walterrowe

Both of them let you keep the images in a regular folder structure. The main file handling difference is that in C1 you’re still importing folders of images (originals are left in place, previews and edits are added to your C1 catalog folder; what you see in the C1 browser panel is the folder structure on disk and if you move the files there’s a function to provide the new location in the C1 browser).

It has been some time since I checked in on Photo.net. I don't know if the original poster already made their decision, but this statement that Capture One requires "importing" is inaccurate. Sessions in Capture One do not require "importing". Sessions are file based. Capture One Catalogs use a database much like Aperture or Lightroom. The ability to use both sessions and catalogs is one of the great features of Capture One. Many users process their images in sessions, then import those sessions into archive catalogs for long term management and searching.

Capture One 12.1 was released this week. Version 12 has some really amazing features.

I certainly don't have the technical knowledge that many of you have expressed. But I thank all for the input. Its been very educational. I thought I would do a quick comparison test to show the differences that I am seeing. Both photos were shot with the the same lens (24-70mm) at 24mm. Using the exact same settings on both cameras. (For those that are examining the EXIF, you will notice the time difference is substantial. They are actually just minutes apart. I need to reset the time on the 810. What I am noticing may just be a difference in white balance. The 810 does, in fact appear to be a bit warmer. I processed both in LR with all settings zeroed out, exported to jpeg.

Remember that even if “all settings are zeroed out”, you are still relying on Adobe’s profile and tailored processing for each camera. Those can render different results for the exact same scene, settings, lens, etc.

<p>I recently scanned 475 Kodak 200-3 negatives from my 1994 honeymoon to Hawaii. I used VueScan and a Nikon Super Coolscan 5000 ED scanner. In the initial stages I was not pleased with the results. They were initially very dark. I'm certain my images were not exposed properly and that this contributed to my results. What I found through experimentation is that lowering the red/green/blue gain settings to around 0.5 to 0.7 made a huge difference in brightening them.</p>

<p>I do not lock in film base correction or exposure. I also use auto-levels in the color tab, and I use a medium setting for infrared cleaning, restore colors, and do not sharpen in VueScan. And finally I make sure I set all of the color profiles in the color tab for monitor, scanner, and output color profile.</p>

<p>With these settings I find that properly exposed frames come out great. Frames improperly exposed still are not great, but at least are acceptable. I was relatively new to 35mm SLR and my photography technical skills were pretty new at the time of that trip. Scans of later film turn out better because I'm certain I did a better job on the in-camera exposure.</p>

<p>I still have to do color and tonal corrections in a more advanced tool like Photoshop or Apple Aperture, but these settings at least make me feel like I'm getting all I can out of the negatives.</p>

<p><img src="http://www.roweimages.com/posts/WPR-1994-Hawaii-0066.jpg" alt="" /></p>

Actually, the digital file created in the camera is considered a tangible form, and therefore is protected under copyright law. Just having that digital file does not provide you the full protections granted under US Copyright law. You need to register the images in order to be able to pursue all of the remedies allowed under the law.

<p>If an image is registered before an infringement takes place, you can sue for lots of remedies above and beyond the normal license fees you would have received. If the image is registered after the infringement takes place, you are only permitted to recover the normal license fees and cannot recover any additional damages.

<p>If the images are unpublished (like your Afghanistan pictures), you can register all of them as a group at one time. Use Form VA. You pay the single $45 registration fee for the entire batch. Create JPGs of all of the photographs (450 pixels on the long side is fine, and no watermarks), and burn them all onto two CD's or DVD's, then label the disks.

<p>Send one copy with the completed Form VA and $45 to the United States Copyright office via registered courier (registered mail or Fed Ex) so that you have the exact date and person's name who signed for them when they arrived at the copyright office. That is the effective date of registration. Your certificate may take months to get to you, but that does not affect the date of registration. They are registered the day they arrive at the Copyright Office.

<p>When the certificate comes, write the registration number on your copy disk so you know what images are part of which group registration. You may also want to embed that certificate number in the metadata of your original image files so that it goes out with every generation of that file. That way no one can dispute that the images are copyrighted. The registration number is tagged inside the file you provide to clients.

<p>The copyright process seems scary the first time, but it really could not be easier. And this summer they will start accepting your registrations online for a reduced fee of $35. Standard registration via mail will still cost $45.

<p>Walter Rowe<br>www.RoweImages.com

Jason,

<p>I think you made the right decision too. It sounds like you received a fair settlement from the store manager. The flyswatter is the better tool than the sledge hammer sometimes.

<p>I would encourage you to talk with your client about making copies of your proofs without permission. Theoretically, they should pay you your market price for every copy they made without your permission. They took income away from you by copying your work and not paying you for the prints they made.

<p>I would also suggest putting a label (printed sticker) on the back of all your proofs that says they are copyrighted. Put the year and your name after the copyright symbol (i.e. © 2007 Jason Lange). Put your name and telephone number below that so labs can contact you if they have someone trying to copy your proofs. Finally, put a statement that says they are proofs for evaluation purposes only, and copying them in any manner is strictly prohibited.

<p>Your client knows better. They thought they would not get caught.

<p>Walter Rowe<br>www.RoweImages.com