I realize this hardly rises to the level of issues we love to talk about here , but I run into this so often it’s worth noting in the hope it saves even one person some inkjet grief. I run into this time and time again, someone calls, their color is not right from their Epson and they want to troubleshoot the entire system, wonder about recent paper batches, ink batches, and usually want new profiles. Given the dramatic failure of the digital graphics community to keep color management viable, from Apple to Adobe to Epson messing something up with almost every update, no wonder the assumption is that something has gone horribly wrong.
The debate has been raging since before Lightroom came out of Beta v1: when will we be able to share Lightroom catalogues? At the very least, how can we host a catalogue on a server somewhere and just open it up on different computers one at a time? Lightroom has a restriction where it blocks access if the catalogue database is from a networked location. Adobe built Lightroom this way to keep file-locking issues and database corruption to a minimum. But when you have many computers and thousands upon thousands of files, it’s nice to be able to open the same catalogue on each computer quickly without having to plug and unplug external hard-drives.
Seems throughout the last decade or so of large and larger captures, scans, bit depth, layers, etc etc, there is the constant proclamation that memory is now cheap, storage is cheap, go for it! If you are on Macs like me, the ongoing OS evolution, chips sets, software has become burdensome. Suddenly I need a new feature in my bookkeeping software, but the upgrade won’t work on that chipset, meaning an entire new computer, meaning a lot of other software will need expensive upgrading too, just to remain where I was. The high tech industry depends on this of course, but in this economy, for us in the 99%, it’s become impossible. My approach to my hardware and software has become like my grandfather’s approach to his car, he learned everything he could about it’s workings and kept the same old Chrysler going for years and years. It got him from place to place, the heater worked fine, what’s not to like? However, with our larger and larger prints, big scans and captures, added with the ability to utilize a lot of great editing tools on high bit files, horsepower and storage would be good to have in spades. For those of us with particular interest in high quality black and white, it’s critical to avoid loss in single channel files, even more important if we are printing with extremely linear and continuous tone systems like K7. So, here is my workaround for keeping file size and CPU usage reasonable for my collection of old Chrysler like Macs. It’s simple, works well, and makes sense on a variety of levels, particularly if doing ongoing editing for others. My screen shots etc will be on a Mac, CS5, but I have been using this workflow for years on a variety of machines.
For me, the notion of what constituted the photographic art form started in the early 1970’s, when photography was an analogue and optical-chemical discipline.
For all practical purposes the techniques I used in my formative years were subtle refinements and adaptations on what photographers in the 1930s and ‘40’s had done. And they were working with subtle refinements on what great photographers in the late 19th Century had created. My 4×5 view camera, film, and chemistry differed little from that used by Ansel Adams or Walker Evans. Their techniques were fundamentally not far removed from what Frederick Evans, Brassai, or Atget used a generation earlier.