Eight classes are currently scheduled for 2008, through the following organizations:
   (click on name to go to class descriptions)

The Ansel Adams Gallery (at Mono Lake, east of Yosemite, and San Francisco, California)

Lepp Institute of Digital Imaging (Los Osos, California)

Calypso Imaging, co-taught with Bill Atkinson (Santa Cruz, California)

All dealing with how to make the best possible prints from your slides, negatives, or digital cameras files. And the best way is in the digital domain! If I'm using film in my 4x5 camera, I'll make scans.  If I'm using my PhaseOne P45 digital back, I'll use various RAW developing software to "develop" the image. Then—Photoshop to do any further corrections and fine-tuning. With a big digital file of my image, I can now make thumbnails for a web page, print small sample prints, or make big “fine prints” —all from the same digital file. I'll discuss working with various printers, including the Ultrachrome K3 ink printers, the LightJet, and others.

Which class to take?? All the 3-5 day classes cover essentially the same material. Locations vary, as do facilities and fees charged. The Calypso classes have the advantage of Bill Atkinson as co-instructor, and are also the shortest and most intense. With the longer sessions, the pace is slightly more relaxed. All the classes have received excellent ratings from students.

This course will cover everything you need to know to make the finest digital prints from your transparencies, negatives, or digital camera files. From exposing and scanning film to choosing the right printer, Charles Cramer will share the results of extensive testing in his pursuit to make the best possible prints. And beyond the technical details, you will learn ways to make your images stronger and more compelling. This class will expose students to the state-of-the-art in digital techniques and equipment.

What You Will Learn
The “Fine Art” in the title just means that you are willing to devote the time and effort to explore and optimize your images to their fullest potential. This class will give you the tools to go beyond your transparency, negative or camera file and imagine the possibilities within your image – tools that will then enable you to make your images stronger. Much discussion will center on critiquing prints (produced both before and during the class) and exploring what makes an exceptional print.

There will be a healthy discussion of color management and how to diagnose if a problem is due to your monitor calibration – or your printer profiles (or both!) The Pros and Cons of many printer choices will be discussed – and demonstrated with actual comparison prints.

A large portion of the class will be devoted to various Photoshop exercises, where you get to try out the favorite techniques and tips of the instructor. Much time will then be devoted to letting the participants utilize what they’ve learned in working with their own images. At the end of the course, you will be able to take home several finished prints, a more effective workflow, a list of recommended equipment, and a greater understanding of how to make your own prints…better!

Who Should Attend?
This is an intermediate to advanced level course for photographers who want to make their images more effective, and make them more effectively. Participants should already be involved in making their own prints – and want to learn how to make them better. Aesthetics, equipment selection and image fine-tuning techniques are all covered.

For more information, and to enroll, go to the Lepp Institute's webpage

Digital Printing for the Fine Art Photographer
with Bill Atkinson and Charles Cramer

For more information on this class, and/or to sign up, email Charles Cramer at cc@charlescramer.com

Dates for 2008: Feb. 29 - March 2, May 2-4, Sept. 19-21, Nov. 14-16
Fee for class: $1095,  plus lab fee of $50      Class limited to 14
Starts Friday 9 AM, ends Sunday 5 PM (with evening sessions on Friday and Saturday)  

ALUMNI PRINT-MAKING "INTENSIVE" SESSION: June 20-22, 2008 · Fee $1195 plus Lab fee of $75 · Limited to 14 · Same meeting times as above · Includes discussions and demonstrations of handling problem images, with majority of class time devoted to helping students optimize and fine-tune their own images, with extra time on the Lightjet. Prerequisite: Having attended any of Charlie and Bill’s, or Charlie’s previous classes.

