Re: What Adobe product?

2023-07-03 Thread Godfrey DiGiorgi 
> On Jul 2, 2023, at 1:03 PM, Eric Weir  wrote:
> 
>> On Jun 10, 2023, at 10:36 AM, Godfrey DiGiorgi  
>> wrote:
>> 
>> 'm most impressed with RAW Power used in conjunction with Photos … I could 
>> actually make that my only image management system for macOS, iOS, and 
>> iPadOS, and dispense with the Adobe, Affinity, and Snapseed software 
>> entirely. There's no real issue with doing that, just a bit of work to 
>> re-organize my photographic storage and learn fully the use of Photos and 
>> RAW Power, but the cost of the Adobe and other software is low enough that 
>> I've been too lazy to be bothered doing that thus far. :) …  It is, however, 
>> a good alternative app suite for my needs, should I decide to go that way.
> 
> I’m gonna go with the Lightroom Classic option, at least for the time being. 
> But curious, could you manage your older images Photos with Raw power? Would 
> you lose your processing?


That depends upon your organization and workflow, and what you mean. 

For my organization and workflow with Lightroom (now Lightroom Classic), the 
answer is yes: I could manage all my older photographs with Photos and RAW 
Power easily and not lose any of my finished image processing/rendering work. 
Note the specification of "finished" in that statement… 

This is because, from the very beginning when I started using Lightroom, I 
realized that a parametric editing system was an interpretive, live process … 
the *instructions* on what to do to an original image file is what the LR 
Catalog contains, the original image file is unchanged, so  when LR displays an 
image, it is reading the original image and interpreting it in a display 
preview according to the rendering parameters that you've set. If you open the 
original file with any other application or viewer, those instructions are not 
there and only the original file will be displayed. 

So my workflow rule is that when I reach a point where I consider a rendered 
photograph finished, I export it to a *new* file in a *separate* directory tree 
structure. This "bakes" editing parameters into the pixel values and writes any 
IPTC annotation in the individual files' metadata. Those exported files can be 
opened with any image viewer allowing you to see the results of your work. 

I maintain, then, two LR catalogs: 

- In Progress :: this catalog is what I import original image files with, do my 
rendering work, IPTC annotation, et cetera. 

- Completed Work :: this catalog contains ONLY finished work, no original image 
files, from a separate directory tree of finished work rather than original 
imports. 

To switch to using Photos and RAW Power as my tools, I would create two Photos 
libraries, paralleling the two LR catalogs. One library, the default one, would 
be used the same way "In Progress" is used currently in LR Classic, along with 
RAW Power to do rendering work. 

The other library would contain ONLY the directory tree of finished, rendered 
image files just as the "Completed Work" LR catalog does, and I would use only 
the image management and organizational tools in Photo since this library is 
not intended for image rendering at all; it's a tool for organizing, finding, 
and using the finished photographs outside of the editing/rendering domain. 

In doing such a changeover of tools, I would lose only un-finished editing work 
in the In Progress LR catalog, which I'm perfectly happy to do since if 
something is unfinished it means I haven't done any significant work on it 
anyway. Of course, I would take steps to ensure that all of the IPTC annotation 
data for any unfinished work was saved to disk either in xmp sidecar files or 
embedded into DNG, JPEG, and TIFF files before transitioning to Photos … that 
preserves whatever minimal work I'd done on the original image files (usually 
on-import keywording, identification, location, etc) that I would not want to 
lose. 

All of that data is already embedded in each of the finished photograph files, 
so that library would not require any prep to the "Completed Work" LR catalog's 
files at all. 

G
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Re: What Adobe product?

2023-07-03 Thread Godfrey DiGiorgi 
> On Jul 2, 2023, at 1:03 PM, Eric Weir  wrote:
> 
>> On Jun 10, 2023, at 10:36 AM, Godfrey DiGiorgi  
>> wrote:
>> 
>> 'm most impressed with RAW Power used in conjunction with Photos … I could 
>> actually make that my only image management system for macOS, iOS, and 
>> iPadOS, and dispense with the Adobe, Affinity, and Snapseed software 
>> entirely. There's no real issue with doing that, just a bit of work to 
>> re-organize my photographic storage and learn fully the use of Photos and 
>> RAW Power, but the cost of the Adobe and other software is low enough that 
>> I've been too lazy to be bothered doing that thus far. :) …  It is, however, 
>> a good alternative app suite for my needs, should I decide to go that way.
> 
> I’m gonna go with the Lightroom Classic option, at least for the time being. 
> But curious, could you manage your older images Photos with Raw power? Would 
> you lose your processing?


