`
`ll
`
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`
`I l
`
`,
`
`.1
`
`_
`
`__ fl-
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`
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`gffimganize extensive
`Image collections into
`efficient libraries
`
`Master the workflow
`and editing tools
`Aperture provides
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`REAL WORLD
`APERTURE
`
`‘ BEN LONG
`
`PEACHPIT PlRESS
`HERKL'LLY CALIFORNIA
`
`‘
`
`\
`i
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`
`
`REAL WORLD APERTURE
`Ben Long
`
`Peachpit Press
`1249 Eighth Street
`Berkeley, CA 94710
`510/524—2178
`800/283-9444
`Sin/524-2221 (fax)
`
`Find us on the Web at wwpcachpitcom
`To report errors, please send a note to errata@peachpit.com
`Peachpit Press is a division of Pearson Education
`
`CoPyright © 2007 by Ben Long
`
`Project Editor: Alison Kelley
`Development Editor: judy Ziajka
`Production Editor: Kate Reber
`
`Copyeditor: JudyZiajka
`Tech Editor: Tor Rolfjeha'nsen
`Compositor: Jonathan Woolson
`Indexer: James Minkin
`Cover design: Charlene Charles Will
`Interior design: Mimi l-Ieft
`
`Notice of Rights
`All rights reserved. No part of this book may be reproduced or transmitted in any Form by any
`means, electronic, mechanical, photocopying, recording, or otherwiSE, Without the prior written per-
`mission of the publisher. For information on getting permission for reprints and excerpts, contact
`permissions@peachpit.com.
`
`Notice ofLiahility
`The information in this book is distributed on an “As 15” basis without warranty. While every precaution
`has been taken in the preparation ofthe‘book, neither the author nor Peachpit Press shall have any liabil-
`ity to any person or entity with respect to any loss or damage caused or alleged to be caused directly or
`indirectly by the instructions contained in this book or by the computer software and hardware products
`described in it.
`
`Ti'adcmarlts
`
`Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
`trademarks. Where these designations appear in this hook, and Peachpit was aware (it—:1 trademark claim,
`the designations appear as requested by the owner of the trademark. All other product names and services
`identified throughout this book are used in editorial fashion only and for the benefit of such compa-
`nies with no intention of infringement of the trademark. No such use, or the use ofany trade name. is
`intended to convey endorsement or other affiliation with this book.
`
`ISBN 0—321—44193-1
`
`9 8 7 6 5 4 3 21
`
`Printed and bound in the United States tit—America
`
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`Before you can do any work in Aperture, you have to get your pictures out ofyour camera
`and onto your Mac’s hard drive. There are many Ways to do this and you don’t have to
`have Aperture simply to copy images from a camera. However, since Aperture is designed
`to facilitate your entire digital workflow, it includes a full-featured importer that can trans-
`fer images from a tnedia card or directly from your camera.
`
`When you import into Aperture—Hem a card reader, a camera, or a folder that‘s already
`on your Mac—Aperture copies the imported images into its own library. You can then
`freely delete the images from their original location, because Aperture has its own copies
`inside its library.
`
`But. Aperture's Import facility lets you do much more than simply copy images into the
`Aperture library. With the tools built in to the Aperture import facility, importing can mark
`the beginning of your sorting and organization process.
`
`You can configure Aperture to automatically launch any time you plug a camera or card
`reader into your Mac. Select Aperture > Preferences and change the When a Camera ls
`Connected, Open, pop-up menu to Aperture. (From this same menu, you can also config-
`ure your Mac to open a different application, or to do nothing at all, Freeing you to manage
`the Copying process yourself from the Finder.) Note that even if you have this menu set
`to open nothing, iprertm-e is running when you connect a camera or media reader, then
`its import dialog box will still automatically open.
`
`TIP: Your Mac’s image importing options can also be configured outside ofAperture. Your Applications
`folder shouid contain a program coiled image Capture. With a media card mounted on your desktop, iuunch
`image Capture and seiect image Capture > Preferences to specify the application that you want launched
`when a camera or media card reoderis connected.
`
`
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`3
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`
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`a
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`CHAPTER. Ti-iREE: lMPORTlNC}
`
`In Chapter 2, we examined Aperture’s master/version scheme for storing and manipu-
`lating images. To recap: When you import, Aperture copies your image into its internal
`library. This file is considered by Aperture to be a masicrfii'e, and it is never altered or
`manipulated. Insread, when you edit an image, that edit is added to a list of edits that are
`applied to the original master data, on the fly, whenever the image is displayed or output.
`That list of edits is called a version.
