Digital Photography Course.pdf

Digital Photography

Introductory level to Intermediate

• Digital photography in the studio

• Digital photography outside on location

• 35mm medium and large format digital photography

• How to select the digital camera which is best for your needs

• How to avoid choosing the wrong camera, lighting, or accessories

A feature of this course, and what makes it unique, is the focus on

Digital Photography as Input for Wide Format Printing

Medium format digital

Example of quality you too can achieve with a digital camera

with tips and help of this course on digital photography

35mm SLR digital

Large format digital

Organized and delivered by Nicholas Hellmuth, PhD

Open enrollment, via web-based training. You don’t have to be resident in Ohio, you can

take this course from anywhere in the world via Internet.

Course programmed for Spring 2004

FLAAR REPORTS

Digital Photography course

Introduction

FLAAR was in the forefront of museum-quality,

traditional studio and location photography before

digital imaging even existed. This experience means

that the new course can empathize with traditional

photographers, who have a background in 35mm,

medium format, and large format photography, as

well as non-photographers who also need to move

into the shifting sands of the digital millennium.

Course Abstract

New headquarters for the FLAAR digital imaging facilities

at Bowling Green State University.

Nicholas discusses, compares and contrasts, and reveals pros and cons of

• Nikon, Canon, Contax, Foveon-Sigma, Fuji for 35mm SLR level.

• BetterLight, PhaseOne, Anagramm, Kigamo for wide format at the high end.

• Nikon CoolPix, Sony, Minolta, Olympus and other zoom-lens entry level.

• Imacon, Fuji Luma, Jenoptik EyeLike, MegaVision, Kodak, PhaseOne Sinar for medium

format.

This course provides step-by-step instruction of how to produce digital photographs that contain

optimal resolution for impressive output with wide format printers. We cover printing photographs on

ColorSpan, Encad, Epson, Hewlett-Packard, Iris giclee, Mimaki, Mutoh, Roland, inkjet printers, 24” and

wider, though the course is equally applicable to digital imagers such as Durst Lambda and Cymbolic

Sciences Lightjet.

Although the emphasis is on wide format printers, it is natural that if you have only a tabloid sized

printer, such as Epson 1520, Epson 2000, Epson 3000, Epson 5000, Epson 5500, one of the newer

Epson 2200, Hewlett-Packard 10ps, 20ps or 50ps, Canon 8500 or Canon imagePROGRAF 2200,

that you will also learn how to produce better photographic and ine art giclee prints as a result of this

course. You can print on photobase, canvas, or watercolor paper (or directly onto silk, cotton, even

leather: Professor Hellmuth is director of the FLAAR inkjet testing lab, so you get all the information

directly from his years of experience).

Nicholas has about nine inkjet printers, including the fabled Iris 3047 giclee printer, right in the

same facilities from which he broadcasts the training course.

However, this course is also appropriate for people who need to produce the absolute top quality

with a Xeikon, Scitex, Xerox, or HP-Indigo-type variable data liquid toner digital printer or Fuji Pictro-

graphic.

If you do not yet have any printer at all (none is required; you can take the course without owning either

any camera nor any printer). We do not recommend that you buy a printer or camera until you have all

the evaluations that will be available to you as a participant in this course. For example, two of those

printers listed above are poorly designed with serious deiciencies; yet several of that tabloid-sized

series of Epson printers is excellent and we recommend them. So surely you might like to learn which

printers to avoid, and which printers are worthy of your consideration.

FLAAR REPORTS

Digital Photography course

Target Audience

People who take this course want to learn from an experienced photographer who has actually used

the complete range of digital cameras.

Most of the people who sign up for the course primarily want tips on which camera brand and

model to purchase. Then they seek help on knowing what studio lighting and accessories to

use. Help with color management is much sought after also.

This course is appropriate for the following professions:

• Artists (photography of art for giclée printing), art con-

servators

• Curators of any kind of museum, natural sciences,

archaeologists

• Graphic Designers

• Photographers, intermediate level and up

o portrait photographers

o sports photography

o photojournalism

o travel photography

o Product photography

o Industrial photography

o Architectural photography

o Black-and-white photography and inkjet printing

o Landscape and panorama photography

o Wildlife photography, plants, animals, birds

o Scientiic photography (geology, botany, zoology, etc).

• Leisure and pro-sumer photographers who aspire to produce prize winning photos for exhib-

its

• Geologists and geographers who need to print GIS combined with photos

• In-house corporate graphic staff

• IT staff

• Architects, art historians, architectural historians

• Engineers who need to print CAD combined with photos

• Theater design staff for backdrops and costumes

• Television station set designers

• Textile designers for prooing textiles

• Realtors who need to produce excellent images

• Instructors at community colleges, colleges, universities, art schools, who themselves wish to

use, or teach, digital photography

• Students of all levels in any of the above ields who need to learn advanced digital photogra-

phy

This course is also appropriate for individuals in the following industries :

• Advertising agencies

• Sign shops that specialize in POP signs

• Quick print shops

FLAAR REPORTS

Digital Photography course

• Reprographic shops

• Prepress

• Prooing

• Courtroom graphics is another area where the quality

of display graphics may win a court case

• Government agencies

• Hotel companies

• Travel agencies

• Tradeshow graphics

Course Objectives

Focus on printing your digital photos.