“Calypso Imaging, Inc. is pleased to host these workshops at our new digital lab and teaching center in Santa Cruz. We have updated to all Intel-based Macs, flat screen monitors, comfortable task chairs and a large display area. Our LightJet and Epson printers and all facilities will be at the disposal of Bill and Charlie. This is a dynamite learning experience conducted by two of the best photographic artists in the country. Attendance is limited so contact Charlie by phone or email as soon as possible”.
                            -Joe Levine, President of Calypso Imaging, Inc. 
                                   (Visit Calypso's website at   www.calypsoinc.com)

Come to the “source” for authoritative answers to your questions. This workshop is arguably the most successful of its kind being offered––having been presented over 36 times since 2001. Attendees have spanned the range from hobbyists, to professional photographers, to engineers from HP, Adobe and the ICC. In three days you’ll learn essentially everything you need to know to make the finest digital prints from your color transparencies, negatives, or digital camera files. Subjects covered will include equipment selection, workflow, color management, scanning, using Photoshop to fine-tune your images, and preparing files for digital printing. Students will get to fine-tune and print using their own images––making up to three Lightjet proofs and, after fine-tuning, two 20x24 prints. A set of Photoshop action scripts for streamlining the fine art print process are also included. Students must already have a good working knowledge of Photoshop.

Subjects covered in detail will include:

WORKFLOW FOR FINE ART PRINTING
Use of Photoshop actions scripts

DIGITAL CAMERA FILES
Using Adobe Camera Raw and Lightroom
Getting the most of our your digital capture

SCANNING
Purchase vs. service bureau---do I need my own scanner?
What is a good scan and how to tell

COLOR MANAGEMENT (covered in depth)
Using color management to insure consistent results from monitor to final print
Color management software
How do I color-profile my monitor, scanner, and printer?

IMAGE PROCESSING
Recommended techniques for working on files
Making a Photoshop Master file using adjustment layers
Photoshop selection tools---tips and techniques
Setting density and color balance
Retouching, burning and dodging
Preparation of files for output to various printers
Using the “Smart-sharpening” action script (included)

EQUIPMENT SELECTION
Selection of monitor and monitor calibration software
Printers for proofing and printers for final output
Software for image processing
Storage for large image files, CD and DVD writers
Digital cameras

PRESENTATION
Archival methods of mounting and matting digital prints

Students will build a master file, fine-tune, and make prints under the guidance of the instructors. There will also be time for print and image critiques, so students are encouraged to bring images along for sharing with the group. You’ll learn not only the “how” (with Photoshop techniques), but the “when” and “where” to apply these techniques to make your prints stronger and more compelling.

BILL ATKINSON When Apple superstar Bill Atkinson signed his name on the die of the original Macintosh, it was in the spirit of an artist signing his work. One of the key software architects of the Mac, Atkinson created most of the Mac’s user interface as well as the first versions of QuickDraw, MacPaint and Hypercard software. Today, Atkinson uses the Mac to follow a lifelong dream: producing flawless, luminous nature photographs. To accomplish that goal, Bill has pioneered many of the techniques, methods, and workflow used for digital imaging, and is considered a master of color management. Atkinson has instructed at the Ansel Adams Gallery Workshops, and has been a consultant to leading digital service providers. Bill’s book, “Within the Stone” was published by Browntrout in July 2004. His work can be seen in many fine galleries, and at his website, www.billatkinson.com.

CHARLES CRAMER  Charles Cramer has been photographing the landscape for 30 years. In 1997, he started scanning his original 4x5 inch transparencies at very high resolution and digitally applying the photographic techniques he used in dye transfer printing. He has taught digital imaging for the Ansel Adams Gallery Workshops, Palm Beach Workshops, Anderson Ranch Workshops, and the Lepp Institute of Digital Imaging. Charles Cramer’s landscape work has been published by National Geographic, Sierra Club, and the Yosemite Association. He has been profiled in PhotoTechniques, PhotoVision, and View Camera Magazines. He is also included in the book “Landscape: The World’s Top Photographers”, now available in paperback! His work can be seen in galleries internationally, and at his website, www.charlescramer.com.