david_simonds1

Friends, I could use some help creating a luminosity mask action for CS5. I have been reading and watching vids on the subject and want to incorporate it into my work flow. I tried downloading a canned action set from Greg Benz. And then created my own using the directions from a Dave Cross vid. To use them, I opened an image, and went to the Action panel. But when I loaded either of the actions, they all just loaded instantly to the History without any effect. I assumed, from the vids, that they would appear in the Channel window, and I could select among them and then apply a layer adjustment. Not sure why this is happening. Perhaps I am just not loading them correctly. I loaded the the pics as a Smart Images, but had the same experience. Perhaps this kind of function is not available in CS5? Appreciate any help, David

From xritephoto.com: "The quality, or “color,” of the light used in viewing artwork, printed graphics, photographs and transparencies is defined as D50 or 5000K. This was chosen because it comes close to natural daylight, or more specifically, daylight at sunrise or sunset." Are you suggesting that a viewing station that emits this color light is without utility because it is not the sun. Not being cheeky. Just want to wrap my mind around the intent of your reply, which does not address the thrust of my post, that being the utility of a viewing station that casts this color light on a print. BTW, my prints are not "too dark."

I have been reading about desktop print viewers that project light in a precise D50 color. I am wondering how you can best use one of these viewing devices in the workflow. I use a NEC monitor that is regularly calibrated, and my screen to print match is pretty good with Epson 7800. So I have that covered. What I am interested in is how one might use on of these viewers essentially as a post "hard" proof to then tweak colors in subsequent prints to achieve the desired effect under D50 exposure. Or is the purpose of the viewer only to simulate what the image will look light under an identical light color in the space where the image will hang, with no workflow application. thanks. David

I am headed on a trip next month and am exploring the availability of an external storage device that downloads SD/CF cards without a computer interface. Basically, a box that I can plug the cards into directly. Does such a device exist? Much obliged. David

Many thanks for the information. Harry Fleenor recommended Dave Feeley as well. Cheers, David

Friends, my beloved Rollei 6008/Schneider 90mm are in need of a CLA. In the past I have sent them to Krimar. But when I attempted to reach them by phone today, the number had been disconnected. I would greatly appreciate any information from those of you who may have done business with them lately. Or failing that, any other sources for technicians who I can safely entrust this gear to. Much obliged. David

ddog, Thanks for yours. My office computer will not open your file. What program should I try to use? If, as you say, the differences are small on a screen, are they even less discernible on paper. I find that a piece of glass on top of an image is the great equalizer, and too often removes all too much subtlety. If they are detectable, is it likely to be when banding happens - gradations of color in an open sky, etc? Thanks, David

Friends, I am working with Puget Computers to configure a new box. As we went through the components, we came to the video card and the rep said that I should go with a 10 bit card if my monitor supports it. He indicated that it can create a more nuanced color space. I then read that a 10 bit card can reduce banding in certain circumstances. I contacted NEC and was told that my pro-level monitor does support 10 bit processing. Consequently, my question is whether the whatever subtle differences I might detect on a 10 bit monitor with a 10 bit video card will be observable on a print that could be up to 24", and if so, under what circumstances. Or is the benefit only detectable, if at all, on the monitor. Obliged, David

Thanks, gents, for your insights.

<p>Thanks, mate. I am with you on the the subscription model which is akin to digital hostage-taking. I have a law office program that I purchased several years ago, and kept up with a yearly service contract. The company decided to withdraw support and required a transition to a subscription based service which costs three times the yearly service contract. Brilliant for them. Not so much for the customer. As for moving the PS program from the old box to the new one, my understanding is that with the upgraded versions, the program must detect, on the new box, an earlier version as an upgrade path just as it did with the initial install. It is likely moot as I can not locate the CS5 disc anyway. Agree with you that the combination of the new LR and CS5 is likely to give me what I want. Actually, this evening I found a sealed extended version on Ebay for $164 - about the same as a year and a half of the subscripted service. <br> Cheers</p>

<p>It is time to get a new box, and that means a new Photoshop install. My trusty Dell is about 6 years old and has been showing signs of dementia - blue screens, freezing and random powering off. I am fine with getting a replacement as my file size for processing has grown with medium and large format files that exceed 400mb. I also want to reconfigure the computer using a dedicated SSD for the OS, Photoshop and LR, and out of box access/storage.<br />I have worked with Photoshop since PS5 and currently have used CS5 for many years. I would be happy to transfer that program to my new box, but that is not possible because the CS5 I have installed was the result of various upgrades from PS5 over several years. And I understand that the program can not be transferred in whole cloth to my new processor. It appears I can get a new copy of CS5 (legit) for about $150. The subscription based service is about $120 per year. The math only works if there are significant advantages of CC over CS5, and whatever else Adobe offers for incentives. I also use LR for my preliminary processing and have access to a new version of that as a premium for a new camera I purchased. Consequently, are whatever improvements over CS5 that CC offers at present truly worth a decisive increase in cost over time with the subscription-based CC. Thanks for your thoughts.</p>

<p>It is time to get a new box, and that means a new Photoshop install. My trusty Dell is about 6 years old and has been showing signs of dementia - blue screens, freezing and random powering off. I am fine with getting a replacement as my file size for processing has grown with medium and large format files that exceed 400mb. I also want to reconfigure the computer using a dedicated SSD for the OS, Photoshop and LR, and out of box access/storage.<br> I have worked with Photoshop since PS5 and currently have used CS5 for many years. I would be happy to transfer that program to my new box, but that is not possible because the CS5 I have installed was the result of various upgrades from PS5 over several years. And I understand that the program can not be transferred in whole cloth to my new processor. It appears I can get a new copy of CS5 (legit) for about $150. The subscription based service is about $120 per year. The math only works if there are significant advantages of CC over CS5, and whatever else Adobe offers for incentives. I also use LR for my preliminary processing and have access to a new version of that as a premium for a new camera I purchased. Consequently, are whatever improvements over CS5 that CC offers at present truly worth a decisive increase in cost over time with the subscription-based CC. Thanks for your thoughts.</p>

BINGO!

<p>Success. Again, many thanks for the help. Nice to know a bit more about LR's brain.<br> David</p>

<p>Very helpful. Thanks.<br> David</p>