Last year at SilverDocs, I saw a great piece of agitprop – RIP, A Remix Manifesto by Brett Gaylor. In this film, Gaylor makes the case for remix culture: essentially he asserts that all culture is in the process of continual remix. And he also asserts that revisions to the copyright laws of the US do real harm to culture, creativity, and society in general.
I have some sympathy for his argument, particularly with respect to the music industry. I think he makes the case that copyright extensions have locked up borrowed music in the hands of the people who happened to be borrowing it at the right time. (The song, Bittersweet Symphony by The Verve The Rolling Stones is a great case in point).
In any case, if you make any of your living off the sale or licensing of copyrighted material, then you owe it to yourself to watch this movie. It will allow you to see how copyright holders are viewed in some circles. (It will make you angry at some points – that’s part of what makes it great agitprop).
Here’s the movie. Appropriately available free on the internet.
It’s easy to get overwhelmed in the world of digital photography. The images pile up relentlessly. The learning curve is constantly changing. And it may seem like there’s always someone out there telling you that you’re not doing it right. A lot of times, it seems people think that’s what I’m saying.
In reality, there is no one right way. What’s right for you is a combination of capabilities, objectives, time, budget and other resources.
The objective is to do it better, not necessarily to do it right.
I was at the Archiving 2010 conference and a speaker said that sometimes the most important short-term goal is to convince the IT department to not store the backups on the floor of the server room. Everyone laughed – some nervously.
Take things a step at a time – start with the easiest most effective stuff first.
If you don’t have a complete backup, make one.
If you don’t have three backups, do that.
If you already have three copies, make sure you have one of these stored offsite.
Do these even if, internally, things are kind of a mess. You’ll find out that the journey can start, but only after you have taken the first steps.
Adobe Labs has updated DNG conversion options in Lightroom, ACR, and the DNG Converter that offer some (possibly confusing) new options. You now have a preference pulldown for compatibility settings. What’s up with that? The short answer is that new functionality has been added to the DNG specification (and to the latest version of Camera Raw) that can do new tricks to the pictures.
For instance, there is now a way for Adobe (and others) to remove lens distortion from the image. Since this is a new function, it’s necessary to make a new version of the spec that details how to save and apply the instructions. One thing this enables is for cameras that don’t work well with the current DNG spec to now be supported. Check out Tom Hogarty’s blog to see the new camera support.
Some new DNGs that make use of these new tools won’t be fully compatible with all DNG applications. You can save them so that they will work with the older software, but they will lose some of their rawness. How the heck does one decide which to use?
I’ve been waiting for solid state drives to start to live up to the expectations (speed, security, low power, adequate capacity, affordability) that the marketplace has. According to Diglloyd, that day has arrived in the form of OWC Mercury Extreme SSD. This appears to be the first drive truly delivers (except maybe for affordability).