Best structure for thousands of images?

I’ve just purchased Aperture (2) and I’m trying to figure out the best way to use it for my needs.
I plan to start scanning many slides (thousands) shot by my father that are well documented (who, when, where) going back to the late 1940s in chronological order.
I’ve been reading through the documentation and playing with folders, albums, and projects. I can’t figure out what scheme to use. (The options are clear, but when I start trying to manipulate the images I feel like I may not have thought it through in the best way.)
I currently have about a thousand images on my hard drive. They are in folders labeled the year they were shot. If there are specific events during that years I’ve put them in subfolders.
I’ve tried using this scheme in Aperture and have about fifteen projects (1979, 1980, 1981, etc.), each with its images in several albums.
It feels like I may be going down a road and have to redo everything when I get to a fork I’m not currently considering.
Any suggestions would be greatly appreciated.
Thank you.

Apologies in advance, my intent is not to demean any specific workflow or offend anyone. I have been building databases for decades and I may be a bit database-centric. Some observations:
• The DAM book was written before DSLR capture. It is Photoshop/film scan centric and far predated Aperture/LR workflows. Although conceptually useful IMO it can also lead folks away from best modern DSLR capture workflow practice.
• There actually is a right and wrong in date naming conventions in our digital world. The way computers work is with time identified as a string from longer to shorter yearmonthdayhourminutesecond. In our digital age folks will do well to set their shop naming conventions similarly. The other thing that happens digitally is that unique identifiers are often important.
Over time approximating the yearmonthdayhourminutesecond protocol will help in digital manipulations. Note that 20080309 is unique, and sorts after 20080307 and before 20080401 in every list on any computer (or the reverse depending on how the sort is specified). No slashes or hyphens are in the string to confuse the more simple-minded computers or take up space when field length is limited. And even we simple-minded humans can read the string once we know how and why.
• Obviously every individual is entitled to create his/her own workflow conventions, but... These are computers - take advantage of them! Any database (e.g. Aperture) can search many tens of thousands of images in seconds. Creating complex folder setups was necessary with film, and of course we all need to maintain our film archives. But all images being moved into Aperture are digital and it makes sense to plan digital workflows.
E.g. as long as each image is dated, date-based folders are redundant. Create complex folder schema if you like, but be aware that every pic taken for decades can be digitally searched in as many different ways as you have the creativity to think of. IMO too much folder-thinking can be stifling to ideal database usage.
-Allen Wicks

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What is the best method for storing/retrieving images?

Friends,
OS: RHEL AS 3
DB: 9iR2
We have some critical situation. We need to scan all our Purchase orders and to store in our pc. we don't want to store the images in the database. it will be a big headache. We have 4 branches in different cities. All the branches are connected to our local network. We have novell server in every branches to store the oracle forms and the db is centralized in our head office. The purpose is to view any PO in any branch.
so,what will be the best solution for storing the images for our archiving?
thanks & regards

Yes - a good quality external hard drive is the answer
Moving the iPhoto library is safe and simple - quit iPhoto and drag the iPhoto library intact as a single entity to the external drive - depress the option key and launch iPhoto using the "select library" option to point to the new location on the external drive - fully test it and then trash the old library on the internal drive (test one more time prior to emptying the trash)
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Best Workflow for Rich Grayscale Images on Press

Hi, we're preparing a piece that uses mostly grayscale images and we want them to look as nice and rich as possible. So wondering about proper workflow to convert the images to CMYK using best percentages for nice, rich shadows, etc.
What I've done so far is:
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3) Do any final levels adjustments to get the photo just right.
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Now the photo looks good in Photoshop, and is very neutral (what we want). The darkest shadow areas are 95%-99% black, but with a good 40, 30, 30 mix of CMY. The highlight areas are black only up to about 16%, then color starts creeping in at proper ratios.
NOW I'M A BIT FUZZY.
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- We may not know the printer of the job ahead of time, and even if we do I've found many who don't fully understand color management and don't have a custom profile for their printer. What is safest in this case?
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- Any other tips???
THANKS!

