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It all starts with contributes uploading or creating a new document for collaboration. A collaborator is a group or people responsible for selecting the appropriate document from “uploads” folder, store them in them in “working-document” folder and work on them. Once the document is ready to be published document is sent to the “request for approval” folder where an approving authority is notified.
Approving authority can approve or disapprove the document. It may go back to the “working document” if disapproved with a notification to the collaborator(s). If approved the document moves to the “Approved version” folder and can be published in a desired format (pdf/doc/html) and location (published folder/intranet site/social networking site) as per the predefined rule set.
All these roles and workflow can be re-fined and redefined based on the business process. This is an example workflow and was created for basic understanding of a document workflow.
Find the full blog at
Part 1 of 3
This presentation briefly goes through the steps of how I processed a high dynamic range image of a cloudscape during stormy season in Hong Kong.
High dynamic range images or HDR, is the process of combining multiple low dynamic range captures into a single image, when a single capture does not afford the necessary range for what is intended.
Three captures were made for the making of the final image. All three images share the same ISO, the same aperture value, and the same focal length. They differ in shutter speed, and the result is shown here, with one normal exposure (0EV), one 3 stops down (-3EV) and one 3 stops up (+3EV).
The image on the left was exposed for the overall intent: the clouds and the reflection on the sea. The image in center was exposed for the highlights, which provides some tonal details in the sunlight in this case. And the image on the right is exposed for the shadow areas, where the buildings on the horizon are now correctly exposed, and you can see the patterns on the water surface.
After importing my RAW captures into Lightroom, I have exported them to merge to HDR via Photoshop. I used to use Photomatix for this but lately I have been using Photoshop because it was easier for my workflow.
The important bits to note here is that you should be focusing on extracting details from the captures, and not trying to create the final image.
# Full video
+ youtube.com/watch?v=0N9RWxVO5gw
# Presentation PDF
+ www.slideshare.net/seeminglee/hdr-process002
# Final photo
www.flickr.com/photos/seeminglee/9370400032/
# Notes
Hope this is useful for some…
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
HDR Photography Workflow: Part 1 of 3 / SML Tutorials
/ #SMLPhotography #SMLTutorials #SMLEDU #SMLUniverse
/ #HDR #photography #workflow #tutorials #video #edu
Part 3 of 3
Then I do the same for the water area. Note that at this point this image is very similar to by 0EV capture—no surprises there. This was what I saw when I photographed this photo. I do HDR not for effect, but just so that I can have some details on the shadow area.
At this point you see that really there is not much color to this scene. In fact, they stand to distract the overall image, so I removed it. Here since I have been working in Lab mode I just quickly removed the color channels or just removed the color saturation. If I work with images filled with color I usually would use the channel mixer in RGB mode or use the black and white tweaking modules inside Lightroom. But as you can see there is not much color in this image to start with so I can simply just remove the color saturation.
After importing back into Lightroom, I tweak things further as I feel that I can still get some more details in the shadow area. If I were inside Photoshop I would do a image-wide shadows/highlights tweak but since Lightroom version 4 there is this new Clarity parameter which works very well in manipulating local contrast so I used it.
And that’s it. But remember, every single image is different. This is not a recipes. There are no rules. Now go have some fun!
Cheers.
# Full video
+ youtube.com/watch?v=0N9RWxVO5gw
# Presentation PDF
+ www.slideshare.net/seeminglee/hdr-process002
# Final photo
www.flickr.com/photos/seeminglee/9370400032/
# Notes
Hope this is useful for some…
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
HDR Photography Workflow: Part 3 of 3 / SML Tutorials
/ #SMLPhotography #SMLTutorials #SMLEDU #SMLUniverse
/ #HDR #photography #workflow #tutorials #video #edu
A portrait series with Pauline in cooperation with Atelier 5b.
Check my Instagram!
Atelier 5B on Instagram.
Model's Instagram.
This is my current workflow, the last step may vary naturally. I don't always use the same filters, but Adjust and Detail from Topaz Labs quite often used
The 2nd app in my workflow I use is Photogene... More on how I use it at:
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About. Me - about.me/edwardconde
This may initially look complicated but this is the photography workflow that I currently use including the route from initial captured image, through ingestion and processing, distribution and eventually to archiving.
INGESTION: Through Adobe Photoshop Lightroom, images are copied to a working internal hard drive on my PC. During this "ingesting" stage, I set keywords, add copyright, apply any preset editing and add these images to a subfolder named, "originals". I also automatically copy the images to an external drive purely as a backup. I call this drive the redundant drive.
