Feb 17 2011

RAW Conversion Workflow Basics

AfterCapture Blog_110217_RAW Conversion Workflow Basics_1“What is the basic process of converting RAW files to other, more usable file formats?” This is the most fundamental question you must address if you are going to work efficiently with RAW files. This is the question I answer in “RAW Conversion Workflow Basics,” my most recent “RAW Processing Solutions” column for AfterCapture. (PDF here; complete text below.)

This article is geared both for newbies to RAW as well as for photographers with intermediate raw processing skills who want to better understand helpful conceptual underpinnings — especially in relation to working with raw files in Lightroom. (If you are a RAW processing wizard, you might want to share this article with confused colleagues or mentees.)

Topics covered include: • How RAW and JPEG files differ; • Differences between RAW workflows in Adobe Camera Raw/Photoshop and Lightroom workflow; • Step-by-step RAW to TIFF workflows in Photoshop and Lightroom; • What’s going on “under the hood” in Lightroom when working with RAW files.

RAW Conversion Workflow Basics

“What is the best way for me to get my RAW (Canon) files converted to TIFFs?” One of the magazine’s faithful readers, Mike P., sent us this great, basic question. I e-mailed Mike some basic advice explaining, in part, that: “There are any num- ber of ways to go from Canon RAW files (CR2s) to TIFFs, depending on one’s individual workflow. Since I don’t know your workflow, I’ll assume that you are looking for the most basic solution and so I will recommend using Lightroom 3 for the entire process.”

In this column I will answer Mike’s question more fully. It’s a great question because it’s so basic, and basic information is the most important information. After all, if we haven’t mastered the basics we get stuck and frustrated as we try to deal with nuances. As Mike wrote: “I’m having a heck of a time deciphering the RAW dilemma. Too much info out there and some of it is conflicting.”

Because Mike asked about the mechanics of making TIFF files from RAW files (and not about specific processing controls), I assume that his “RAW dilemma” might best be summed up by this question: “What is the basic process of converting RAW files to other, more usable file formats?”

AfterCapture Blog_110217_RAW Conversion Workflow Basics_2

Opening a RAW file in Photoshop launches Adobe Camera Raw, a powerful RAW processing engine. This is done by clicking “Open Image,” which converts the RAW file into a Photoshop file that opens into Photoshop, making it ready for further editing.

RAW Files Require Special Processing
RAW image files are unusable as captured in-camera. Therefore, at its most fundamental, RAW processing is the act of converting RAW files into other usable types of image files. RAW files can be converted into Photoshop files for further editing. They can be converted into TIFF files for publication or delivery to clients. And RAW files can be converted to JPEGs of various sizes and quality for printing, sharing and use in Web galleries.

RAW files are the capture format of choice for today’s photographers because Continue reading “RAW Conversion Workflow Basics”

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Jan 21 2011

Backup All Your Images NOW: The Simple System

Category: AfterCapture & Rangefinder Articles, Workflow & DAMEthan G. Salwen @ 8:38 am

AfterCapture Blog_110121_Simple Backup_AC1010_RAWProcessingSolutions_SalwenScrewed the pooch and already gone south on your New Year’s Resolutions? Smoking again? Not hitting the gym? No worries. Forget health mandates and get on top of what really matters: backing up all your images easy, relatively quickly and with — your favorite! — no thinking.

I’m assuming you need to get on this, Dude, because, 1) You don’t won’t lose your images, and, 2) As, Peter Krogh notes, the vast majority of us silly Homo sapiens don’t backup our stuff.

For total backup security, Dude, just do this:

1) Guesstimate how many megabytes (or terabytes) of data you have.

2) Buy three hard drives that hold at least 20% more data.

3) Copy all your image files from all sources to drive “A.”

4) Backup up “A” to “B.”

5) Backup “A” to “C.”

6) Store “C” off site.

HALA-LUYAH!!!

You can now boast of having your images much better backed up than 85% of your photographer buddies, Dude. But better than bragging rights, Dude, you’ve gained peace-o-mind! And even better than that, Dude, you’ve backed up all your images — and well!

Yes, your images might be a total freekn’ mess, but organization can come later. I mean, you can’t organize what you don’t have. So don’t wait to get organized to get your images totally, awesomely backed up.

Yes, I realize, you did not burn your images to write-once material like DVDs, and that is important. But again, until you have copies of each image file on three drives in two locations, well, Buddy, write-once backup is purely academic. Over thinking this stuff, Dude, can be a real hazard — to your images.

