When I updated my Mac OS to 10.6, I lost the use of my trusty Laserwriter 8500, since Snow Leopard does not support the AppleTalk protocol that I’ve been using with the printer. That’s a real shame, since the 8500 is a real workhorse, and at a good price. I’ve printed more than 36,000 pages on the printer and I’m only on my third (I think) toner cartridge. The printers themselves can be bought used for as little as $100.
The 8500 is a great document printer. It’s made to handle the work of an entire floor of office cubicles, and can even handle large paper (11×17). It can connect directly to an Ethernet network.
Fortunately, updating the printer to work with Snow Leopard was possible, athough I did have to dig out some old hardware. Here are the steps.
Here’s the last post about the new Camera Scanning content on dpBestflow. Richard Anderson outlined how he used the process to digitize 20 years of work for Center Stage in Baltimore. Richard outlines the strategy behind the project, and then Matthew takes you through the workflow. To see the whole page, click here.
In this movie for dpBestflow, we further examine camera scan workflow for black and white film. This workflow outlines the optimization of a single image, including custom use of the curve, dust removal, local corrections, and more. You can go to the whole page here.
The movie linked below is from the dpBestflow.org website describing the camera scanning process. In this movie, the several types of hardware that you can use for the process are outlined, along with considerations about how to set up and work with them.
These include a bench system, rail system, bellows system, lens-attached system, and copystand system.
We’ve added quite a bit of material n the dpBestflow website describing the process of Camera Scanning (using a digital camera as a scanner for film originals). There are two pages that have been created. the first is a Best Practice page that outlines what the choices are for hardware, as well as the software for image manipulation.
The second page is in the Workflow section, and describes a case study from Richard Anderson’s studio. He worked with his production assistant Matthew Yake to digitize more than 50,000 images from 20 years of work for Center Stage in Baltimore. the page describes the project approach and details.
It seems that nearly every photographer is at least dabbling with creating motion imagery, and they often ask the same questions. Richard Harrington has produced (yet again) an essential resource for this group. Still to Motion is written for the still photographer moving into this new discipline, and explores a unbelievably large number of topics. You’ll get a perspective on storytelling and project approach, camera, lighting, support and computer equipment, and so much more.
The book tracks several different projects, and helps to illuminate the different approaches needed between a music video and a documentary. The book included a DVD with finished examples of the case studies that the book tracks, and includes a lot of demo and project files for you to pluy with.
If you are a still photographer even considering working with motion, you will find this to be an essential resource. Buy it at Amazon.
As a bonus, the subject of the documentary and music video is Luke Brindley, one of our favorite up-and-coming singer songwriters in the DC area.
Richard Anderson and I will be doing a camera scanning workshop in New Orleans on the 28th of April (doors at 6:00 pm, program at 6:30). We will present techniques for creating reproduction-quality scans from film and negatives using a digital camera and inexpensive copy hardware. The program is free, but space is limited, so sign up early if you are interested.
This program is brought to you by ASMP, the New Orleans Photo Alliance, The US Library of Congress’s NDIIPP program, and Microsoft.
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?
In The DAM Book, Second Edition, I mention that you can use SuperDuper! as a program to do a validated transfer on Mac (in addition to Chronosync, the program I use). Some of my readers have contacted the software publisher and confirmed that it does NOT perform a validated transfer.
Sorry about the error, and thanks to readers Kevin Johnson and Tim Baker.
If you are wondering what the heck a validated transfer is, read about it at dpBestflow.org. (The movie embedded below is form the site, and shows the use of PC software SyncBack to do the process).