Thursday, January 27, 2005
Hey - thank you all. The Maxtor 300 GB with USB 2.0 was setup
quickly and I now have another 300 GB of storage for $270. The
thing that surprised me is that it seems as fast, or faster than the
drive that I have inside the PC. Whereas the other external drive
I have... well who remembers anymore what speed that was or if it had
any buffering etc. I don't.
- - -
I have been doing my printing on the Ilford Pearl Semi-Gloss and liking
it more and more. Today I did Night Storm for the first time on
that paper. It may be better (in some ways) than the one on
fiber. Yes, it has a different feel, but still, very rich,
contrasty... It has to be sprayed with at least two coats to bring down
bronzing... Still, pretty amazing...
- - -
And a bunch of orders came in all of a sudden within the last few days, could be for Valentine's Day.
- - -
The interview with the new black and white fine art magazine is setup
for next weekend. I'm still working on a persona for this
interview but when the magazine comes out, it is aimed at collectors -
so who knows.
- - -
And this might be a break. A couple that I know are thinking of
moving to Florida and might want to sublet their place which is less
money and bigger than where I am now - but it brings up a whole bunch
of changes I'd have to take care of: do I then sublet my place? I would
have to change my address for business purposes all over the
place. They would give me a few months warning if they were going
to come back, but man that would be a drag after getting used to bigger
digs. Still - they have two windows that get THE SUN.
Something I can't imagine. And one more room than I have.
I'm starting this Digital Workflow Tips section, with some of the
things that I feel are rockbed. Other than shooting in RAW, I
want to try and keep it confined to things that will make the process
after you've taken the picture easier and produce better output.
Feel free too contradict anything I've started with, or to add to it.
|Digital Workflow Tips |
|Backup Scheme || |
out some redundant scheme for storing your digital files. If you are
scanning negatives, and you lose your scan, it isn't a total loss. You
just go back and redo the scan and whatever labor went into preparing
If you lose your file from your digital camera and don't have a copy, then you have lost the equivalent of the negative.
solution (subject to change of course) is to archive digital files to
an external hard drive AND to make one copy to DVD (at a slow burn
speed) and in the case where it is a really important file, make
another copy to either another DVD or a CD.
|Shoot in RAW Format || |
downside to RAW is the file size. But quite honestly, the way
photography goes, you never know when you take a shot if it is going to
be that great shot or not. And you don't know if you may have messed up
the exposure a bit. Or if the color temperature is going to be off.
Shooting RAW gives you the most post-shooting options. Period. And even
if for some reason you are not shooting RAW, don't let the camera
do the processing for you. Don't do sharpening, contrast, or saturation
in the camera. Do it afterwards in Photoshop.
|CALIBRATE Monitor ||There
are a few ways to do this, depending on whether you are on a MAC or PC
and on how much money you want to spend. So far, I've been doing O.K.
in the Windows world with the ADOBE GAMMA tool, which comes with
windows. But to be dead on, you probably need (at least that's what
I've read) something to read the actual color and luminance from your
monitor. (Monaco, ColorVison, GretagMacbeth). I haven't used any of
these and when I do a soft-proof in Photoshop it is really close to
what comes out of the printer. |
|LEARN PHOTOSHOP ||Nuff said. That is a lifelong pursuit. |
|Learn Color Management ||How things need to be setup between Photoshop and your printer to get what you see on the screen (sort of) from the printer. |
|FOR B&W || |
would have to say from my experience, you need a RIP. Why this should
be so, I can't say. But I've been using IMAGEPrint RIP for all my black
and white work with the Epson 2200, and I could never have done it
without a RIP. (Unless, and this brings up a whole other issue, you
want to replace the manufacturers inks with monotone inks of some
sort). If you want to produce color and black & white from the same
printer, I don't know any other way than investing in a RIP.
RIP is just a piece of software. Yes, another piece. IMAGEPrint LITE
costs about $495. It has saved me, easily, that amount in terms of time
and labor. Some RIPs are geared towards large production, layout, etc.
For what I do, the IMAGEPrint RIP is perfect since I'm not doing some
huge quantity and not doing a lot of layout.
|DON'T BURN YOUR BRIDGES || |
are destructive and non-destructive ways of sharpening an image. Both
have their pros and cons. Whichever you use, make sure that you can
always get back to an unsharpened version if need be.
do your sharpening last, and at the size that the image is going to be
output at. If you take you 12 x 18 inch print, sharpen it, and then
resize it for the web, you are going to create artifacts (probably).
Make a separate copy at 72 dpi and after you've done your adjustments
to color etc. then do your sharpening.
|| © Copyright
3/7/2005; 11:44:15 AM.