Read the Article

To read a more detailed version of this same backup system (with an, um, more serious tone, Dude), download “Simple, Practical RAW Archive Backup & Organization,” my recent “Raw Processing Solutions” column for AfterCapture. I go into some fun stuff (for neeerds!), like zeroing out hard drives, performing validated data transfers, and “What is an Archive Anyway?”

Honestly, Dude, you really should know what this stuff is, but I don’t fault you if you don’t give a poop. Only neeerds care about this stuff. And someday soon — go technology advances! — you probably won’t need to.

But, um, Dude, until then, you’ve got to at least get your images safely backed up on multiple drives that you store in two locations. And that, Dude, is exactly what going through Steps One through Six steps (see above) will accomplish for you.

It’s easier than quiting smoking or forcing yourself to go to the gym, and it’s definitely better for your health — or, at least, the health of your images.

Start Reading the Article Here: Continue reading “Backup All Your Images NOW: The Simple System”

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Nov 15 2010

The Joys of Sex with My New Battery Tester

Category: In-Camera Techniques, Technology Insights, Workflow & DAMEthan G. Salwen @ 8:43 am

AfterCapture Blog_101115_Battery Tester_1I’m kidding about the sex, but who wants to read about a battery tester? Still. . .

If you use AA, AAA or 9V batteries, get a battery tester, and feel the joy, lessen the confusion, work with more grace. No more pondering, “How much life does this baby have?”, which is critical to know.

A battery tester had been on my “to-buy” list for about ten years but, very stupidly, I let the purchase slip through the cracks. I shouldn’t have. It’s a marvel.

In August, I bought an Impact EC-741 Universal Batter Tester (about $15) and I marvel at the sanity it has brought to my life. It’s light, small and has a setting for both rechargeable and “Primary” batteries (aka, “disposable”).

AfterCapture Blog_101115_Battery Tester_2Very, very cool is that, via its panel of LED lights, it reports on different levels of power: 20%, 40%, 60%, 80% and 100%. Nice for determining best use, and for matching up different, partially-spent batteries.

No more EC-741! What to do?!

In looking up the link for the Impact EC-741, I found it was no longer available at B&H, where I bought it. You can still get it here, or turn to the very similar Ansmann at B&H, which costs more ($30), which is still a small price to pay for Battery Sanity.

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Nov 03 2010

DVI Cables: A Must for Proper Color Management

Category: Technology Insights, Workflow & DAMEthan G. Salwen @ 10:02 am

“By the way, you’re using a DVI cable, not a VGA cable, correct?”

A what cable?, I thought when Richard Anderson (of dpBestflow.org fame) wrote me yesterday in response to my extreme frustration trying to improve my monitor’s color calibration.

Looking behind my monitor and going Google I discovered — derr! — that I am now hooked up with a VGA cable. Anderson said this might be the cause of my specific problems, but that it is a problem.

“DVI is digital to digital, and is better than VGA,” Anderson explained. “If you can connect with DVI cable that would be better.” Indeed!

My monitor is DVI-enabled, and so I’m off to buy an Apple Mini Displayport to DVI Adaptor, which is what I need to connect my external monitor to my MacBook Pro.

AfterCapture Blog_101103_DVI-1

The DVI, Better Color Lesson
We all know that color management is critical. For many of us, it is much more confusing than the experts suggest. Whether or not you’re confused, make sure you are connecting to your monitor with a DVI cable!

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Sep 06 2010

Fast & Smart Video Editing with Gail Mooney

Category: Creative Process, Multimedia & Video, Workflow & DAMEthan G. Salwen @ 11:45 am

AfterCapture_Blog_100906_Mooney on Editing_1There’s no right or wrong way to edit video, says Gail Mooney. Nonetheless, Mooney clearly knows great ways to get a quality video out the door fast, as proved by the video featured in my last post. As soon as I saw it go live — less than 48 hours after Mooney returned home from the road — I shot Mooney an email asking her how the hell she did it so fast. Her answer:

“When pinched for time, the trick I’ve learned is that it helps to listen carefully and remember the good soundbites. Then you go looking for them, rather than having to scroll through everything.

“After I found the soundbites I wanted, I laid them out in a timeline and slept on it.  Came in this morning with a fresh mind, I cut out 60%.  From there it was easy: I just needed to hide my cuts with relevant b-roll (didn’t even look for the best) and color correct the clips to match (sort of). Really down and dirty and certainly not polished, but I wanted to get it out for the ASMP Best of 2010 online issue.”