This may not be the most appropriate forum for your question. The separation you are using is done using the Custom CMYK engine, which is a legacy (pre-CM) mechanism in Photoshop that has no direct relationship to ICC color-managed workflows. Legacy questions may be better addressed to other forums.
On the other hand, if, rather than use the Custom CMYK engine, you wish to separate your grayscale image to a CMYK ICC profile appropriate to your output conditions, the procedures are clearly outlined in "Real World Color Management", by Bruce Fraser, Chris Murphy and Fred Bunting. (Look for it on the Amazon site.)
When the output conditions are not known, make sure to speak to the printers once they have been picked, and clearly communicate to them your concerns. You can provide a CMYK image file separated for US Web Coated (SWOP) v2, and ask them to reseparate it appropriately for their own press conditions. You could also provide the grayscale file, if they would rather have that one. In any case, make sure to tell them that you are looking for a high GCR.
It's also a good idea to send them a properly color-managed proof (aimed at US Web Coated (SWOP) v2), and tell them to make sure to match it. Other than that, and in the absence of any information that is more detailed and specific, there's not much else you can do.
>When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
InDesign is
i not
converting the image. The North America Prepress 2 color presets use the "Preserve Numbers (Ignore Linked Profiles)" policy for CMYK. This policy
i ignores
the CMYK profile embedded in the image and
i assigns
the default CMYK profile instead. The image numbers are left untouched, but the appearance changes because the default profile (U.S. Web Coated (SWOP) v2) describes print conditions that differ from those established in your Custom CMYK profile.

Best setting for using still images for 16:9 format

When using still images in FCP, what is the best setting to keep the images from stretching or warping when exported to be shown on a 16:9 format?

Put them in a 16:9 sequence (is there any other way?) If they are distorted upon import, you can change their distort settings under "Distort" in the Motion tab of the Viewer. 33.33 is a good number to start with.

Best strategy for importing organized images

Hello,
I have recently started using Aperture in my photography workflow and I need some advice from the experts on the best strategy to import the existing .JPGs from my hard disk into my Aperture library.
Prior to using Aperture, my workflow was as follows:
1.) I would import ALL the photos from my digital camera to a folder on my hard disk (one folder for each date of import). These, in effect, were my 'master' images, which I never edited or deleted.
2.) Next I would make a copy of each new master folder, under a separate folder called 'picks', where I would go thru and delete the bad ones and occasionally make some minor edits or crops to the good ones. These 'picks' folders are what I used for my slideshows, photo galleries, etc.
NOW, as I'm moving everything to Aperture, I'm attempting to find the best strategy to import everything, where I would maintain both a master copy of everything that came off my camera and the already organized 'albums' of 'versions' the represent my 'picks', but also reduce some of the redundancy of having duplicate copies of 60-70% of the photos in my library.
Here is where I need some advice. In the case of new photos imported directly from the camera into Aperture I have managed to figure out how to import the master images and then create albums of versions for my good pics. However, I haven't found any way to import my existing masters and picks without importing two copies of each "good" pick.
Is there any way I can get Aperture to recognize that the photos in my 'picks' folders are actually 'versions' of some of the original 'masters' so I don't need to import two master copies of each of my good pics? (I generally left the file names the same.)
I have several thousand existing pics on my hard disk that I'm hoping to import into Aperture so I'm hoping there is an efficient way to do this!
Many thanks for the help!

HI I would also be interested in how others do this. I have been playing with aperture for some time and I am still not sure whether to commit to it.
I also keep my masters in a folder structure with year at the highest level and day of shooting below that.
I know its not necessary to do this in Aperture but I am not sure I understand why or if its a bad thing to do.
Would love to her what others think and advise.
Thanks

