john_thurston5

Google Nik Collection to get the latest on the nikcollection. I am not able to post the link to the new website for DxO

From what I had read in advance of High Sierra's general release, that a number of Photoshop Plug-ins and specifically the Nik Collection as abandoned by Google were not 64-Bit compliant apps and would no longer work under High Sierra which has moved to not only a replacement for Apples legacy HFS File storage scheme, but also a move to all 64-Bit Apps. Now that DxO has acquired the NiK Collection I am not sure if they have upgraded NiK to 6t4-Bit compliance or not. I posed that question to Nik upon their reacquisition of NiK and got a generic support request reply. Why have you upgraded to High Sierra you might ask your self first before wondering why legacy apps no longer work. Im never in any hurry to do a major upgrade that upsets a workflow that's reliant on Apps that have yet or may never be upgraded to work under the new OS offerings. Whats the Hurry?

Sally, Why make things inordinately complicated? One Catalogue, Many disks. No merging, no multiple catalogues, no missed files. Keep all your files in one LR Catalog only, otherwise how do you see the "Big Picture" of all your work in a chronological order at one time when searching? I store all my Photos by folders created in LR by Year ('16, '17) and then within those folders with a folder for each shoot date and the 3 W's (What Who Where) naming convention. (20170413-Event-Trump Tax Returns-Washington DC). Files are also named according to the date using LR's rename files after importing. This way everything sorts by date...and thats the way you created them. Extensive Key wording makes finding anything a snap. If you want only your 2017 files on the internal drive, then just move them there using LR, NOT doing it behind LR's back in your OS File System...makes it SO MORE COMPLICATED to do it any other way. Leave the files where ever you want them as you can have files spanning across multiple disks. Creating Collections or Smart Collections can pull them into one coherent visual order rather than on the left pane having multiple HDs and dates to open and close. Use LR for what it is...a Database and store and move your files using it. NEVER move in your OS and then have to "Find missing Files? " Question mark rat hole chase. Its really simple once you get it setup orderly. I know some people who make a fresh catalogue for each shoot they do but hey have no comprehensive way of viewing files or moving them around once isolated in its own "Jail Cell" Catalogue. If your system slows down do the the bulk of files, archive off older stuff out of the Catalogue and note the Folder name as such. Does that Help any?

<p>Andrew Rodney,<br />I current,y have a Late 2012 21" iMac with a NVIDIA GeForce GT 650M 512 MB Video card on board.<br> I would like to eventually up the level of the Color Management in my workflow a notch with a better display and was wondering if I'd be wasting the capabilities of the SpectraViewPA 27" monitor with any limitations my current iMac Video card, and the Mac OS, as you pointed out, might impose on the output to the Monitor?<br /><br /><br> I rarely have had problems matching output, but my work is getting more complex and sophisticated, and I'm also doing more work for commercial clients and want the best output from the best workflow setup I can afford.<br /><br />Thanks, I know i'm piggybacking to the OP, but I greatly honor your opinions.<br /><br />John Thurston</p>

<p>For the most accurate output in a color managed workflow all devices should be profiled, not just the monitor, and it sounds like making a custom paper/printer profile might solve some of your issue. It appears to be the only thing you haven't done yet, and continue to get the odd results.<br />If you have the i1Profiler Printer profiler use it.<br />Canned printer/paper profiles represent a statistical average of what output from an factory spec'd printer should produce, and over the 2.5 years you have been printing, could easily drift from the factory "ideal" specs.</p>

<p>I believe it is a monitor issue, and like others have suggested, make a print to confirm.<br> <br />I myself am more concerned with the what appears to be poor use of the Tilt-Shift lens.<br />The Verticals on both of the upright elements seem to be over compensated for and in fact are leaning towards the viewer rather than perfectly upright.<br> <br />Just my ¢2 worth.</p>

