December 21, 2014, 06:39:39 AM

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Messages - dendowling

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All my edits, organizations, tags, albums, picks, etc.  Without access to Lightroom that’s all gone.
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If I want to 'chop again, I sign up.  But I no longer have access to my file system?  The edits I've made?  The catalog that I've spent the last 10 years or building will no longer be backwards compatible with CS4.  The only way I can access all the work I’ve done is to keep paying Adobe.  At that point I don't need new features, I'm fine with an old version, but I need something that can read my file system and my edits.  All I have to speak for my photography the last 5 years are anything I exported, and folders and folders full of unedited, unorganized RAW images.
Even without a photo app you won't be completely devoid of organization and tags.

As others mentioned you should have the XMP option turned on in LR so all edits and metadata are saved to XMP sidecars. Also, whenever you export files you should always include all metadata so, your exif, tags and ratings will be embedded in your tif files.

XMPs are plain text files so, any computer will find the keyword tags you've added to photos. 

Also, EXIF info can be read by most photo apps. So, you will always have the photo dates, camera, lens, etc info. And, if you have tagged GPS on your photos, that will show up in other apps.

Also, when you import photos to LR you are choosing some form of organizing your photos into folders on your computer. You can also use LR to reorganize photos into other folders on your computer which will remain even without LR. 

If you have collections in LR that you want to maintain you can also add keywords that will help you recreate collections or albums elsewhere. Say you have a Yosemite Portofolio collection in LR. Select all photos in that collection and add a keyword like "collectionYosemitePortofolio". Even without LR you'll still be able to find images for that group.

As for the development settings, yeah, that is limited to Adobe products. So, you would likely need another Adobe app to reuse your development adjustments on the RAW images. But, you don't need to keep a continuous subscription to CC. You could get the last version of LR5 that works without a subscription and just work with that indefinitely. Or, cancel your subscription the start it up again temporarily when you need it in the future. Adobe is pretty good about making sure the latest software will still open old files and catalogs that are many years old. Just make sure you save your LR catalogs.

And, of course, you can always export important images to tiff if you really want to preserve your development work.

Another option to maintain your organizing is to open your collections in the Print mode and set up a proof sheet layout and save as PDFs.

Also, paying Adobe is not the only option. There are community/commercial photo labs, schools, friends, etc that will let you use their computers - another way to work on a few pics, do some conversion or make prints without having to sign up on CC again.

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EOS Bodies - For Stills / Re: 6d Banding/Posterization in Blue Sky
« on: March 21, 2014, 10:38:45 PM »
Sporgon your building and landscape photos are awesome - I can't imagine shooting those as JPEGs. :)

Yeah, if a beginner is shooting with a cheap point & shoot it's fine for them to use sRGB JPEGs.  But,  I thought we were talking about experienced photographers using dSLRs here. If someone is into photography and buys a nice dSLR I would never recommend shooting JPEG. There is too much loss of image detail on JPEGs.  It's like buying a nice HD1080 video camera then shooting everything at SD480. :D

Even if the user plans to only upload photos to websites it's still not necessary to limit captures to sRGB. The photo processing software like Lightroom or iPhoto is always going to automatically convert the color profile on export, no effort required from the user.

I would not recommend photographers downgrade their original captures in order to match the low grade equipment of the average web surfer or an outdated image standard. Don't aim for the lowest common denominator. Photographers should be capturing their originals in a higher quality format and only exporting a low-grade version as necessary for web use.

If we want to move beyond the old sRGB standard we need to stop adhering to that standard and start capturing and processing in a higher quality format.  :)

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EOS Bodies - For Stills / Re: 6d Banding/Posterization in Blue Sky
« on: March 21, 2014, 10:36:33 AM »

That's very misleading. Whilst it is true that colour space doesn't effect the raw capture, you always have to convert the raw file to some form where you can view it as an image, and in this viewable form colour space will apply.

However at the present time most people are just going to give themselves issues by shooting in adobe rgb due to the fact that virtually all display mediums are srgb.

sRGB was designed back in the 1990s when everyone had low quality monitors and low quality printers. Current computers and displays have much better color quality plus ICC color management and higher quality printers. So, most people are able to see images displayed in higher quality than the sRGB color gamut.

Generally, you'd want to capture images in camera in a high quality format and downgrade later only if necessary. Post processing software always has the option to convert color space on export so there's no need to shoot in sRGB.  It'd be better to capture in RAW or AdobeRGB and only downgrade to sRGB if needed in post process export. It would seem odd to spend a lot of money on a pro grade camera and then shoot images in a low quality format.