Best PPI for Creating New Image in Photoshop

Hi,
Bunch of questions - all in BOLD. I am somewhat new to CS5 and have been playing around with making art in it. Yesterday I created a piece of art simply by selecting 6 inches by 6 inches in the dialog box (because I was thinking of just printing it out at home and gluing it to a 6 x 6 canvas). It defaulted to 72 ppi / RGB as it always does, and I was fine with that when I started the piece and also because I post these pieces of art to my blog on the web.
I am in the process of trying to create art for licensing and understand I will have to create things in CMYK for that (right?). I also understand that I should probably create a PS piece at 300 ppi (or is 355 ppi the new standard?)
I want to create the art on 12 x 12 photoshop windows ("scrapbook size") for manufacturers that will also allow the art to be sampled up and down a little bit (say down to 8 x 8 and up to 20 x 20). Is 300 dpi the best dpi, then, to create the piece at?
Also, is it possible to re-save the file for the web at 72 dpi / RGB for posting to my blog? What is the best way to do this?
Final question, I think, is that I will be printing out my art on my own home printer (4-color HP Vivera inks) for trade shows just to show it and am not concerned that it be the absolute-best of all possible prints. Just a pretty good rendition of it for display purposes and I obviously don't want to go through a boatload of ink and spend 20 years waiting for it to come out of the printer, etc. Can anyone recommend the best setting (CMYK? PPI???) for home-printing of 12 x 12's as such?
Thanks!

that all of these choices will allow me to save it as a copy?
When using Image > Image Size I would recommend duplicating the Image (Image > Duplicate) first to avoid the risk of overwriting the original.
I guess what you are saying is that the manufacturer is able to fiddle with CMYK values that he/she needs and I shouldn't worry about it and just create it in RGB.
Unless you know what space the actual print will be in you better stay in the larger gamut (as most RGB-spaces are likely to be in relation to most CMYK-spaces).
And even if you know the target-space working in RGB offers some advantages and avoids the risk of overshooting the allowed Total Area Coverage (as can happen when working in CMYK-files).
what would be the best way to go about trying to decide what possible CMYK profile I should use, and where in the program would I choose to set it and view it
• Where do you work (North America, Europe, Asia, …)? In Europe FOGRA sets the standard (ISO Coated v2 for sheet fed offset presses at current for example), in other regions of the world different standards may apply.
• What is the likely output for your images (Posters, newspapers, magazines, offset or gravure print, t-shirts, …)?
One can always ask one’s print provider which icc-profile fits their process.
You can use Photoshop’s soft proofing capabilities to get a preview of whatever color-space you find out to be the pertinent one under
View > Proof Setup > Custom
and save that. Then turn View > Proof Colors on or off as needed (command-Y).
But here (as with separation in general) you may want to look into the various Render Intents.
Additionally you can use View > Gamut Warning (command-shift-Y).
can I safely assume when I purchase a scanner and use that in the creation of some work that I should scan things in at 300 ppi?
300ppi effective resolution that is – this means that if you are likely to upscale an image in a layout program like Indesign or just print it out bigger you should do the scan accordingly bigger or with higher resolution so that in the end 300ppi are maintained for products that are likely to be viewed at or less than an arm’s distance.

Best practice for displaying an image

Hello everybody,
I have an application that displays and animates several
images and I was wondering what was the best way to improve
performance.
Is it better:
- to create a Bitmap object, put it in the display list and
then move it around
- create a Sprite, do a graphics.beginBitmapFill and a
drawRect, and then animate this Sprite.
Using one method or the other doesn't make a big difference
for me, but I was wondering if there is a difference in terms of
performance and memory usage.
Does anyone know ?
Thank you.
Yann Martel
Aquafadas

I don't think there is currently a way to do this in Catalyst (unless you create multipe text fields). I'd suggest setting it up in Flash Builder.

Which is the best structure for start/stop data logging?

Hi everybody,
hope I can explain my problem good enough that anyone can help me:
I have a VI which continuely shows on a graph the voltage of a Analog Input of a DAQ device. Now I want to allow the user to start/stop with a click on a button data logging. Means that a second loop writes to a selected path every ms the data to a spreadsheet file.
At the moment my VI works like this:
You run the VI and Labview asks you one time for the file path, then you can start and stop the data logging. But you can do it only one time. If you want to log a certain time later another file, you have to close and open the whole VI again which is not very professional...
My target is:
It is onlyl necessary to start the VI one time. Then you can select a new file path, log data, select another file path, logging data again....and so on...
Which programm structure is necessary, can anyone help me as a labview beginner with that issue? I attached the VI if someone just wants to edit that...
Thank you for your help!! Markus
Attachments:
Logging voltage.vi ‏93 KB
screenshot.JPG ‏98 KB