That depends upon your organization and workflow, and what you mean. 

For my organization and workflow with Lightroom (now Lightroom Classic), the 
answer is yes: I could manage all my older photographs with Photos and RAW 
Power easily and not lose any of my finished image processing/rendering work. 
Note the specification of "finished" in that statement… 

This is because, from the very beginning when I started using Lightroom, I 
realized that a parametric editing system was an interpretive, live process … 
the *instructions* on what to do to an original image file is what the LR 
Catalog contains, the original image file is unchanged, so  when LR displays an 
image, it is reading the original image and interpreting it in a display 
preview according to the rendering parameters that you've set. If you open the 
original file with any other application or viewer, those instructions are not 
there and only the original file will be displayed. 

So my workflow rule is that when I reach a point where I consider a rendered 
photograph finished, I export it to a *new* file in a *separate* directory tree 
structure. This "bakes" editing parameters into the pixel values and writes any 
IPTC annotation in the individual files' metadata. Those exported files can be 
opened with any image viewer allowing you to see the results of your work. 

I maintain, then, two LR catalogs: 

- In Progress :: this catalog is what I import original image files with, do my 
rendering work, IPTC annotation, et cetera. 

- Completed Work :: this catalog contains ONLY finished work, no original image 
files, from a separate directory tree of finished work rather than original 
imports. 

To switch to using Photos and RAW Power as my tools, I would create two Photos 
libraries, paralleling the two LR catalogs. One library, the default one, would 
be used the same way "In Progress" is used currently in LR Classic, along with 
RAW Power to do rendering work. 

The other library would contain ONLY the directory tree of finished, rendered 
image files just as the "Completed Work" LR catalog does, and I would use only 
the image management and organizational tools in Photo since this library is 
not intended for image rendering at all; it's a tool for organizing, finding, 
and using the finished photographs outside of the editing/rendering domain. 

In doing such a changeover of tools, I would lose only un-finished editing work 
in the In Progress LR catalog, which I'm perfectly happy to do since if 
something is unfinished it means I haven't done any significant work on it 
anyway. Of course, I would take steps to ensure that all of the IPTC annotation 
data for any unfinished work was saved to disk either in xmp sidecar files or 
embedded into DNG, JPEG, and TIFF files before transitioning to Photos … that 
preserves whatever minimal work I'd done on the original image files (usually 
on-import keywording, identification, location, etc) that I would not want to 
lose. 

All of that data is already embedded in each of the finished photograph files, 
so that library would not require any prep to the "Completed Work" LR catalog's 
files at all. 

G
—
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Re: Pentax MX Film Advance Lever

2023-07-03 Thread Steve Cottrell 
Hi Colin - thanks for the offer but I beg to differ. The MX is unique. The dust 
cap has two small holes for a removal tool (narrow circlip pliers will do) and 
unscrews off the lever to reveal the screw beneath. And it is reverse-threaded 
(don’t ask me how I know ;-)

Third photo down on this page:

https://oldcamera.blog/2015/11/17/asahi-pentax-mx/

Cheers Cotty


> On 28 Jun 2023, at 14:34, coll...@brendemuehl.net wrote:
> 
> Apparently the M series was consistent.
> 
> https://www.ecrater.com/p/42329296/pentax-m-series-original-film-advance?gps=1
>  
> 
> 
> I have one from a trashed ME Super if you’re interested.


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Re: GESO - 30th St. Station

2023-07-03 Thread John Sessoms 
OTOH, I think the future would be a bit brighter if train stations still 
attracted crowds ...


On 7/2/2023 6:48 PM, ann sanfedele wrote:
Rick I think you posted a few of these before.. this time around I like 
the photo of the ticket area best.. - which I DON"T remember seeing before.