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EOS Bodies - For Stills / Re: 6d Banding/Posterization in Blue Sky
« on: March 21, 2014, 07:01:22 AM »
1) In the 6D's menus, bottom of the third page from left is Color space. Select Adobe RGB. You'll get the most pleasing results if the gamut of your monitor and workflow software also display in Adobe RGB or wider.

Keep in mind the camera's Color Space setting only affects JPEGs. Photos shot in RAW mode do not include any color space adjustment. But, it's still a good idea to set the cam to AdobeRGB just in case you accidentally shoot some JPEGs.

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EOS Bodies - For Stills / Re: 6d Banding/Posterization in Blue Sky
« on: March 21, 2014, 06:47:19 AM »
The banding issue is not due to your camera it is due to your Lightroom previews.

If you look at a photo in Lightroom's Loupe View you are not seeing the full quality image, you are only seeing a JPEG preview version of your image and is likely to have banding. If you want to see a fully rendered version of your image go to Develop mode and zoom into 1:1 (wait for render) and zoom back out.

There is also a preview setting in Lightroom Catalog Settings under File Handling. Make sure you have Preview Quality on High. Even with that on High, I'd still suggest going to Develop mode 1:1 for a proper rendering of your image.

It may also be possible to have banding if your camera is set to shoot JPEGs instead of RAW. Avoid shooting JPEG, make sure your camera is set to RAW mode if you want the full benefit of post-processing in Lightroom, Photoshop, etc.

Dust spots on the sensor should be rare for a brand new camera. If it's sensor dust you would see small dark spots on images shot at small aperture like f/22 and up and, faint fuzzy spots at mid apertures like f/8.

Lots of places to find sensor cleaning recommendations. Before (or after) you try a sensor cleaning, you can do a sensor dust test by shooting a blurry photo of nothing.

Set your camera to a low ISO like 100, use Aperture Priority and your smallest aperture like 22-32, set your lens to manual focus at infinity, and shoot a plain solid color wall just a few feet away (deliberately OOF, tele works better than wide angle). The small aperture should give you a very slow shutter so, it helps to move the camera around a little while the shutter pops to avoid getting a clear shot of anything on the wall. When you import the photo use auto white balance and turn up the contrast to get a better view of the spots.

If you don't have the tools or time to clean your sensor it's a good idea to shoot a sensor dust test before an important shoot so, you can use it as a reference of dust locations when trying to determine if your good photos have dust spots.

Also, if you use the Spot Removal tool in Lightroom you can also Sync the spot correction from one photo you corrected to any other photos that have the same composition (tripod shots) - as long as the image area at the sample points is the same from one image to the next.

As usual, avoid changing lenses in windy and/or dusty locations. Dust in your mirror box and dust on your rear lenses may eventually make it's way onto your sensor.

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Software & Accessories / Re: 6D and CS5
« on: April 29, 2013, 09:42:10 AM »
Another option instead of using Adobe DNG Converter - try  Import to Lightroom as DNG.

When you import to Lightroom you can just choose 'Copy as DNG'.  Lightroom converts to DNG as it imports your photos.

Then you can easily open, edit, merge, etc your images straight from Lightroom to Photoshop CS5 without the ACR problems.


Just remember to check the Lightroom prefs for DNG Conversion compatibility so, it matches whichever version of Camera Raw you have - i.e. Camera Raw 6.6 for CS5.

Also, look at the 'Embed Original Raw' option. Embedding keeps another copy of the raw file inside the DNG so, there'd be basically two copies of your photo in each DNG - which of course, means huge DNG files. I'd leave this off and just keep my original CR2s in an archive backup somewhere safe and just use normal non-embedded DNGs as my working image files.

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EOS Bodies / Re: Canon EOS 7D L Announced, Shipping in May
« on: April 01, 2013, 09:19:54 AM »
What about the BG-E7L Battery Grip? 

7D + 7DL would be nice for a stereo 3D setup.

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EOS Bodies / Re: An EOS 3D Mention [CR1]
« on: December 28, 2012, 04:47:27 PM »
I agree with above post, naming the camera '3D' sounds like a really bad idea if it does not have any 3-D image features. Sure, some Canon users will understand the naming history. But, everyone else will be confused or annoyed with a camera called the 'EOS 3D' that does not shoot in 3-D - it sounds dumb. I hope Canon knows better than to use that name. It's a marketing fail waiting to happen.