SORTING: Next I quickly go through and determine which images are rejects and I mark them for deletion. I don't delete them yet because I might always change my mind later after I see what can be done with the editing.
NON-DESTRUCTIVE EDITING: I adjust the camera calibration. This is a very quick and flexible way to change the major balance of the photo and effect all of the colors at once. I do additional white balance tweaking, black clipping, whatever is needed. If specific changes to the content of the photos are needed such as removing an exit sign or cloning over a name tag, I export to Photoshop from Lightroom and make those changes on a copied layer. Then I save a PSD, go back to Lightroom and make any final changes there. Finally, I add individualized keywords (people in the photos, specific details about the photos).
RENAMING: The first step before exporting is to look at the files marked for deletion. If they really are no good, I delete them. Next, I rename all of the files so that they are easier for people to read. Usually I follow the pattern of "name of event - 001.extension". Some photographers and editors don't do this step preferring instead to use whatever file name is generated by the camera. But to me, with the power of modern search engines in Lightroom and Portfolio, I think it's best to rename the files so non-technical people aren't intimidated by all of the numbers and strange letters.
EXPORTING: Next I export for print and web size, each to a separate subfolder. For print, it's a full resolution jpg export at 300 ppi with the same name as the original filename. I also retain the Adobe RGB color space that I shoot in as it's best for printing (though I personally prefer the look of ProPhoto color space). For web, 72ppi jpg, sRGB color space (for browser compatibility) and 1024 x 768. Other photographers prefer TIFF but I think a full resolution jpg looks just as good as a full resolution uncompressed TIFF. Maybe I'm wrong, but my photos have been printed rather large on two page spreads and they look good to me. Plus, an uncompressed TIFF is rather huge in terms of file size. And when sending dozens of files for a magazine, JPGs are much easier for people to handle and transfer.
I also have export presets for facebook, LinkedIn and any other social media sites I distribute to. However, for Flickr, I just publish straight to the site from within Lightroom. No need to export anything separately.
DISTRIBUTION: Depending on the needs and capabilities of the client, I'll use our or their FTP sites to distribute print or web size jpgs. If they don't have FTP capabilities, I'll send photos via YouSendIt.com. If that isn't a possibility (if I am sending huge amounts of data for event photography for example), I'll burn a DVD and mail it to them. For internal distribution within the company, I'll place the print and web files onto the shared drive along with a PDF preview I make in Bridge (step not pictured). Some people have had the picture preview function removed from their computers by the IT department, so the PDF preview is unfortunately a necessary step.
ARCHIVING: The first step before archiving is to convert all of the raw files to DNG. This reduces the file size by about 20-40% and is a lossless compression. It also combines the raw file and associated sidecar file into one file which makes the folders cleaner. Over the course of many thousands of images, this makes a huge difference and makes the IT department slightly happier about storing ten versions of a headshot when to them they all look the same.
Next step is to transfer the whole working folder which contains the originals, print files, web files, PDF preview and PDF scanned copies of consent forms to the shared drive. This network drive is on a standalone server and is backed up every night to tape which is stored at a separate location. The shared drive is also in a separate building, so if my building ever had a disaster and was destroyed, the photos would be backed up in two separate buildings.
DATABASE MANAGEMENT: I currently am using Extensis Portfolio to look at the photos stored on the shared drive. When Portfolio runs, it searches for new photos, changed photos, removed photos, etc. and while it's updating its catalog (database), it extracts keywords from the files and creates keywords depending on the folder name, file name and location on the server. This catalog can then be searched by anyone with Portfolio Browser as it's stored on the network (the program and the catalog). Extensis Portfolio is very buggy and crashes all of the time, so I'm currently looking for another solution that is more reliable and user friendly to non-professionals.
FINAL STEP: Once the photos are edited, distributed and archived, this is usually when I delete the photos from the CF cards (if I haven't done so already to make room for another shoot).
Takes a screenshot of the selected web page using Paparazzi! & uploads it to your Flickr page
Gets the current selected web page from Safari & sends it to Paparazzi!
Paparazzi! takes a screenshot of the web page & saves it on the Desktop
Uploads the image to Flickr
Opens your Flickr photos page for organising (add to sets, groups or collections)
Ask if you want trash the image once uploaded
Download from here
With kind permission from Paul Fisher, visualisation with GraphViz.