Like all the ones without crowds in them more than those that do.

ann

On 7/2/2023 5:11 PM, Rick Womer wrote:
I haven’t posted in a long time, but I’ve been taking lots of photos.  
Three of us who took a photo workshop at a local art school last year 
have been taking a photo walk together every couple of months, and 
then gathering to view and comment on each others’ work a few weeks 
later.


A recent outing was to 30th St. Station, Philadelphia’s still-busy 
train station. Here are some of my shots from that outing:


https://rickwomer.smugmug.com/2023/30th-Street-Station/

In the first pic, the glass-roofed bridge-like structure serves the 
commuter rail lines.  The more solid structure on the right is the 
“real” station. The tracks for the Amtrak trains are below its floor.


Commentary and criticism both welcome!

Rick
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Re: Peso: seeing double

2023-07-03 Thread ann sanfedele 
Pau, thanks so much!  Glad you like the photo of my friend Annie.  It 
was taken in 1997 in Rhode Island where she had a summer cottage.  shot 
with color negative film , not chrome. Can't  remember  whether Fuji or 
Kodacolor.. no idea where the negs are.. scanned from 4 x 6 print.  Had 
a better one but Annie has that print.. We have been friends since 
1973.. I"m not the only photographer who photographed her walking away 
from them on a beach in Rhode Island (or maybe Connecticut - anyway and 
east coast beach)  The other was (drum roll) Margaret Bourke-White - 
many many years earlier. Annie used to read
to Bourke-White when she was losing her eyesight late in life. I can say 
I had my hands on that print about 20 years ago. In that photo Annie was in
a bathing suit and walking  with her young niece.  a much tighter shot.  
Don't know if that photo was ever published or just given to Annie.


"every picture tells a story, don't it?"

ann


On 7/3/2023 9:21 AM, Paul Sorenson wrote:

Did a lot of color printing but never cibachrome. The double exposure
is very nice but then I scrolled 2 pix to the left and came across the
image of the woman on the dunes. That one is absolutely extraordinary!

On Thu, Jun 29, 2023 at 8:20 AM ann sanfedele  wrote:

since Collin introduced the subject  of double exposures, albeit about
those done in camera .and since it is throw back thursday
I though I'd show you one of mine that I had within easy reach that I
made sandwiching two slides in the enlarger.. producing a cibachrome print
back in the late 70's.  I learned cibachrome printing from a friend and
co-worker back in the mid 70's .. learned that before I learned how to
print bw, oddly

anyway,  here..

https://annsan.smugmug.com/On-the-Road-or-On-Foot/Scans-from-Chromes/i-WbLDKKk/A

ann

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Re: Peso: seeing double

2023-07-03 Thread Paul Sorenson 
Did a lot of color printing but never cibachrome. The double exposure
is very nice but then I scrolled 2 pix to the left and came across the
image of the woman on the dunes. That one is absolutely extraordinary!

On Thu, Jun 29, 2023 at 8:20 AM ann sanfedele  wrote:
>
> since Collin introduced the subject  of double exposures, albeit about
> those done in camera .and since it is throw back thursday
> I though I'd show you one of mine that I had within easy reach that I
> made sandwiching two slides in the enlarger.. producing a cibachrome print
> back in the late 70's.  I learned cibachrome printing from a friend and
> co-worker back in the mid 70's .. learned that before I learned how to
> print bw, oddly
>
> anyway,  here..
>
> https://annsan.smugmug.com/On-the-Road-or-On-Foot/Scans-from-Chromes/i-WbLDKKk/A
>
> ann
>
> --
> ann sanfedele photography
> https://annsan.smugmug.com
> https://www.cafepress.com/+ann-sanfedele+gifts
> https://www.lulu.com/spotlight/annsan
> https://www.createphotocalendars.com/Shop/annsanfedelecalendarsandbooks
> --
> %(real_name)s Pentax-Discuss Mail List
> To unsubscribe send an email to pdml-le...@pdml.net
> to UNSUBSCRIBE from the PDML, please visit the link directly above and follow 
> the directions.



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