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| Maximizing personal workflow for expressive digital B&W fine art prints with Tyler Boley
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Maximizing personal workflow for expressive digital B&W fine art prints with Tyler Boley.
Please speak with Cathy Cone at Cone Editions Press for detailed information, to reserve a place, and any questions you may have concerning these workshops. (802) 439-5751 #101
$1,500 - 4 day course – Tuesday through Friday. Classes are 9a – 5p at Cone Editions Studio in East Topsham, VT – limited to a maximum of 8 and a minimum of 4. Workshop takes place 9am - 5pm each day at Cone Editions Press. Each attendee has their own computer workstation with a connected Piezography printer. Each workstation is networked to an EPSON 4000, EPSON 4800, and EPSON 7600. There are 4 large format EPSON printers with the four hues of PiezoTone inks and a Piezography Neutral K7 large format printer. There are several scanners for attendee use, but most attendees prefer to contract the studio prior to their attendence to have Cone Editions scan their originals on the Hell 3400 drum scanner (at additional costs). There are many different papers to choose to print from Hahnemuhle, Bradford Papers, Legion Papers and others.
We will explore all aspects of the craft of making B&W fine art photography prints with a constant eye on exploiting and maximize the inherent appeal and applicability of the unique qualities of carbon ink on fine art papers, applying these ideas to file prep techniques at each stage of the workflow and choice of materials to fit print craft into the artists overall personal aesthetic.
Before beginning the technical discussions, we will look at prints and share work. Technical issues will then proceed similarly to the average workflow. First, some discussion of scanning and digital capture file prep techniques as they relate to B&W printing. Secondly we will spend considerable time on tonal editing issues in Photoshop. Particular emphasis will be placed on ensuring minimal tonal loss, developing editing directions consistent with the attributes of the materials and a personal vision, all issues related to this specific craft rather than more general digital imaging. The majority of time and emphasis will be spent in this area, file prep.
Participants will have opportunities to work on their own files, trying some of these ideas, and interacting with Tyler and each other addressing particular issues of interest to each individual.
Then we will spend some time exploring the materials themselves, how paper surfaces and tone effect image impact, and how ink hue choices can help our images say what we want. We will do some printing and more critiquing at this point as well, always bringing direction back to the individual’s printmaking goals.
The transition from traditional darkroom materials, including the more exotic like platinum, was thoroughly considered by Tyler for his personal work. Traditional materials have a long history and the craft has had many decades to move toward perfection. Therefore all of the above issues were very carefully explored and continue to be considered in depth to bring the most out of these new materials and make sure our prints are valid and speak as we desire. Before Tyler would entertain the possibility of printing for himself and others, a strong commitment to a workflow with integrity, a strong adherence to photographic values, and a way to bring images alive with these materials was necessary. This is the overall goal of this workshop, to help us gain affinity with this new kind of print and craft.
Participants should have some working knowledge of Photoshop, basic color settings, layers, and levels and curves. Bring some personal work, existing prints, unedited raw captures or scans, or film to scan on site. |
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