Participants enrolled in this course should have the following goals:

• Understand why and in what aspects an original digital photograph may produce a better result

than would a scanned negative or transparency (and vice-versa in other circumstances: we

explain the occasional instances when a traditional photograph is better than a digital photo-

graph)

• Understand how the quality of a digital photograph can equal the quality of a traditional dark-

room photograph, and in what circumstances this is not so

• Learn which type of digital sensor will produce the types of photographs you and/or your com-

pany need to print. Once you know the capabilities of each distinct type of digital sensor (CCD

vs CMOS), then you can make an appropriate selection of a make and model of digital camera

(remembering that every camera has some good features, and those same good cameras

have a few weak points).

• Be able to make the best use of a camera you already have to produce at the quality that you

need. Most photographers do not have enough money to waste on buying the wrong equip-

ment. It is equally crucial to have documentation to support your decision to buy the brand and

model you decide on. All of this is what you get from the expertise of Dr Hellmuth.

• Lighting for digital photography is both the same yet totally different than lighting for traditional

studio photography. People who sell you the cameras may not warn you, or my not know the

answers anyway. It is rare they have personal experience in every kind of lighting (most places

could not possibly stock everything anyway). Nicholas Hellmuth has dedicated considerable

effort to bring documentation on lighting from

Photokina as well as from personal practical

experience.

• Be able to make a decision on choosing a

printer that will meet your needs. You will also

realize what accessories, software, inks, and

inkjet materials to consider.

• Be able to go to any tradeshow or camera store

(or wide format printer dealer), and understand

the jargon, distinguish advertising hype from

reality, and be able to make an educated selec-

tion of equipment

Professor Hellmuth and participants visit PMA photog-

raphy trade show together. This is an option, not a

requirement.

FLAAR REPORTS

Digital Photography course

• Know which aspects of Adobe Photoshop you need to concentrate on either with practice or

through a subsequent course. You will also receive instruction on what after-market software

is a good companion for Adobe Photoshop, and which digital asset management software can

keep track of all your images.

• If you wish to be at ease with the jargon of digital photography, digital imaging, and wide format

printing, then you have come to the right place. You will have enough glossaries available to

you so that you will be able to read, and understand, even the most arcane report on these

subjects and at least know where to go to get help with the deinitions.

Research and Preparation undertaken to prepare this course for you

Two years ago we conducted a survey of roughly 90%

of the photography courses available in the USA. Much

to our surprise, out of several hundred universities,

community colleges, institutes, museums, or photog-

raphy schools, less than 3-dozen actually offered a

course even labeled as digital photography.

The majority of courses that were advertised as “digital

photography” turned out to be introductory courses pri-

marily on scanning (which is not digital photography). In

the few courses where a digital camera was discussed,

only about 10% of the course was dedicated to the

camera; 90% of the course was on Adobe Photoshop-

-teaching students how to repair bad scans. Again, the

rubric of “digital photography” has been improperly assumed to cover scanning traditional ilm and

then imaging the resultant scans.

Dr. Nicholas Hellmuth and Jennifer Imes preparing the Digital Photogra-

phy course

Of the rare instances when a course was really on digital cameras and actual digital photography,

probably seven or fewer offered a program in large format digital photography. Courses on inkjet print-

ing were even rarer.

In distinction, BGSU offers a unique course, not a generic course on scanning and Adobe Photoshop

(which you can ind almost anywhere). This course by BGSU+FLAAR is dedicated to showing how

your digital photography can be (and deinitely should be) good quality from the moment of image

capture. Your photography should be so good out of the camera that you rarely need to use Adobe

Photoshop (other than to resize the image for inal printing). Obviously, in real life this goal is elusive,

but nonetheless, this course seeks to prepare good quality digital photos to begin with, straight from

the camera.

This goal implies learning which digital cameras are best for producing these ideal images. It turns out

that the brand name is not always the relevant aspect; what you need to learn is which of the several

competing technologies is best for your speciic needs.

To incorporate a good mix of learning how to handle a digital camera together with speciic features

of Adobe Photoshop exclusively dedicated to digital photography, this course will be divided into the

following 4 sections:

• The major portion of the course will be directly on digital cameras, lenses, ilters, sensor tech-

nology, digital accessories, studio lighting, etc.

• Digital photography in the studio as well as out on location.

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