anthonybagileo

<p>I have a 645dplus with a Credo 40. I want to get away from using card readers because of a recent disaster. I have Lightroom. I connected the camera via usb and its not detected in LR or as a drive. I have a trial of Capture one but i really don't want to use it. It doesn't recognize the camera either. Also when I try to set up tethered shooting in LR the camera is not recognized. Is there any way around this. I also tried image capture on MAC and that doesn't show up either. Any suggestions? </p>

<p>I'm looking into MF Digital. A Mamiya 645df+ with the leaf 40 and the Schneider 80mm. I saw one back that was rated at 6000 shots?? I'm searching for answers everywhere and would love a simple explanation. You have the FP shutter in the body and the LS on the lens. Beside there being the sensor, and the other function chip, what happens inside the back that wears out? Is there some difference in wear if one uses the LS vs the FP shutter. I have no clue, thats why I ask. I'm used to the shutter wearing out on my Canon but not the sensor. The main reason Im looking to switch is the flash sync speed and sensor size . High speed sync doesn't cut it for me on my Canon's. </p>

<p>I have LR set up for auto import. If I create a new catalog, can I create a different watched folder for that catalog? Or will it default all my catalogues to the new settings? I don't want to try it and see that it does because I don't want to have to reset it again. Thanks</p>

<p>Ok thanks Mark, that helps somewhat. So you're saying that all the data is in the original not the export. So in other words, if I went to my originals and opened them they would show all the adjustments etc? I understand what you mean by pointing to the originals somewhat. I'll try to figure that out. Does it matter that the originals, including the catalog, have been moved to a different drive? I archive my catalogs with all the originals and rarely see them again. Is it like finding missing files?</p>

<p>I use LR4. I export my DNG's to a watched folder and open the DNG's in a separate portfolio catalogue. I thought a DNG contained all the adjustments made. I get the version the way it was exported which is fine, but I can't go back to the original or look at any adjustments I've made without going back to my original catalogue. What am I missing? Or am I? I automatically write XMP. Thank you.</p>

<p>I resolved the issue through luck and trial. When I accessed the PC from my Mac I went into the folder and imported the LRcat and not the folder. So what I did this time was copy the whole folder onto the Mac and then launched the lrcat and it worked. I must have missed something somewhere because the way I did it and the way you said to do it were the same. I have no idea if thats why or if there was some bug, but it is working now. Thanks. </p>

<p>Guys I tried this again and no luck. I did notice something I dont think I've ever noticed before. And that is, in the original imported raw file location I see the xmp sidecar separated from the raw file. Im using a 5d3. I dont know if that makes any difference. My tech skills are somewhat limited. Could that mean anything? I would think not. I import 1:1 previews from the original folder. I don't used LR to import my photos.</p>

<p>Well that's kind of what I did. But when I imported the catalog on the Mac and see all the metadata but no previews. I then did it again and selected include previews. It still isn't showing the previews. I have on the mac the LR Cat and the LR cat previews. It will not let me import the previews. Back to the drawing board. </p>

<p>I have a PC which is my main workstation. That wont change. I enabled sharing and exported a catalogue to my Mac and worked on it, keywording , rating, etc. When I finish on my Mac what do I do. I assume I export that catolog again. Now I place that cat. back on my pc. Now when I go back into the original job in LR, how do i add those changes. Do I click on the job and click " import to this folder"? will that add the changes. I have a massive job im working on and I dont want to mess this up and have to start over.</p>

That clears up a lot. So In other words, automatically writing XMP is continually writing those changes to the original raw

files? So theoretically , but probably minute, it slows Lr down if at all. And at the end I don't have to export any XMP when

I convert to dng? But if I didn't auto write XMP I would have to prior to dng conversion? And if I didn't auto write XMP that

would mean that any further work on that converted dng would have to be updated by file save, ctrl-s ?

Thanks Mark. Maybe I am confused. I convert to dng at the end and thought the dng would include the virtual copy info. I

do automatically write XMP but that still confuses me. I thought when converting to dng lr writes all the Lightroom info and

I really don't have to worry about writing or not writing XMP. I thought it was auto included when converting to Dng.