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EOS Bodies / Re: EOS BODY FOR ARCHITECTURE
« on: August 24, 2012, 07:57:50 PM »
so i must go FF ,  with tse -17 and 24 .... .  sorry but one more question : do you think having 16-35 mk2 or24-70 is at all nessecery along my 2 tse lenses , or a waste of money ? and one more thing .... my power shot is veryweak on iso performance ( max 400) so most of the time i need a stable surface as a tripod ( because i dont have one ) specially for interiors . so after all this ... do you recommed 5d2( my iso problem) ?

For architecture it's not necessary to have a 16-35 zoom if you have 17 & 24 TSEs. But, you may want to have the short zoom for other reasons - maybe for sports, kids, hiking. So, if you don't want to spend so much money on lenses you might choose to get a 16-35 or a 17-40 instead of a 17TSE if you have other uses for the zoom. Then occasionally when the  24TSE isn't wide enough you can use the wide end zoom for architecture and just be careful to not tilt the camera too much or do minimal perspective correction in post process.

The EOS 5Ds are good for architecture. The other (more expensive) EOS full frame bodies are geared more for high volume, speed/action shooting - so if you don't need the speed for other reasons there's no need to spend the extra money on other EOS full frames. For architecture, I don't think the 5Dmk3 is necessary, 5Dmk2 is fine.

But, here are some benefits of 5Dmk3 over mk2:
mk3 has up to 7 frame Auto Bracketing, mk2 has only 3
mk3 does  +-5 EV Auto Bracketing, mk2 only +-2
mk3 can use CF or SD/SDHC/SDXC cards, mk2 only uses CF cards
mk3 has 61 AF point sensors, mk2 has 9 points
mk3 shoots continuous 6 fps, mk2 shoots 3.9 fps

The extra auto bracketing on mk3 is cool if you do a ton of HDR. But, it's not too hard to just bracket manually - shoot, dial 3 clicks, shoot, dial 3 clicks, shoot, dial 3 clicks, etc. The extra AF points and fast fps are not necessary for architecture.

If you're going to shoot architecture with a shift lens you have to use a tripod. The shift setting is not going to be accurate while hand-holding. And, often in architecture you want a lot of depth of field so, you use a tight aperture and slow shutter. Also, nice to shoot long shutters to keep the building sharp while letting trees, water, people blur out.

Yeah, the newer DSLRs will have way better ISO, less noise than the small point&shoot cameras. But again, you'll probably want to shoot architecture in mid 100-400 ISO and need a tripod anyway. 
 

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EOS Bodies / Re: EOS BODY FOR ARCHITECTURE
« on: August 24, 2012, 08:31:07 AM »
Yeah, full frame is nice for architecture since it works well with the TS-E 24mm.  FF+24 is usually good for interiors unless you need to shoot really small rooms like bathrooms - which might need the 17mm.

Using a cropped sensor camera with the 24mm might seem too cramped for interiors but, should be OK for exteriors if you have room to backup. Some places like old narrow European streets may not always have room to back-up when using a 24mm on crop sensor.  If you have a cropped sensor you may end up needing/wanting the TS-E 17mm even for large interiors or cramped exterior spaces.

The old Canon TS-E 24mm can be found used around $800-900 maybe new $1000. The new TS-E 24mm II is about $2000 and, the TS-E 17mm is about $2300. Also, you can put filters on the 24mm lenses but, you can't put filters on the 17mm. Very often you'll want to use a polarizer for architecture.

It's also a good idea to go rent TS-Es for a few days to see how you like them before buying.

If you've never used a TS-E be careful with exposure and lens settings. Two main mistakes to avoid.. first, you can't shoot in auto exposure mode with the lens shifted. If the lens is shifted you'll get an incorrect meter reading. You have to shoot manual, make sure the shift is in neutral position, take a meter reading & set exposure then, shift your lens. Or, just use the LCD to judge your exposure setting.

Second, constantly check the Tilt setting to make sure it is always in neutral setting and locked down. It's easy to inadvertently bump it into a tilt even when it's locked and you end up with bad tilt blur when you didn't want it.

Another useful tool for shooting architecture is to get a bubble level that slides onto your hotshot.  Traditionally, you always want your vertical lines of the building to be parallel so, the camera should always be perfectly level. You can also use LiveView mode to compose images with the LCD Monitor and turn on Grid View so you can align the building lines with the grid on screen.

I think 22megapixels is plenty. Though, you may want more megapixels if you're making really huge prints. Other reasons for more pixels - if you have to crop out a lot of your image -like maybe you want a square image so you'd be wasting a bunch of pixels. Or, if you don't have a shift lens or can't shift enough and you have to do post-process perspective correction - that wastes a lot of pixels too.

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