@NaruF1 and GerdW
you are right, there is a mistake, both loop rates should be the same (10 ms) :-)
@NaruF1
yes you understood correctly that the file dialog should appear every time the user wants to start writing a new log-file. The voltage we measure is a analog signal, so there will be several interesting periods we want to save for a later analysis in Excel.
To your 2nd point: if it works with a array it will be fine. But it must be possible to log data for lets say 5 minutes, so the array won´t be too large? (5 min @ 10 ms loop rate will be 30000 rows..
attached is the VI, saved as LV2009..
Thanx a lot!
@GerdW
..you ask why I didn´t create a structure like you recommended with notifiers or queues? The simple answer would be that I am not familiar with all this.. just began to write my first Labview programm. I will have al look to the LV help with all that stuff... Thank you a lot
Attachments:
Logging voltage.vi ‏80 KB

Best Structure for Organising Photos - iPhoto wouldn't do it, can Aperture?

Hi,
I was wondering if Aperture would let me organise photos in this way:
I have 'groupings' of files of pictures. For example 20 or so files containing university pictures inside a folder called 'university'. I then have 10 or so files containing pictures of the family inside a folder called 'family'.
What I would like to do is view the top folder (university or family) with a thumbnail, then go into it and view the subsequent folders as thumbnails, and then go into one of those and view all of the pictures as usual.
The problem is, if the 2nd level folders are all projects, I can't view them inside their respective 'top level' folder. Aperture (as iPhoto) appears to only let me view all 'projects' or all 'pictures'.
I tried having albums inside projects in the hope that clicking on the project would show thumbnails for each album but still with no luck.
I've had a look at the Aperture guide but this has proven unfruitful also.
Can anyone tell me if Aperture can do this and maybe if so, how it would do this because I'm at a loss?
Many thanks!!

Short answer is no. Neithr application is a folder-based "nesting" system.
They are databases.
Aperture is superior to iPhoto because you can have folders and within those you can have projects, and within those (or alongside in the folder as well) you can have albums, so it will work for you that far. It sounds like you've taken it that far at least.
The option to view as thumbnails is not available because of the skimming feature. All projects are displayed in such a way that all photos are visible, but the "top" photo is the representative key photo. That's similar to what you want to do, at least from a user interface POV, but it's a default behaviour, so the manner in which you want it to work is not how it can ever work. You cannot "nest" using key photos representing sub-folders.
Databases require you to organize your content along more rigid forms than file/older structures. Databases can handle a far larger volume of data and organize it with speed and efficiency as a result. You'll either have to change your system or use a non-Apple product.
mattnedgus wrote:
Hi,
I was wondering if Aperture would let me organise photos in this way:
I have 'groupings' of files of pictures. For example 20 or so files containing university pictures inside a folder called 'university'. I then have 10 or so files containing pictures of the family inside a folder called 'family'.
What I would like to do is view the top folder (university or family) with a thumbnail, then go into it and view the subsequent folders as thumbnails, and then go into one of those and view all of the pictures as usual.
The problem is, if the 2nd level folders are all projects, I can't view them inside their respective 'top level' folder. Aperture (as iPhoto) appears to only let me view all 'projects' or all 'pictures'.
I tried having albums inside projects in the hope that clicking on the project would show thumbnails for each album but still with no luck.
I've had a look at the Aperture guide but this has proven unfruitful also.
Can anyone tell me if Aperture can do this and maybe if so, how it would do this because I'm at a loss?
Many thanks!!

Best Practice for Text Wrapping Image?

I want to have a text block with an image in the upper left, the text wrapping the image. I can create it in Photoshop by editing the path of the text box, but it turns square in Catalyst (not surprising...) I know that in Flash Builder, you do it using html with an align=left image embedded. Is there a way I can do it in Catalyst, so that I don't have to do it by hand after the Catalyst->Flex transition?

I don't think there is currently a way to do this in Catalyst (unless you create multipe text fields). I'd suggest setting it up in Flash Builder.

Best structure for a website?

When making a website in Flash that will have buttons on the
main page
(frame) that links to different areas, is it better to link
to different
frames or scenes or other? Should each page just be a
different frame or
scene? How do you do it?