A version of this workflow is available at www.cs.man.ac.uk/~hulld/workflows/paul_fisher_complex.xml
If you are interested in photography life is getting complicated because the range of decisions to be made is increasing at an amazing rate.
This month has been amazing because so many new cameras have been launched and I am interested in many of them. I suspect that I will get the Fuji X-T3 but I would like to get the Fuji GFX-50R or the GFX-100S but I cannot really justify paying between Euro 6000 and Euro 13,000 to switch to medium format. The 50R body will cost about Euro 4,500 and the 100S will retail at about Euro 10,000 so it is definite that i will not be getting the 50R. The 50R with a suitable lens would cost about Euro 6,000 so the possibility of me getting one is not good.
Sony did not launch a new camera but they announced a 24mm GM lens but when I went to my local dealer for details I was asked if I was planning to trade-in my Zeiss Batis 25mm and then I realised I had nor used the Batis since I got the Sony A7RIII. Many were expecting Sony to announce the A7SIII but all indications are that it will not appear in the shops until sometime in 2019
As the Sony 24mm is expensive it does not make much sense for me to purchase one if I already have a prime 25mm Zeiss lens so I decided to take it out to Glasnevin Cemetery to see how good it is. I liked the results but chromatic aberration proved to be an issue but despite that I suspect that I will give the Sony 24mm GM a miss. At this stage I am considering three lenses for my Sony A7RIII and they are the 12-24mm G, the 16-35 GM and the Sigma 105mm. Note: Capture One corrected for chromatic aberration better than did Lightroom.
Ever since it was introduced I have used Adobe Lightroom and I am currently Using version 8 [yes 8 not 7] but recently someone mentioned to me that Capture One is better than Lightroom. I had a quick look today and the images imported by Capture One do appear to be better ... it will take me a few weeks to investigate this because switching would have a major impact on my workflow.
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.
Medieval castle situated in the heart of Cannes Old Town, Le Suquet
The Castre Museum is located on the Suquet hill, dominating the city of Cannes. From the top of the medieval tower visitors can see the bay and the Lerins islands
Inside the castle and the nearby chapel is a brilliant collection of paintings, art and archaeological artefacts. The Castre Museum is home to a wide collection of antiquities, particularly from the Mediterranean and the Middle East.
The 11th-century Saint Anne Chapel houses a remarkable collection of musical instruments from Asia, Africa, America and Oceania. A few rooms dedicated to 19th-century Provencal paintings of Riviera landscapes open out onto the courtyard and a square tower displaying spectacular views.
It is surrounded by a beautiful Mediterranean garden with pine trees [seecannes.com]
In our tree nursery, which we have established in 2015, ten workers grow more than 4 million seedlings with the highest quality standards.
Until 2029 there will be 100 Million trees grown, planted and cared for. If 10.000 projects copy us, the trillion trees will bind a quarter of the human made CO2.
Overview of Codex Alimentarius
by Rima Laibow, M.D.
At the request of the United Nations (UN) in 1962, the World Health Organization (WHO) and Food and
Agriculture Organization (FAO) took on the joint role of running and administering the Codex
Alimentarius Commission (CAC) to establish standards and remove barriers to trade for all food and
food products. Having declared that nutrients are toxins from which we must be protected, the CAC
has been busy establishing enforceable international guidelines for upper limits of nutritional
supplement dosing. Codex has goals that affect every person in the UN’s 170+ member nations,
including the United States. As a tool for furthering these goals, member nations are urged to adopt
Codex standards and guidelines as domestic policy. The United States has already committed itself to
doing so despite U. S. law which prohibits this compliance.
The World Trade Organization (WTO) has adopted Codex as a standard for the adjudication of foodrelated
international trade disputes and has the authority to enforce Codex standards through
implementation of harsh economic sanctions on non-Codexcompliant member nations. Pre-existing
international treaty laws dictate that WTO rulings will override the domestic laws already in place in
its member nations and, in fact, the WHO has successfully taken both states and the U. S. government
to court in the U. S. to force changes in our domestic laws eleven times. This means our nation’s hard
won laws that give you access to over-the-counter, natural health supplements will become
meaningless. Codex’s original mandate to remove barriers to trade and assure a clean food supply has,
under the influence of private, economically-driven multinational pharmaceutical, agricultural and
chemical corporations, self-expanded far beyond its original mandate. The result is a body of highly
dangerous and restrictive policies that threaten to become domestic law in the U. S. and, as such, are
a threat to your health and freedom.
