two different Levels adjustments to the original 16 bit scan, then convert each of those to 8 bit, then add the rest of the Adjustment layers you see above. The process would be similar to this when combining two bracketed photos. In the above series of images of ship rock, the top two are the foreground image before and after the color correction Adjustment layers ForegroundOverallCurve and ForegroundLocalCont are applied to it. The two images below the Layers palette are the Sky layer before and after the Grouped Adjustment layer SkyOverallCurve is applied to it. The Adjustment layers Overall Hue/Saturation, Horizon Merged Spotted and Burn&Dodge are applied to both the Foreground and Sky layers. The layer mask to the right of the Sky layer in the above Layers palette controls which parts of either the Sky or Foreground layers end up in the final composite. Finally you see my completed Ship Rock Fire Sunset image just above this text. In the Digital Printmaking for Photographers workshop, you'll learn how to apply these types of corrections to your images.

Complex Color Correction and Retouching: Doing overall and final color correction and retouching of images that have serious saturation and color problems, using one or more good channel and the Channel Mixer to fix the others, using layer masks and adjustment layers to tweak color between several layers, retouching using blend modes to balance colors, sharpening, and final spotting. (Chapter 24, 25, 29)

Duotones, Tritones and Quadtones: using Curves to create Duotones, Tritones and Quadtones from black-and-white and color images; converting these duotones to RGB, CMYK and Multichannel for different printing, web and multi-media situations. (Chapter 23)

Working With Larger Images: setting up the Mac or PC, peripherals and Photoshop's preferences to get high performance and accuracy with larger images and complex projects. Using DVD and CD burners and other archiving techniques to backup your digital image creations. We will gladly help to answer your equipment questions.