Avoid scenes. Personally, I use separate swf files for
content, and load
them in as needed. So I have one main Nav movie, that loads
various SWF's
depending on which button is pressed. This is how you'll find
most
proefessional sites are done as it minimizes load times, and
makes
modifications to different sections easier. And if you're in
a team,
different people can work on different sections at the same
time.
Dave -
Head Developer
http://www.blurredistinction.com
Adobe Community Expert
http://www.adobe.com/communities/experts/

CM (Configuration Managment) Best Practices for DBs?

Hi:
I've got a question on a topic I haven't seen discussed before. I have a project with application code and PL/SQL code and an Oracle 10g database that has triggers, constraints, etc. For a Java or C# project the concept of CM and a central code repository works, largely because the CM tool is able to enforce limits on who can do what to a given resource over time. Developers MUST check out the source files before modifying and adding back to the CM tree.
Database objects are more on an honor system. Even if you put the code for the tables, triggers, constraints, packages etc. under CM, nothing prevents a developer or multiple developers from modifying those objects in the development database and never updating the create scripts that are in the CM tree. So given that there are thousands of systems out there with Java/C# or whatever front ends and PL/SQL back ends in databases that have all sorts of DB objects in them, what are the best CM practices? How does a developer know the package he's about to modify is the last one that got pushed to the production server?
Constraints are problematic in several unique ways. They can be created in several places by different syntax (in the table create command; as a stand alone command after the table exist; named or system generated name if defined in the table definition). Things like SQL Developer and Toad can create code trees that contain all the scripts needed to build a database from scratch and a top level build script to run them all, but what's the best structure for that? Do table create scripts JUST define columns and separate scripts create all constraints?
I like to think someone has crossed this particular bridge before and has some answers to my questions. Any takers?
Thanks.

Gaff wrote:
No. With non-DB code, it isn't voluntary. The developer needs to check a file in or out before modifying it and the CM system enforces either that only one person at a time can edit the file or if multiple ones can, the merging of the results. Once the PL/SQL package is in a database, a developer can change it and NOT change the underlying file. I don't agree that there is a difference. All source control systems I have seen allow a copy to be taken or the source to be viewed without checking it out. I have a checked out source file on my PC. I copy it. I check in my changes, I make changes to the copy. I have made a change without changing the checked in source. Just like I could in the database. Should this change make it into the final build? No, and I can't complain when it doesn't, just like the unauthorized change directly in the database is overwritten and lost. I see no difference.
Making changes to database objects directly in the database is a terrible practice, you can enforce the same lack of tolerance for it as you would for any other developer circumventing the source control and deployment process in any other language.
- You tell them not to do it.
- You overwrite their changes if they do do it.
- You fire them if they continue to do it.
>
I think the solution is that by default DB developers have read-only access to the objects. When they identify the pieces that need to change to fix a given bug, some 3rd party (Software Lead? DBA?) grants them CRUD on the identified objects and verifies that their modified code makes it into the CM tree when the bug is fixed.The developer can make their own changes in the Dev database. Changes to the Test database prior to production deployment can only be made by the DBA using scripts from the source control system.
This works flawlessly.

What's the best photograph for a no background image?

I am about to photograph some products and would like to make a set up where I can photograph each of the products in the same setting/lighting. Then, when I go to open/edit them in PhotoshopCS4, I can take out the background and have just the image. Then, I can place that image ontop of any background I want. There is one bad thing. Some of these have a clear top where you can see thru them. Does or will that make a difference?
I want to set it up like they do for the weather on television, have a blue background and erase all of the blue showing. Then the only thing showing in the end is the digital background that was added in by computer and the weatherman(unless he's wearing a blue tie, in which case you can see the info through him). But my question still stands, what is the best setting for this and/or background color, how should the photographs be taken and then opened and edited(removing the background) using PhotoshopCS4?
We have a lighting set up, a 30" x 30" x 30" light tent setup, 3 lights with Pro Light Reflectors(one on the left, one on the right and one on top), 1 white and 1 black background and a box to place the images on. I'm using a Nikon D100.
Attached in a photo example.
This was taken with the black background and you can see the black through the bottle. I erased all of the surrounding black, but the dark shades still show on the sides.
Any help will be appreciated.
Sean

The whole point is that these photographs will be used for the book, manuals, magazines, ads... The backgrounds will not always be the same. That's my main problem. I am trying to figure out a way for the glass of the bottles to be "glass" images or "see through" so that when the photograph is placed on a background of, let's say, flowers, the flowers would show through. The edges of the glass are still solid and the flowers would not show thru them, but...
Is this type of thing possible for printing quality photographs?
Note - In the attched photo, it can be seen that the black background can be seen the plastic cap.