<p>Use Perfect Resize to any pixel dimensions you require.<br />Keep in mind a print 50" x 50" has a viewing distance of almost 10 feet away and no-one will be the wiser or closer than that in most circumstances. <br />Viewing distance = diagonal of image X 1.5. Do the math and you'll see.<br />You can easily print to 150dpi at that size and get great quality imagery.<br />Avoid all the talk about additional sharpening to make up for not enough pixels, thats the quickest way to ruin a large print is adding unnecessary artifacts.<br> My 2 cents worth having done very large printing to Vinyl wrap on objects.</p>

<p>Lets take a few steps back in your workflow scenario before the problem with your iMac not being able to boot anymore. <br />When Lightroom imports it moves the originals to where ever you told them to, and they do not get deleted until you tell it to do so...WITH one important caveat, do all of your file copying, moving and renaming in Lightroom only. If you move files around behind LRs back the LR catalog database has no clue you did that and they can appear to be missing. they are still there, just not include in LRs database.<br />Did you manually move copy or rename any files in in the Finder?<br /><br />Unfortunately you wont be able to search for or retrieve anything from the internal drive until the graphics card is repaired to see it's contents. One would also hope you had already been running back ups of either your internal drive, external drive, or where ever you store critical data.<br />Most Lightroom users store all their of the Image file Library on an independent external drive to avoid just the situation you are now experiencing, you can't search for anything on the internal drive in the non-bootable computer.<br> Lightroom does exactly what you tell it to do, especially in the Import Dialogue box. When Camera files are imported from a card reader, or any other storage, the specific destination you store them at is either in a custom named folder anywhere, or by date folders , and by default unless you change it, it is in the Users>Pictures>Lightroom folder, though you can apply any organization scheme that suits your needs.<br> <br />Do not confuse the importing of and storage of your original files, with Exporting jpegs files, which can be located anywhere you chose, and would be the same location as you raw files only if you told it to do so. There is no default export location.<br /><br />if you in fact never stored any image files on the internal drive, they most likely are on the external drive. If you did not store the Lightroom Catalog file on the external you will not be able to use Lightroom to find anything. Another reason to store all images on an external with the Catalog files so that your entire Lightroom Library is portable and sell contained.<br /> Hook the external up to a working mac, and use spotlight to search for all NEF files, then any other criteria you may have named you files or folders. <br /><br />Lightroom is an excellent Image Management system, talking control of it and understanding how it works is essential to take advantage of it's powerful capabilities.<br /><br /><br /><br /></p>

<p>I guess I fail to see the point of this elaborate exercise in Color Perception.<br /><br />What is this client actually buying, the ability to perceive color, the theories behind the fundamentals of Colorimetry, or picking a color who's apparent perceived color does or does not change under different lighting conditions?<br> <br />The capture of this color under different conditions by a digital device doesn't amount to a hill of beans since our eyes and brain will show it to look exactly the same, and in fact we can never see it under two different lighting conditions simultaneously in anything other than a forced experimental situation anyway.<br /><br />Are you trying to convince them of, or refute, the idea that color A is perceived exactly the same to our eyes under various lighting conditions, but not rendered exactly the same under different lighting conditions by digital capture, display and print devices?</p> <p>Our eyes do an amazing job at rapidly adjusting to various color temperature light, and perceiving those objects to be the same color under those different conditions.<br />On the other hand as Andrew Rodney has pointed out, Digital color capture is not really all that smart, and require endless tinkering on our parts to objectively capture, measure, and display almost insignificant differences, that thank goodness, our eyes tell us are exactly the same.</p>

<p>Resolution on a print that large is dependent on the viewing distance. You could easily print those pixel dimension file at 150 dpi and have very little pixilation, but only up to about 40" wide.<br />I have printed files from my Canon 5D MKIII up to 40X60 @150DPI for a vinyl wrap on a large vehicle, but then again it is typically not viewed at close distance.<br /><br />Look into the OnOne Software Product Perfect Resize, which should allow you to enlarge your original image to the size you need and even print a 300DPI file if necessary without any degradation of image quality.<br />I have used this product with older 8 Mpxl files to print at roughly 50" on the long dimension @ 300DPI and they looked great.</p>