OK. Good fast and smart answers for fast and smart video editing. But I wanted some clarification, and I figured that Mooney would have answers that would of interest to all you Faithful Readers who are trying to improve your video editing skills. Here are my follow-up questions and Mooney’s responses, which she gave me permission to publish, “bad work habits and all.”

Q: To remember the good sound bites, do you note timing or use some aid to locate them easily?

AfterCapture_Blog_100906_Mooney on Editing_2A: I rely on my memory and make mental notes when I am doing the interview.  The real zingers stand out.  But I do try to make a notation on my question list as far as at what point in the interview the remarks were made.  Looking at my watch – not very scientific but it gets me in the ballpark.  If I were working with a crew – I’d have someone keeping track of this by writing down the time code on the digital recorder or camera.  However, that is one big shortcoming of the Canon 5D Mark II – no time code!

Q: Can you clarify “go look for them, not having to scroll”? Are you saying you ONLY listened at first, not watching as well? And what do you mean, exactly, about not having to “scroll” through all?

A: Every “camera file” is a QuickTime file that I can Continue reading “Fast & Smart Video Editing with Gail Mooney”

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Jul 31 2010

On Sorting Diverse File Formats — Simple Version

AfterCapture Blog_100730_Sorting Files_1We’re all shooting multiple file formats with multiple cameras. Even when photographing with only one camera we can easily end up with: Raws, Raw + JPEGs, JPEGs (only), and movie files. Yikes.

If you’re photographing with two (or more) cameras, super yikes — when it comes to efficient workflow, for archiving and processing.

Actually, there are some simple solutions.

For my last AfterCapture column, I provide some solutions. For “Sorting Out Diverse File Formats” I turned to Richard Anderson for advice, who applied dpBestflow.org knowledge to a real-life workflow dilemma I was facing. The article is valuable, but to be honest, the most pertinent advice might have gotten lost in the shuffle.

The bottom line, most important concepts you should consider for dealing with multiple file formats in your workflow are these:

• Separate each different file format into its own folder. Anderson explains that this is helpful because each type of file will (likely) require different workflow processing steps.

• Name each archive folder with the same base name used for you image files. Anderson explains that this best practice is important for archive sanity (although he didn’t phrase it that way.)

• Bring images together in a cataloging program – for organizing, editing and outputting. Catalog programs rule! They don’t care if your images are separated into different folders. In cataloging software — such as Lightroom and Expression Media — you can bring them together, seamlessly organizing by file name, capture time or any other metadata.

If this sounds complex complex or confusing, these images will show you what I mean:

AfterCapture Blog_100730_Sorting Files_3

See how all my “100302″ captures are divided into “DNGs”, “Jpegs” and “Movies”?

AfterCapture Blog_100730_Sorting Files_4

See how there is a gap between DNG 0174 and 0179?

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No problem! Files 0175 through 0178 are JPEGs and, as you can see, they are in their own folder.

Just because these DNGs and JPEGs are in separate folders, they all come together seamlessly in my Expression Media catalog. If you are over 18 and don’t have a weak stomach, you can see an example here: Continue reading “On Sorting Diverse File Formats — Simple Version”

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Jun 21 2010

Taking On Data Validation – One Step at a Time

Category: Technology Insights, Workflow & DAMEthan G. Salwen @ 8:04 am

AfterCapture Blog_100621_Data Validation_1“Performing validated data transfers is so much better than hot sex,” Peter Krogh recently told me. Actually, that’s not true. That’s a straight-up lie to keep you reading. The truth is that performing validated transfers is one of many critical tasks required to safeguard data — as in, our images!

I’m not going to lie to you (again, at least in this post). Data validation is a nerdy, boring topic, and definitely not as much fun as hot sex. And so, understandably, very few photographers have a good hold on. However, believe it or not, beginning to get on top of data validation can feel quite satisfying.

The fact is that embracing best practices in data validation is critical to ensuring that our archives of images is safely stored and backed up until the day we die (and long after, if we care). On the other hand, if we don’t take proper care of of our data we virtual guarantee that, sooner or later, we will lose beloved and valuable images in the blink of an eye or, more to the point, the sudden click, click, clicking CLUNK of one of our beloved hard drives dying.

Hard Drives Die, Data Decays, But It’s OK

We all know that hard drives are expected to die, just as one quickly learns that he will constantly get flat tires when driving a busted up old car through the wilds of Paraguay. (That’s another story, but you can trust me that it happens a lot).

One of the many, many "gomerias" - tire repair shops - I visited in Paraguay.

