Digital printing
and image interpretation

Gabriel Figueroa Flores and Javier Hinojosa

In the last decade photography has been transformed dramatically. The most widely used photography today is digital technology. Most authors use digital programs to process their work. Digital printing technology has been transformed in the same way and today there are very different and varied ways to print.

We consider it especially important that authors have basic knowledge for printing their files on digital plotters, so that they can experiment more in the creation of their work, and at the same time have greater control of their prints. The digital image allows a great plasticity to be modeled and transformed in an almost infinite way, having the appropriate knowledge bases.

This workshop is aimed both at authors who are interested in being self-sufficient and printing their own work, at authors who want to know how to send their files to a laboratory or what to ask the printer, to participants who plan to open a laboratory for customer service.

For them we offer this workshop taught by two of the best printers in Mexico who have an important career both in their professional laboratory, and in the field of their own author's work.



A class will be dedicated to developing the theme of the interpretation of the digital photographic image and making a dissertation or analysis of how this theme has been or is being worked on in contemporary photography. In the second class, it will be explained with examples how to solve specific problems in printing work. And the third phase will consist of reviewing the files of the participants' projects and seeing how they are dealing with this issue in their work.

The purpose will be to give more tools to the photographers who attend, a better understanding of the photographic medium, so that their images have better quality, intention and personal stamp.”.

• How to adjust and prepare digital files
• Digital formats advantages and features DNG, NEF, Tiff, JPEG, Camera Raww)
• Pre press. Image treatment for printing
• Focus. Image structure and its modification through digital programs.
• Image sizes, dimension and shape.
• Color settings
• Curve settings
• Contrast settings
• Interpretation. What does the image need, discussion about the intention of an image, its conversion to personal terms and its visual effectiveness.l.
• Profiles for printing. Papers and supports. Choose the most suitable supports and / or papers for the image in question.
• Interpretation of the printer. The inks and their permanence, point of the image.
• Photoshop, Lightroom and various Softwares interfaces.


Requirements for students:

• Have basic knowledge and / or notion of digital photography and the use of editing programs, such as Adobe Photoshop and Lightroom.
• Prepare and bring to classes a small digital portfolio, which will be used for the student to retouch, adjust and prepare their files for printing.
• If you have previous prints of your work, take them to compare formats, supports and results.

Gabriel Figueroa Flores | Gabriel Figueroa studied his Bachelor of Visual Arts at the University of Westminster, England graduating in 1977. He took additional courses with Ansel Adams in 1975, Manuel Álvarez Bravo in 1983, Arnold Newman in 1985 and Eikoh Hosoe in 1996.

He is the author of several books such as: Sinaloa 1986; Revillagigedo Archipelago, The Last Frontier 1988, Mexican Fantastic Architecture 1991; Mexico City, Restoration of Buildings Vols. 1 and 2 1988-94; 500 years of Baja California 1997. He has contributed to various national and international publications, such as Life Magazine, New West, New York, Landscape Architecture, Artes de México and Los Universitarios. Among his publications are: Ten Landscapes, edited by James Graysson Trulove, Gloucester Massachusetts, USA, 2002 and Paraíso Mexicano, Editorial Planeta México, 2002. And the most recent: Arenas Nomadas, artist book 2012. His artistic work has been exhibited in various Mexican galleries since 1979. Abroad he has exhibited in Switzerland, Belgium, England, France, Italy, Panama and Spain.Panamá y España.
He is the custodian and restorer of the photographic legacy of his father, the cameraman Gabriel Figueroa, having produced a body of photographs of his best frames and scenes, in various portfolios, including photoserigraphs, platinum palladium copies, photographs and digital copies. He has been tutor of young creators in the scholarships granted by the National Council for Culture and the Arts from 1995 to 1998. He has been part of the National System of Creators from 1999 to date. He participated in his first film production as a cinematographer in 2000.
His area of greatest interest is travel and expedition photography, as well as fine art photography, editorial work, and fine digital printing. He has been a tutor of the National System of Young Creators of FONCA. In 2007 he co-directed and worked on the production of a feature film about Diego Rivera, Gabriel Figueroa and Manuel Álvarez Bravo based on material filmed by them in 1949, a documentary called A portrait of Diego, the Revolution of the Look.».
His recent solo exhibitions include: Constructed Views 2012, Monterrey Photo Library, Horizontes 2013, Manuel Álvarez Bravo Photographic Center in Oaxaca, Horizons 2013, Mexico Cultural Center in Paris, Baja und Alta 2013, Monika Wertheimer Gallery in Basel. en Basilea.

Javier Hinojosa | Javier Hinojosa's photography carefully studies the possibilities of contemplating the landscape, which invites us to reflect repeatedly on our relationship with nature and various historical spaces.
Starting in 1998, he traveled the country, in the manner of the ancient expeditionaries, photographing pre-Hispanic architecture; thus, it has formed an extensive catalog, printed in various techniques, which has traveled the world in different exhibitions. Described by Juan Villoro as a photographer of solitudes, and faithful to his conservationist spirit, for fifteen years he has been developing the Estaciones project, a registry of protected natural areas in Latin America; As part of this work, Hinojosa has also portrayed the other side of Mexico City: forests, wetlands, peaks and ravines that have remained outside the urbanization processes. His work has been exhibited in museums and galleries in Latin America, the United States, Europe, Asia, Africa and Oceania, and is part of collections such as the MUAC University Museum of Contemporary Art, LA DE LA Fundación Televisa and the Museo de Arte Precolombino. and Indigenous of Montevideo. He is the author of numerous books, including Shared Silences 1998, Mayas: spaces of memory 2000, Guardians of Ancient Mexico 2004, and Seasons 2009, and has produced various artist books in limited editions, as part of his series Cuadernos del Insomnio .el Insomnio.



QUOTA 12 participants
$2,200.00 materialss

DATES| From August 28 to 31, 2018.
SCHEDULE| 16:00 to 20:00 hrs
REQUIREMENTS| Send a letter of the reasons why you want to take the workshopuntil Sunday, August 26