The FDA has stated explicitly that its goal is complete "harmonization" with Codex and, in order to
bring that about, international regulations i.e., Codex will be given preference over domestic ones!
(Federal Register, 10/ 11 /95)
If Codex gets its way, as it already has in the EU, we can expect that, ultimately, only 18 or so dietary
supplements will be available over-the-counter in doses which are, by design, far too small to have any
discernible impact on any human being since codex classifies nutrients as toxins. High potency
nutrients will not be available either with or without physician’s prescription since these molecules
and compounds will be forbidden under any circumstances. The big surprise? Once in the hands of
pharmaceutical companies, consumer supplement costs are expected to more than quadruple. This
has, in fact, been the experience in Europe where this process is already underway and micro-dose
nutrient prices have increased 10 to 100 fold or more (e.g., in Norway a bottle of zinc lozenges which
previously cost $2 now costs $54; in France 12 Vitamin C tabs of just10 mg cost $117; while 10 Vitamin
E caps of only 10 IU each cost $110).
Australia and the European Union (EU) are in the process of enacting harmonized Codex policies that
restrict consumer access to nutritional supplements. America is next. Though Americans value
personal freedom, the fact Codex meets infrequently (and almost always offshore) and is bogged
down in highly technical language that is difficult to understand has resulted in many Americans
being unaware of this threat. The nearly total media blackout on Codex and its activities helps to
keep the U. S. uninformed and therefore, pliant.
While there have been rare serious adverse reactions to nutritional supplements during the past
decades, (usually when taken far in excess of the recommended dosing), numerous severe and even
fatal reactions to drugs (usually when taken at the recommended dosing) occur every day and are the
fourth leading cause of death in hospitalized clients in the United States when properly
used. When improperly used, they are, in fact, far and away the leading cause of death in
the United States. Even so, drug deaths are very likely underreported. Drugs are
inherently dangerous; nutrients are not. This fact makes it clear why the drug culture
2
needs to eliminate all access to natural health options, including nutritional supplements,
in order to expand and intensify its influence and thus its profitability. Healthy people
take fewer drugs and thus are poor customers.
The global pharmaceutical powers -that-be have already purchased a large piece of the
lucrative global nutritional supplement pie but the considerable size of this pie keeps the
hugely profitable pharmaceutical profit -share-pie from reaching its maximum size so the
competing nutrient pie must be destroyed. Though unable to patent a natural substance,
pharmaceutical corporations can hold patents on synthetic versions of vitamins and
minerals that, unfortunately for the consumer, often do not act like their natural vitamin
counterparts in the body and often act in unpredic table and harmful ways. If Codexcompliant
Europe is any guide, the permitted micro-doses of permitted nutrients will be
only synthetic ones.
In addition to regulatory and/or administrative takeover and destruction of the dietary
supplement market and consumer access, Codex also mandates irradiation of food;
mandatory use of antibiotics, hormones and growth stimulants in all animals raised for
food, is expected to legalize the unlabeled inclusion of Genetically Modified Organisms (GMOs) (whose
safety has never been established while their serious dangers have) into our seed and food supplies and
will increase the allowable maximum tolerated levels of pesticides, herbicides, veterinary drugs and
other dangerous industrial toxins in food, likely driving up degenerative illnesses, including cancer,
diabetes, cardiovascular disease, macular degeneration, MS, etc. All of these policies are made under
the guise of free and equal access to trade for all nations and protection of the public.
Some people have “Codex Anesthesia,” a state of overwhelming, numb confusion that occurs just
before people lose their health freedom. Many otherwise well-informed people from the manufacturing
and retailing sectors of natural healthcare believe that the Dietary Supplement Health and Education
Act (DSHEA), passed in 1994 to protect Americans’ access to natural healthcare substances, will still be
in place to protect them. This is not the case: Fundamental health freedoms afforded the American
public by DSHEA, which classifies supplements as food which, as such, can have no upper limit set on
their use, are now under well orchestrated legislative and/or administrative attack. Health nuts and
junk food devotees alike are not immune from this legislative attack on health freedom.
The following is a link to Dr. Laibow's website which gives a self-prompting 5-minute presentation that
tells you about Codex: http: //www.healthfreedomusa.org/aboutcodex.shtml
More in-depth information can be found on her website, www.healthfreedomusa.org, and on
the highly informative "Nutricide: the DVD" http: /
/www.healthfreedomusa.org/aboutcodex/dvd.shtml
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.