One of the many, many "gomerias" - tire repair shops - I visited in Paraguay.

That we know that all hard drives will fail doesn’t seem to help even atheist photographers from relying heavily on prayer in safeguarding our images. Too often we download a memory card of critical images to one single, hard drive, erase the card, plan to back up said drive as soon as possible, and then get distracted by pressing work (or, if we are really lucky, hot sex).

We hop that nothing will go wrong. But something will go wrong.

Continue reading “Taking On Data Validation – One Step at a Time”

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Jun 09 2010

The Joy of Zeroing Out Hard Drives

Category: Online Resources, Technology Insights, Workflow & DAMEthan G. Salwen @ 5:25 pm

AfterCapture Blog_100609_The Joy_aIn March I shared best practices for formatting hard drives, passing on the wisdom of Peter Krogh and dpBestflow.org. On Monday, I put yet another 1.5 TB Lacie external drive on line, and again I needed to refer to Krogh’s excellent video tutorial featured in the “Hard Drive Handling” section of dpBestflow.org.

Here I share screen shots of the step-by-step process because, 1) they serve as a quick, valuable reference to Krogh’s video, 2) I want to encourage you to do this!, and 3) Because, let’s face it, you guys just love my screen shot posts.

Zeroing out hard drives is really easy, but the steps are not at all intuitive. For PC users (and Mac users wanting the skinny on my steps), check out Krogh’s video tutorials featured in my earlier post.

AfterCapture Blog_100609_The Joy_1

AfterCapture Blog_100609_The Joy_2 Continue reading “The Joy of Zeroing Out Hard Drives”

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May 27 2010

How I Made Them Dance the Tango

Category: Creative Process, In-Camera Techniques, Multimedia & Video, Workflow & DAMEthan G. Salwen @ 2:50 pm

AfterCapture Blog_100527_How Dance_1On Monday I shared my tango-dancing salt and pepper shakers. How did I produce this short? Basically, I hit record on my Canon G9, set to the time-lapse video mode, and then moved my characters around like a madman — for a little more than a half hour. That’s about it.

That said, I’ll now share the some specifics of my time-lapse-stop-motion video creation workflow, as I think it is interesting. I also think that my little piece is successful because, although I started it simply to play around with technology, I ended up focusing on a story. This kept me focused, gave me motivation both to create and share, and gives my piece any value that it may have.

My Time-Lapse-Stop-Motion Experience

After finishing watching the original “Clash of the Titans” movie earlier in the day, I was pretty eager to play with stop-motion, which is something that I have never done, but which I’ve been dying to try since, well, probably about the first time I saw “Clash,” nearly 30 years ago.

While I had never tried stop motion, I’ve been recording all kinds of time-lapse movies since getting my G9 and discovering this wonderful feature. So before I went through the trouble of making a stop-motion movie, I decided to use this feature — recording a still every two seconds — to get a sense of what a stop-motion piece would look like.

Quickly setting up my camera on a tripod on the kitchen table and hitting “record,” and moving the objects at hand around, I ended up with this:

Pretty cool!, I thought.

Obviously the hairy hands aren’t supposed to show up in a stop-motion movie, but I loved the potential. So. . . Continue reading “How I Made Them Dance the Tango”

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Apr 26 2010

Why and How to Register All Images with the Copyright Office

Category: Business & Marketing, Workflow & DAMEthan G. Salwen @ 3:23 pm

AfterCapture Blog_100426_Copyright_1“If you are not registering your work with the Copyright Office, you are not respecting your work either. Registering your copyrights is the professional thing to do.”

This important observation comes from Susan Carr in her great ADBASE “Insight” article, “Protect & Respect: Why It’s important to Register Images.” Carr not only goes over the Whys, but leads us to practical Hows.

As Carr, a photographer dedicated to photographer rights, a past president of the Amiercan Society of Media Photographers and a regular contributor to ASMP’s “Strictly Business Blog,” explains:

“When I first started registering my photographs with the Copyright Office, I cherry picked images or projects based on my own assessment of their value.

“It turns out that I am not the best judge of what the market will like or use. For example, I photographed a project 10 years ago for an architect. The license clearly states no third-party use. Fast-forward: I recently discovered these same images on various sub-contractors’ websites.”

Carr goes on to explain that:

“Without registering the work prior to the infringement, I simply do not have the big stick to bring to the table.”

The Reality

As Carr points out, there are some many factors working against photographers when in comes to copyright infringement in the digital era, especially:

Continue reading “Why and How to Register All Images with the Copyright Office”

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