howard_m

<p>Not to steal the thread or 'argue' but I've come to appreciate an almost white background for editing since it forces me to see the image as it will be on a mat or wall. I was tending to print dark until I made that switch.<br> I think I've noticed something similar yet opposite in my LR->PS round tripping. If I have a PS window open, when LR sends the image to PS, I (sometimes??) get a new window w/ dark surround. Will have to look closer at the issue.</p>

<p>the printing forum on luminous-landscape.com You will not find a better printing forum anywhere (IMO).</p>

<p>there are a couple of possibilites depending on need and how much $$ you want to spend.....</p> <p>1. something like a Brother TZ or DK labeller with their strong adhesive tape and possibly a clear 'overtape' to protect the label (think packing tape) attached to a laptop/desktop computer. Each label is custom made and their app can suck in data from an Excel spreadsheet/database. QR is possible.<br> 2. some commercial label that is custom made (if need be) and simply an 'asset' number. You'd need to keep good track of the equipment vs. it's asset #. Some labels are silly strong.</p>

<p>What brand/model do you have? As mentioned, some legs have or come w/ a 'hook' on the bottom of the plate that you can hang something, like your camera bag or a bag filled w/ rocks, etc to stabilize the legs.</p>

<p>My read of 'serious issues with the image processing chip' tell me that they have a found a show-stopper bug in the chip (that can't be addressed in firmware) and it will need to be 'respun' by the chip mfgr after the bug is corrected and the entire chip revalidated/verified prior to release to manufacture, then a number of weeks to fabricate and then post-manufacture silicon & system validation.</p>

<p>well, it's probably not helping. As another poster said, it sort of doesn't matter if the exposure or WB is 'wrong' just as long as it's consistent. Without the consistency, you're going to be fixing each and every shot instead of fixing 1 and sync'ing the rest.</p>

<p>but the reality is that the light is not changing. the players are illuminated the same way regardless of which way you point the lens or the background. Find the right exposure for the players and then dont touch it. this is a common misconception, a bird sitting on a branch is illuminated the same way regardless of what the background is. Lots of people chase exposure.</p>

<p>ditto on the 'why PS'. Seems like a waste of time unless you're doing something that simply cannot be done in LR (and then I'd recommend rethinking other parts of your style/workflow to avoid exactly that). I wouldn't want to have to PS all the acceptable images from a game (total time sink).<br> Be ruthless in pre-LR culling, standardize your exposure, tweak one, sync the remainder, put PS away.</p>

<p>I dont shoot hockey but I'm curious as to how/why 'light is changing all the time' ? When I sit in an arena, other than the possible 'flicker' you get from the arena lighting that can mess w/ white balance if they are in fact of that type, the lighting never changes. Is that what you're referring to or something else? If you're in auto exposure mode and each shot is at a different exposure, then you should really consider shooting in manual exposure. Once you set it , you can simply forget it.</p>

<p>this is pretty much the 'bible'..........</p> <p>http://www.amazon.com/Light-Science-Magic-Introduction-Photographic/dp/0240812255</p>

<p>Dont set a custom paper size. If the pritner driver has the choice in paper size to do 11x14, use that. <br> In most printers, there are only a few sizes that are allowed to be borderless and most of the time, custom sizes are not allowed, even if it's supported.</p>

<p>Take the MK cart out and gently shake it for 30 seconds and try again. You *could* have gotten a bad cart so if that is the case, I'd contact Epson for a replacement. They'll probably want to see the print w/ green tint.<br> <br />I assume you've got a clean nozzle check result</p>

<p>use the Semi-Gloss media setting</p>

<p>been using snapndrag forever so there should be versions that work w/ older OSs</p>

<p>It *could* have been a solution if you knew someone who had a Mac, as I clearly stated and I clearly stated that it wasn't a Windows solution. And it didn't require that kind of response.</p>

<p>Can't help you w/ the Windows 'access' issue but if you know someone w/ a Mac, it's trivial using the ColorSync Utility.</p>

<p>on a Mac, that functionality is built-in but there is also a neat front end called SnapNDrag</p>

<p>Really depends on the age and the make/model. Some are better than others. For the last 10 years, everyday I use a 2006 Macbook Pro for 8 hours and before that, a 7 years for the prior Macbook. The OS gets left behind more than the hardware.</p>

<p>Slightly different explanation: Only a few *monitors* can be calibrated using sophisticated internal electronics (NEC, Eizo, a Benq or two, a Dell or two). <br> But fear not! If you get a 'regular' monitor, you can still calibrate *the video system* which is how 99% of people (those people without an NEC or Eizo) do it. The calibration system knows how to talk to the video card in your computer (which tehn attaches to the monitor) and it performs a 'software' calibration on the video card. While not as ultimately flexible as the hardware type, it's really quite good.</p>

<p>depends on how long you keep it but 12 should be fine. Do some research and see if you can put more in or replace whats there w/ larger if you feel the need.<br> A zillion images have been processed w/ < 12G</p>

<p>He either doesn't know what he's talking about or just trying to sell you what he has.<br> I think there is a less expensive Benq (2700??) and the NEC Spectraview PA and the Eizo (which are more expensive). The hardware calibration/built-in LUTs add significant cost and in the case of the PG240, I'd bet there is a significant adder $$ for the FOGRA certification (which isn't needed).</p>

<p>I like the Pearl paper because it seems to 'glow' a bit but it's not a super gloss. Hard to describe but a really nice look. The dye's in a -100 printer are going to give you great color anyway. One of the metallic papers (they're mostly all the same except for the Silver type which is very specialized. Might work well for you but I find their suitability hit-n-miss depending on the subject/image.<br> There are other 'super gloss' type papers (all RC w/ loads of OBAs) like Pictorico or Canson high gloss and others. They're almost like a polyester film (think back to Cibachrome days).<br> I forget his name but I found a photographers gallery in Montreal that easily bested Lik.</p>

<p>I would assume it's Fuji Crystal Archive which is not an inkjet paper and is a super common pedestrian paper. Just the thing you want if you're paying Lik prices. You might be interested Hahnemuele Fine Art Pearl.<br> Like we tell everyone. Most mfgr's make 'sample' packs. 2 sheets of their product line. That lets you test out different papers w/o committing to a whole package.</p>

<p>I agree w/ Eric. Keywords and collections are the key to LR. I also name my files similarly on import...... yyyymmdd_hhmm_seq#.NEF so the likelihood of me having a naming 'collision' is extremely small (would require the same sequence # over multiple cameras at the same minute).<br> And really, 1 catalog. Maybe 2 (the 'ancient' stuff and everything else)</p>

<p>you're confused because there is no one answer ;)<br> If you want to be able to 'find' all your old images reasonably quickly, then import all the old ones. If you are going to say something like 'that was then and this is now and I'm going to start using Lightroom this week', then import only the most recent work and let the old stuff continue to live its life as-is.<br> I dont see any need to do the Smugmug stuff since they are all copies of the originals (which will of course be in Lightroom ;) )<br> <br />One suggestion is 'start small'. You can always add. Not much worse than spending hours/days importing only to realize that your methodology or naming convention is crappy and you need to do it all over again.</p>