INGEST AND CONVERT TO DNG PHOTO MECHANIC PLUS

Camera Bits sees a gap in this market, and Photo Mechanic Plus is its answer. Photoshop, Affinity Photo) on their own or with integrated cataloging (e.g. Rapid Asset Management (RAM) is relatively new, as most products have tended to offer image processing (e.g. If I'm shooting a wedding, then I might well want to both rapidly cull and upload initial imagery for the couple before returning later on for some more curated edits. Obviously, you can have anything in-between as well. A landscape photographer might only shoot 10 photos and manually copy and edit each one in Lightroom or Photoshop. At one extreme, a sports photographer might shoot a ton of images, then rapidly cull them before automating batch edits and then uploading the results. The former benefits significantly from being integrated into the culling process, while the latter can more readily be driven externally (for example, in Photoshop).

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Once the images are actually on your computer, there are two broad approaches to processing them: simple batch-driven edits and more refined manual processing. Once you've culled, tagged, and keyworded your imagery, the import process then kicks in, which highlights a universal truth: copying your images is only as fast as the hardware you are using. There is an acute requirement for Rapid Asset Management in these domains, but all areas of photography are seeing a need to be able to rapidly cull and catalog their imagery. This is even more important for time-critical photography such as sports and news, where you can be required to upload your imagery literally seconds after having captured it.

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Rapid Asset ManagementĪs a result of a lot more larger image files, we are now seeing pressure on the software that manages those photographic assets when files were small, there wasn't any imperative to seek high-performance processing, but this has become an obvious bottleneck.

If, for example, you are a wedding photographer, shooting 2,000 images for a single event creates a significant data processing headache, all of which costs a considerable amount to set up and maintain. With cameras such as Fuji's GFX 100 creating 100 MB+ size files, you need large media cards, an ultra-fast connection to your PC, storage, and a large backup solution. Digital was heralded as an almost 'no-cost' solution you already had a computer and just dumped those tiny JPEGs into a spare directory. There was a charge at every stage before you carefully indexed and filed your negatives. Back in film days, there was an upfront cost associated with creating an image: you paid for the film, the development, and the printing. This wealth of the visual is creating a data headache that affects all aspects of the photographic workflow, foremost among these is the size of the data archive. What is undeniable is that we are shooting more images than ever, using higher-resolution sensors that create larger files. The care you take will depend upon what you want to achieve and who you are delivering the images to. Digital asset management is something we all do as photographers - whether it's as simple as copying image JPEGs straight off an SD card and dumping them into a 'Pictures' folder or fully integrating Lightroom into a workflow so that the raw files end up pre-tagged in date-named folders that are cloud-synced for anywhere access.

Ingest and convert to dng photo mechanic