Digital photography for graphic design, architecture, art, web design, portraits, and general purposes.

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Introduction to Digital Photography
Summer 2005, Guatemala

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If you seek factual information on the:

  • Distinctions between Nikon D100, Foveon SD9, Fuji, Canon and Kodak 35mm

  • Actual distinctions between tri-linear scan backs and medium format digital backs

  • Distinctions between CCD and CMOS sensors (noise, etc)

  • True difference between one-shot and multi-shot digital systems

  • Full range of pros and cons of digital vs traditional film

If you realize there is still life left for traditional film, and wish to learn digital photography without abandoni
ng 35mm Kodachromes, 120 Fujichrome, or 4x5 Ektachrome quality, then you will feel at home with Nicholas, a photographer steeped in Nikon, Leica, Hasselblad, and Linhof experience.

We all start out with simple point-and-shoot digital cameras: Canon, Sony, Fuji, Nikon CoolPix. Nicholas began with a Sony Mavica, moved through three models of Nikon CoolPix, and now uses a Nikon D100 and Sigma SD9. He has used medium format and large format digital cameras also, so you will learn the pros and cons of every kind of camera. Dr Hellmuth has tested medium format (on Hasselblad) and large format digital cameras for their manufacturers too. Dr Hellmuth has been photographing in Guatemala for over 40 years.

How many other instructors of digital photography have written their entirely own textbook when they noted that normal books were not quite thorough enough?

The reason you can learn from FLAAR reports is because every statement in Nicholas Hellmuth's instructional materials is based on a single set of premises:

What class of camera is optimal for the kind of photography I do:

o 35mm, if so, which brand?
o medium format, if so, 1-shot vs 3-shot vs macro-scan?
o large format, what are the pros and cons of tri-linear systems?
o or do I need more than one format (we actually use all three).

What lens, back, filter, tripod, or accessory is

o The most practical?
o The best designed and constructed for ease of use?
o Is a good value for its price?
o Will last for years and then still have resale value?
o Will do its job effectively and allow me to concentrate on the shoot?

Which lighting that I am already used to from traditional photography

o Still works with digital cameras?
o Does not function whatsoever with tri-linear scan backs?
o Would be a disaster with film but is surprisingly the best choice for digital?
o I never heard about CD, HQI and HDI lighting before? Why is this turning out to be the certified kinds of lighting that some museums and libraries will accept?

Taking the photograph is only the first step. The darkroom development and the eventual printing are where the image achieves its final expression.

Yet how many conventional photographers never had time or space to have their own darkroom and who never printed their own photographs? Now you can do all the development in Adobe Photoshop and do your own printing with any number of inkjet printers, dye sublimation or even laser printers (with the new Tektronix).

Just as the chemical soup and timing within the darkroom resulted in a different feel for the photographic image, so also today you can tweak your photograph in Adobe Photoshop software. In printing you can select which printer, which inkset, which media, and continue to tweak the appearance of your image through color management in the RIP software.

But the reason why, at the end of having taken this course, that you will look back and be really glad you did, is that FLAAR has dedicated over 30 years to traditional photography with Leica, Nikon, Rollei, Hasselblad, and Linhof large format up to 8x10 chromes. So we know the world of 35mm negatives and slides, the world of medium format and larger. Yet we have made the transition, and thereby can assist you to enter digital photography too.

Most of the people who sign up say they were unable to find any other course where the instructor so clearly had personal experience in all four levels of digital cameras (point-and-shoot, 35mm, medium format, and large format).

Once they sign up and take the course, they realize that most universities do not have the range of equipment of FLAAR. Plus Dr Hellmuth also teaches at the University of Malta and at Bowling Green State University. Each university has additional equipment and different kinds of studio lighting. So Professor Hellmuth has seen it all.

Besides, not many other professors have nine wide format inkjet printers in their office (four in Guatemala, five at BGSU).

Training programs in digital photography by FLAAR
Introduction to Intermediate Digital Photography
February - May 2005
Introductory to intermediate
Taught in via Internet / Lecture in English
Request information
Course material will all be in English; however you can correspond en español oder auf Deutsch

Specials Sets FLAAR
Premium Reports
.. Giclee-Decor Set
.. Set for Print for Pay
.. Set for CAD and GIS
.. Indoor-Outdoor Print Set
.. Enterprise Set: corporations, government, museums
Premium Reports

NEW! Scanners
.. Media and Inks
.. Color Management
.. RIPs for Inkjet Printers

.. Fine Art Giclee Printers
.. Solvent Ink Printers
.. UV Curable Ink Flatbeds

.. Wide Format Printers for Signs
.. Wide Format Printers for Photo-Realistic Quality
.. Surviving in the Wide Format Printing World

.. Bonus Reports

Free Reports

.. Previews Self Download
Free FLAAR Reports

.. About FLAAR
List FLAAR Reports

Digital Photo Textbooks
.. Cameras
.. Scanners
.. Printers
.. Media
.. Software
.. Storage
.. Equipment
.. Book Reviews
.. Tradeshows
Meet Dr. Hellmuth
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Page first posted July 23, 2001, updated March 4, 2002,
Last updated September 03, 2004, redesigned January 2004
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