<p>Trying to use WiFi with the 5DS/5DS R to transfer files from it's nominally 50+ megapixel RAW files, would be a painfully slow and laborious waste of time, even if they had adopted 802.11a/c, which I do not believe they could have due to size/weight/power constraints. Of course JPEG would be much faster, but you bought a 50 Megapixel monster to shoot jpegs? The USB 3.0 Port (10 GB/s) and tethering takes care of file transfer needs significantly faster and more efficiently.<br /><br />As for GPS, if you don't already know where you are, a Quick and Dirty workaround is to have your smartphone with you, take a shot of you setup and thereby record your GPS position, and when you offload the files to a program like Lightroom or Bridge, simply copy and paste the appropriate GPS coordinates from the phone images into the Canon image metadata. Zero expense, minor workflow step.<br /><br />Unlike when Microsoft ruined many of their products, such as Word and Excel, with "Bloatware", Professional cameras are built to satisfy a broad base of user needs without becoming a Swiss Army Knife of every conceivable feature meant to satisfy every undiscriminating Photographer's needs.<br /><br />The new 5DS/5DS R is meant to satisfy a distinct niche of users who need unsurpassed resolution imagery, but not to include everything but the kitchen sink.</p>

<p>You may have heard this from previous posters:<br />That's an awfully ambitious agenda.<br />Stick to fewer locations and cover them well, rather than a chaotic chasing after many opportunities and ending up with lots of less than optimal results.<br /><br />Take into consideration you will need to scout locations on a first day to see where to be, wait there to see what the light at the right time might afford you, return to your base camp, and return the next day to actually do the shoot.<br />Depending on how far away you establish a Base Camp, that could be a lot of trudging back and forth and perhaps quite a distance.<br /><br />We have a desire to arrive at a scenic, and perhaps overly photographed spot, see the moment, shoot, and move on, but I and others have found that you actually miss the non-cliched shot by not doing due diligence and scouting out first for that unique vantage point, knowing when to be there for optimal light, returning and "laying in wait" for the perfect shot.<br /><br />The region affords many stunning vistas and in some ways a preliminary survey of the entire region might do you well, learn where what you want is, how to get there and prepare for shoots there, then return to just the choice spots.<br /><br />My 2 cents worth after chasing many places my self and always being there at the wrong time of day.<br /><br />Good Luck.</p>

<p>Asking for an external Post house to do your Lightroom work and then return it to you in Lightroom format presents enormous logistical issues. Your entire Job session Library and LR Catalog would most likely have to be physically transported, rather than transferred over the net, as depending on the number and size of Raw files and with the Previews, that amount of data could be enormous.<br />A portable External drive could handle that task, but could also lead to ending a duplicate in case of physical damage. The tab is quickly adding up.<br /><br />But it sounds like you just need to hire an onsite Digitech qualified and trained by you to do the initial processing to your "look. You could expect to pay anywhere between $20-$75/hour for a competent and efficient Digitech depending on the going rate in your area.<br /><br />I think you are best off economically learning to do it yourself quite honestly.</p>

<p>Standard viewing conditions are D65 (6500K), 2.2 gamma contrast, 120 cdm2 Luminance as set by your spectrophotometer software and hardware, like a i1Display Pro, creating an accurate Display ICC profile for your monitor. You should re-profile regularly to account for monitor drift.<br />Your ambient working environment should ideally be around 30 cd/m2...basically a fairly dark room.<br />Soft proofing in any Adobe Color managed software uses an ICC output profile to mimic the look of the rendering intent to a specific printer on a profiled paper/printer combination.<br />If you see what you want, then use that ICC output profile and rendering intent in the print dialog box in LR or PS.<br />Thats it, prints should match your screen unless you have large areas of out of Gamut colors.</p>