So this afternoon I finally addressed something
I have noticed when processing SRAW1 files from my Canon 5D Mark II.
SRAW1 files are being converted to a DNG file
that is almost twice the size of the native CR2 (RAW) file in Lightroom
v2.3.
This is a huge filespace premium to pay for maintaining my archive in
DNG. A quick search of Google turned up nadda.
Also annoying but minor, CR2 and DNG SRAW1 files display as an image
with 0 x 0 resolution, and no preview image is displayed in Finder in
MacOS v10.5.6
Here's the down and dirty:
Original Canon 5D Mark II SRAW1 .CR2 file: 10MB
DNG, no JPEG Preview, Preserve Raw Image, Uncompressed: 57.2MB
DNG, no JPEG Preview, Preserve Raw Image, Compressed: 18MB
DNG, no JPEG Preview, Convert to Linear Image, Uncompressed: 57.2MB
DNG, no JPEG Preview, Convert to Linear Image, Compressed: 24.9MB
DNG, no JPEG Preview, Preserve Raw Image, Uncompressed, Embed Original RAW file: 66.4
Update 5/13/2009 @ 5p: According to this post in Adobe Forums, "The sRaw format is not covered by the DNG specification. When
converting, it must be changed; in fact, the amount of data needs to be
increased by 50%."
Like any self-respecting photog, the first thing I do prior to leaving on a shoot is format my compact flash card in camera. It's something I don't even think about anymore, it's just automatic. So, naturally the first thing I did upon receiving a new Transcend 16GB compact flash card from Amazon last night, I popped it in my Canon 20D to format it. The 20D showed it as a 7.4GB card, with space for 770 RAW images on the card. Uggg.
When I got to work this morning, I tried it in a 5D, and 1Ds Mark II. Even though it showed in both as a 7.4GB card, after formatting in both, it shows as 14.9GB. OK, so it's an issue with my 20D with firmware v2.0.3 unable to format cards larger than 8GB. Freegin Canon.
UPDATE 1/26/2009: The dead pixel issues seems to have resolved themselves, as the no longer appear to be an issue. However the lack of image stabilization continues to be an issue as I struggle to find clever ways to handle the VadoHD to minimize shake, including even this trick.
With my wife and my expected addition (T minus 6 days!), we needed to procure a portable video capture device (video camera) with video quality at least better than our Canon SD800 point & shoot.
In phototography as in life, timing is everything. Very recently, the pocket high-def (HD) camcorder market started heating up, most recently with Creative Labs' VadoHD.
I ordered on Monday, 12/8/2008, the day they were offered on Creative's website... 720p for $200 delivered, and in a form factor that's about the size of my iPhone?!? Sure, don't mind if I do!
So by Friday, 12/12 when I didn't recive any shipping notice, I emailed customer service.
"We were expecting to have the Vado HD's in our warehouse on the 8th,
however, there was a delay in the delivery. We received them yesterday
and immediately shipped out the orders."
OK, no sweat. I received the VadoHD tonight, and immediately put it to use with the requisite cat snaps. Luckly, Chairman Meow (aka Evil Kenny) was feeling camera happy. However the results were less than encouraging upon reviewing via included HDMI cable to my 1080p 40" Bravia: Two dead/stuck pixels, about two pixels apart, near the center of the screen. Stuck on green. I hate green.
I am a digital photographer and archivist. At work, my digital photography
workflow is largely dictated by a multi-user networked environment. In
addition to myself, I have at least one (sometimes as many as three)
people adding and editing metadata on a collection of over 45,000
images, growing at a rate of 1,000 images weekly.
Adobe Lightroom won't work because it cannot handle more than one
person editing photos and metadata at a time. Lightroom also doesn't
particularly play nice with networked volumes, either. Our tool of
choice was iView Media Pro (IVMP), but that puked once our collection
reached around 30,000 images (it cannot handle a database larger than
2GB, including thumbnails). IVMP also isn't really a multiuser editor,
we used it via Remote Desktop (RDP) on the server, allowing one person
at a time to do work. It was really kludgy and I was rather happy when
it broke.
Now, we are using IDImager, a
very reasonably-priced photo metadata editing and import/export package
that is truely multi-user, via a database backend. It feels slightly
laggy at times, but it is fantastically aware of external metadata
changes (made via Bridge, for example).
Anyway, back to my personal digital photography workflow, which I
have largely ignored over the past year as we refine things at work. It
should be much easier to deal with, at least in theory. With my recent purchase of a MacBook, I am taking a fresh look at my own personal work habits.
I just posted some snaps from the Porter, Batiste, Stoltz featuring Page McConnell show at Revolution Hall from 9/24/2008. A very funky time had by all!
A very apt show to get my feets wet with shooting live music again.
All digital images (photographs) and text appearing on my website, unless otherwise noted, are the exclusive property of Mike Wren Photography and are protected under copyright laws of the United States.
Unless otherwise noted, all photograhs are made available under the Creative Commons non-commercial atrribution license. This means you may post my photograhs on your non-commercial website or blog, so long as you do not derive income from your website or blog and attribution is given to Mike Wren Photography and MikeWren.com . No original photograhs appearing on my website are within Public Domain.
Most photograhs appearing on my website at MikeWren.com and my Flickr stream are available as limited edition fine art prints, or for editorial and multimedia use. For more information, please let me know.
Photographic prints sold by Mike Wren Photography are intended for private use only. Your purchase of one or more photographic prints does not convey any rights with respect to the copyright of the image. Commercial reproduction, publishing, posting, broadcasting, transmitting or distribution of any purchased photographic print is strictly prohibited.
I am a full-time photographer based in Albany,
New York. By day, my position as Senior Photographer for a large New York
State agency
affords me the opportunity to chronicle scientific achievements being researched by
staff and hone my event photography skills during formal presentations involving
high-ranking members of state and local government.
By night, I loosen my tie a bit and capture live music and
entertainment photography for both commercial and editorial outlets. My client list includes a humbling mix of established and up-and-coming musicians, including Trey
Anastasio (Phish), Lo Faber (God Street Wine), Ominous Seapods, Lotus, The
Buddhahood, Ryan Montbleau Band, Sam Kininger Band, Raisinhead, Indobox and The McLovin's.
Not long after shooting the Echo Project for State of Mind last fall, I fell out of the habit of snapping photos of live music for reasons both personal and professional. Here are two snaps, one from each show I shot earlier this year. They were submitted to the 2008 Jamtopia Concert Photo Contest on a whim. The judges are good people, and the terms of the contest seem fair, so why not.
Like any self-respecting photog, the first thing I do prior to leaving on a shoot is format my compact flash card in camera. It's something I don't even think about anymore, it's just automatic. So, naturally the first thing I did upon receiving a new 
I am a digital photographer and archivist. At work, my digital photography
I am a full-time photographer based in Albany,
New York. By day, my position as Senior Photographer for a large New York
State agency
affords me the opportunity to chronicle scientific achievements being researched by
staff and hone my event photography skills during formal presentations involving
high-ranking members of state and local government.