<p>Ill try to be brief. Once I get to a group of selected photos that I like to show to a client I rename them in LR4 with a simple sequence-date format(.At that point Im just working on RAW files. I convert to DNG at the end of the job). Works simple so the client can just pick the prefix. My issue is the following. I generally only crop out nuisances but leave the photos in the original proportions on initial export to client. But there are always a few that I have to make crops to show the client the effect. In the case where Id like to show the client BOTH versions I cant without messing up the number system. LR will not allow me to rename the virtual copies with my number sequence and obviously won't create a new DNG. So, I can export jpegs to the client, including the crops, by using the simple number sequence, but now the prefixes will be different on export because the virtual copies are just renamed as file number/copy. So if a client emails me and says I want photo #10 on the jpeg I sent, when I go back to the library it may not be photo #10. It likely will be 9 I think. Is there a way around this thats simple? I have my workflow rocking and rolling fast otherwise and I dont want to mess with it too much. I know that this is kind of a silly question because once I export the files to a folder and send it to the client I can back track the photos from the folder to LR. But it would be much simpler for an end around to renaming the virtual copies.</p>

<p>My second question is this. When I convert to DNG at the end, will all the virtual copy information be in the file? So for example, I open up the DNG some other time, maybe in BRidge. Will I be able to see the original as well as the crops. I would imagine the answer is yes. And I dont embed the RAW file. The RAWS are stored elsewhere for emergency use.<br>

Guess that wasn't so brief.</p>

 

<p>Hello. I'm using LR4 on Windows 7. I enabled auto import. I created a watched folder and a destination folder. I was forced by LR to create a subfolder under my destination folder. My parent folder is called new additions/Auto import. Under the folder menu I see that folder. The auto import works fine. this is my portrait catalog. I created subfolders for my different shots. When I move the pics from the parent folder into the subfolder it tell me it will move the original. That I understand, but the original pics still show when I click on the parent folder. this causes a problem because I dont want to see a thousand images on my main folder. the purpose was to move them. If it says its moving them why are they still showing up. Should I have created a subfolder inside the auto import folder . I want them GONE! Any help would</p><div></div>

Speed is really not a big issue for me. I use a PC with basically LR, PS with some plug ins and some small programs. My

os drive is fast. I've had one too many drives fail. It's such a pain to recover. So Really my primary use would be to keep

all my working folders recoverable. I'd like to, if possible, mirror or back up Ps and Lr with the plug ins. That in itself is a

job to recover. What's confusing me is what drives I will see. People tell me my Os is only going to see one Lacie quad

drive. I wanted two drives mirrored. Each with its own files. I'm confused. If I'm only going to see one drive to move files to

then why not use raid five because I still will only see one drive but get 25% more Space I know I'm MISSING something.

Because I know if I bought two separate 2bay drives in raid 1 that would be really what I want. My workflow is predicated

on two separate external drives.

Ok thanks. After reading your comments I believe what I need is the RAID 1+ 0 on my Lacie quad. Two separate drives

that mirror each other and I would agree if the drives are working theres no need to mess around with the array it would

make sense to just store archival data on a USB drive. . Thanks a lot. It helped tremendously.

<p>Can someone explain in simple terms how a RAID 5 system would work with four identical drives. What I want is two drives and each of them mirrored. One is going to be my working drive that I would never remove. The second one is going to be my backup drive that I would replace when it is full. And on my PC will I see four separate drives? I see, and basically understand, that the data is spread out in partitions on each drive. If I'm understanding it right, for example, when I remove my backup drive when it is full, it will containg backup data from the other drives. Am I close? Thanks. I already ordered it because reagardless of how it works either way it will serve my purpose.</p>