Best practice for Spark repeating background image in a SkinnableContainer?

In my old Flex 3.5 code I would accomplish this by dropping an Image into a Canvas and hitting the Canvas with some css style stuff to get the repeat. The Image tag had a source property that would take a web address so I could dynamically grab different images from the web based on some conditions. Little bit more trouble with Flex 4.5 and Spark but I'm trying to get there.
Here Adobe docs explain how to *embed* a background image:
http://help.adobe.com/en_US/flex/using/WS422719A4-7849-4921-AF39-57FF567B483B.html#WS063B0 491-B7AB-4b00-A39F-E44310BCB0E0
They use a BitmapFill object in the skin.

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Thanks in advance.

Use BitmapImage with a fillMode of repeat:
<s:BitmapImage source="http://www.google.com/intl/en_com/images/srpr/logo2w.png" width="100%" height="100%" scaleMode="stretch" fillMode="repeat" />

Best practice for a site with a lot of images?

I am working on a site that will have over a hundred images
and I wanted to see what is the best practice for designing a site
like this. Should a go with xml(please give examples or
explanation), a text file or just loadMovie("image1project1.jpg",
"bottomsec") with named external images that will stay the same.
Any help is appreciated on staying up to date with this kind of
site.
Thanks,
Randy

ok I am new please be nice - I think I want to set it up like
this
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<section>Architecture</section>
<name>New Building for CREATiVENESS</name>
<comment>The major challenge to designing this new
tower was the site constraints a small 3 acre urban corner site.
It is located adjacent to a community center to facilitate extended
use in the evenings and weekends for the entire community.
</comment>
<thumb>thumbs/project1.jpg</thumb>
<img1>images/project1img1.jpg</img1>
<img2>images/project1img2.jpg</img2>
<img3>images/project1img3.jpg</img3>
<img4>images/project1img4.jpg</img4>
</project1>
<project2>
<section>Interiors</section>
<name>New Building for Me</name>
<comment>The major challenge to designing this new
tower was the site constraints a small 3 acre urban corner site.
It is located adjacent to a community center to facilitate extended
use in the evenings and weekends for the entire community.
</comment>
<thumb>thumbs/project2.jpg</thumb>
<img1>images/project2img1.jpg</img1>
<img2>images/project2img2.jpg</img2>
<img3>images/project2img3.jpg</img3>
<img4>images/project2img4.jpg</img4>
</project2>
<project3>
<section>Architecture</section>
<name>New Building for You</name>
<comment>The major challenge to designing this new
tower was the site constraints a small 3 acre urban corner site.
It is located adjacent to a community center to facilitate extended
use in the evenings and weekends for the entire community.
</comment>
<thumb>thumbs/project3.jpg</thumb>
<img1>images/project3img1.jpg</img1>
<img2>images/project3img2.jpg</img2>
<img3>images/project3img3.jpg</img3>
<img4>images/project3img4.jpg</img4>
</project3>
<project4>
<section>Interiors</section>
<name>New Building for that guy</name>
<comment>The major challenge to designing this new
tower was the site constraints a small 3 acre urban corner site.
It is located adjacent to a community center to facilitate extended
use in the evenings and weekends for the entire community.
</comment>
<thumb>thumbs/project4.jpg</thumb>
<img1>images/project4img1.jpg</img1>
<img2>images/project4img2.jpg</img2>
<img3>images/project4img3.jpg</img3>
<img4>images/project4img4.jpg</img4>
</project4>
but I am not sure of the way to create the way to run through
it to find if it is in a section to put it in the menu and then to
call the images and text once they are in a project area. I dont
know if the
this.firstChild.nextSibling.childNodes[0].childNodes[2]
is the best way to call things in the file. Any help is
appreciated. Please let me know what are the best practices and
easiest way to work with a large xml file.
Thanks,
Randy

Best structure for thousands of images?

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