From cable etiquette to working with a director of photography, Pixel Corps’s The Grip Guide does an excellent job of explaining some studio concepts, specifically for film and video production. To anyone working with studio equipment (including photographers and music studio engineers), it’s a great resource for refreshing the basics.
I had a blast watching the current lline-up of episodes; sadly, the series was cut short. I asked Pixel Corps’ founder Alex Lindsay, and it seems a sequel is in the works very shortly (involving Kelly Herrin from All-In-One-Truck).
These two images continue on from my end-of-university project, Do You Dream, at the end of which I unearthed a series of dream-journal entries about space. They were filled with a kind of cosmic depression, as I was placed into experimental space missions with friends and loved ones. It was both beautiful and cruel, at once.
There’s one story (as posted previously) which made reference to Space Shuttle Columbia, and in particular its destruction in 2003. It seemed strange that I would remember such a detail.
It was only a few weeks ago that I discovered why. As a child in the late 90s, I had visited Kennedy Space Centre in Florida, and like any excited child I had bought a souvenir. I found it last month, at the back of my closet, and it gave me quite a surprise: it was a flag of Space Shuttle Columbia, from a time when its fateful disaster lay years ahead.
It’s a haunting connection, and one which explains the strange resonance the space-dreams have with me.
I love using Aperture. As someone who has a lot of darkroom experience, I’m still amazed at the finessed control RAW processors like Aperture give photographers over their images. But, there’s still a few kinks to be worked out that may not be obvious.
Here’s the story.
I had spent around an hour working in the studio, using the (fantastic) DSLR Remote iPhone app to remotely shoot onto my laptop. Towards the end I got a few winners, and called it a day.
I packed up the studio, carried the laptop back to my office, and set up to start working. After firing up Aperture, I used the Import dialog to bring in the images from a folder on my desktop. Thumbnails stream into the project, followed by the camera’s preview images being replaced with Aperture’s own preview images.
After a minute, all the images seem to be imported and processed, so I send the original folder to the Trash. Back to Aperture: All but the final dozen images have been imported.
Even though Aperture had processed the images, the master RAW files were only mid-copy when I did my housekeeping. The final images were gone for good.
At this point, I was not a happy bunny.
I know this is a new feature in Aperture 3, and I appreciate the added speed to the overall workflow. My issue is that, for the images to appear in the library before any of the master images are copied, is confusing and misleading. The master files aren’t even locked to prevent their deletion during the import.
This is more of an observation than a complaint, but it has caused a day’s work to be lost. Let this be a warning to other Aperture users, while I wait for a response from inside of Apple.