<p> Anthony</p>

<p>OK, so here is a question I can't find a definitve answer to. If I'm shooting wireless with more than one group of slaves in ETTL can I manually adjust down the power of one flash within the same group. I know i cant from the master. For example. Group a is the master and i have two flashes in group b. One for fill and one for backlighting. It seems that it says I cant control that in ettl. Other than using the ratio. I would obviously not want the same output from both. I dont see anything but adjusting the ratios which doesn't help. Does anyone have a link to a "real" in depth tutorial on Canon Speedlite wireless flash. Ive seen short videos but they are not in depth. Thanks</p>

<p>Quick question, Can't find my manual. I have 3 430ex slaves. How do I set the 580ex as the master without it firing? Ive been scrolling forever. And I'm seeing that there is no way to adjust the slave output from the master, other than with ratios. Is this true? I want to go more portable and use my hot shoes on location instead of the Alien Bees when necessary. I have a Lastolite 36x36 softbox planning on firing the three slaves thru that. Does that sound like enough power to shoot from a standard portrait distance. 10-15 yards max. I cant imagine attempting anything further especially when I'm using a small softbox as a fill on camera.I'd appreciate some thoughts. Thank you very much. <br>

Anthony</p>

 

<p>I used my 5D with a 17-40mm lens. I used three or four round threaded filters. I'm getting that circle in many of my wide shots. I'm assuming that is because of the added length from the multiple filters. Assuming I am right, will square filters solve that problem? If so what's a decent brand. thanks, Anthony</p>

<p>I shoot like many of you with 72 and 77 mm thread lenses. I have a number of BW Filters and some tiffens, etc. Mostly ND's, Circular's and GND. That is all I need for my purposed. Im sick of changing these things. I'm looking for a comparable quality brand with a simple holder set up. I've just found myself a little confused with so many different products. I've been looking at Cokin. Im not looking for cheap but comparable to what I have which has worked well. I see rectangular holders which i get. but i also see rectangular holders but i dont get how to use the polarizer. Im guessing its circular with some type of wheel like on a Canon super telephoto. Any thoughts? I'd appreciate it. Thank you. Anthony</p>

<p>This is too confusing for me. When I say the monitors are calibrated i mean they come with the factory certfiied calibration specs. i see that under color management there are two profiles listed, though they both appear to have the same name. Is it one for each monitor? if so, can't i switch to the profile for my external monitor and then the edits i make will be true? im usually wrong so im guessing no. If I stick with the laptops profile can't I just make manual adjustments to my external monitor to make it as close as possible to my laptop? If you had the same setup you see here, what would you professionals do? I'm thinking just stick with the laptop for the actual editing and just use the external monitor to see the changes, though it defeats the purpose of having the external monitor?</p>

<p>Ok im trying to digest all this, everything is brand new and calibrated. Ive included an image to illustrate what I mean. Disregard the monitor to the far right. but you can see the other two look different.</p><div></div>

<p>I just set up a brand new Dell Laptop, running windows 7 , with Lr3 and CS5. I also bought a Dell U2410 Monitor. I'm really clueless about profiles and calibration. I have chosen to export all files as Adobe RGB so I don't see a problem. Theres clearly a difference in the monitors visually . I'm doing my editing on the External monitor where the color is lighter. If I understand this right. Each monitor has its own unique color profile. My question is how do I get the PC to save my edits under the external monitor profile. In other words what I see on my external monitor is how i want to save it. I won't call Dell because I get better answers here. Is there somewhere in the PC where I can choose the correct profile. Thanks in advance. Anthony</p>

<p>Thanks Howard, but I still dont think that solves my issue. I want to zoom in past 100 percent.</p>

<p>Straight to the point, I started using bridge instead of LR. Its going well but for the most important thing. Zooming! In LR as the photos come in I zoom right in and check focus and rate. I DO NOT see how to do it in bridge. I dont understand the zoom box on the preview pane. Its just pixellated. I tried every way of changing thumbnail and preview size but it does not really work and slows the workflow. That zoom box would work if it didnt zoom in so much,. How do I fix that? If I can. As of now Im just looking at the preview and opening ACR to zoom in on the photos. I know I'm missing something. Thanks, I always get the correct answer here.</p>