`
`When you first import an image into Aperture, the program automatically creates a version
`For that image. Because you have not yet applied any edits, that version of the image looks
`exactly like your original untouched master file (Figure 3.1).
`
`image is written to the screen or output.
`
`Figure 3.1 The thumbnails and images that
`you see in Aperture's Viewer and Browser are
`actually a combination of two files: the origi-
`nal raw data and the list of edits and changes
`that gets applied to that data any time the
`
`In Chapter 5, you’ll see how to create additional versions of an image.
`
`IMPORTING FROM A CAMERA OR MEDIA CARD
`
`Depending on how you configure Aperture (asjnst discussed), the Import dialog box may
`appear automatically when you attach a camera or media card reader to your Mac. If you
`have not configured Aperture to automatically launch when a camera is connected, you
`can invoke the Import dialog box manually. This procedure is also handy when you want
`to import images that are already on your drive.
`
`The Import dialog box is divided into three main areas: the thumbnail View, in the middle
`of' the dialog box, where you can select and arrange images for import; the Info pane
`(at the right), where you can adjust the time stamp of your images, rename images, and
`add metadata; and, if'you’rc importing images already on your drive, a file browser (at the
`left) for selecting the folder that you want to import from (Figure 3.2).
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`IMPORTlNG FROM A CAMERA OR MEDIA CARD
`
`4S
`
`Aux-m rm- m on Inn-w lim- minim ileum luau _
`I ll.
`' f“
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`
`
`
`Figure 3.2 Aperture's Import
`dialog box lets you select the
`images you want to Import,
`along with a destination
`
`project or album to import
`them into. in addition, you
`can apply metadata and other
`
`adjustments while importing.
`
`The arrow on the IeFt side of the Import pane indicates which project your images will be
`imported into, You can change the import destination by simply clicking a different project
`name. Note that you can import directly into an existing album, Web gallery, light table,
`or book. Aperture will import the images into the project and automatically add them to
`the indicated item.
`
`The Import dialog box is not modal—nyou can still access Aperture's menu bar and the
`buttons in the main Aperture window. So if you need to create :1 new project while the
`import dialog box is open, you can simply click the New Project button or choose File 3*
`New Project.
`
`Selecting images for import
`
`By default, the Import dialog box will import all of the irriages From the currently selected
`source. Iloweyer, by clicking the displayed thumbnails, you can choose specific images for
`in'iport. All ofthe usual selection rules apply when selecting images (Shiteclick to select coop
`tiguous images, Command—click to add noncootiguous images to the current selection).
`If you deselect the images that are technically or artistically flawed, you won’t waste time
`importing thorn, and you’ll have fewer images to sort and compare later. Because Aperture
`lets you select only the images that you want to import, importing becomes the first sorting
`and organizing step in your Wei-kfiow
`
`Using the controls at the bottom of the Import dialog box, you can change the size of the
`thumbnails shown; re-sort the images by date, File name, or size; or switch to a list VICW
`of the images.
`
`
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`"CHAPTER mast: IMPORTING
`
`Adjusting the time stamp of imported images
`
`All digital cameras have internal clocks, and they use these clocks to time stamp every
`image that they shoot. Though you may not remember doing it, at some point when you
`first got your camera, you probably set the date and time.
`
`Unless you have a camera equipped with GPS (Global Positioning System), your camera
`doesn’t know when you’ve changed time zones. So ifyou fly to the other side of the world
`and take some pictures, they’ll all be stamped with whatever time it is back home.
`
`Aperture lets you adjust the time stamp of an image. To adjust imported images, click the
`Adjust Time Zone button. Configure the Camera Time Zone pop-up menu so that it
`matches the time zone that your camera is set to; then change the Actual Time Zone pop-
`up menu to the time zone in which yeti were shooting (Figure 3.3). Upon import, your
`images will show the correct actual time.
`
`Tit-nu Minimal: D Mann
`
`G AdjultTlqum-re
`
`Figure 3.3 Images that were shot in New York
`were imported, but the camera was set for
`California time. Using the Adjust Time Zone
`Cnm-nflmt Innllw button. you can tell Aperture to adjust the time
`new T-Irnp amiu
`stamp on the images to reflect the correct East
`Coast time.
`
`True to its “never alter the master image” philosophy, Aperture doesn’t actually change the
`time stamp ofthe original image. Instead, it stores the offset that you specify in the version
`information that’s stored alongside the File.
`
`TIP: ifyou forget to adjust the time on import, you can adjustitafterward by selecting the images whose
`time you want to adjust and than choosing Materials > Batch Change. You’ii ieam more about the Batch
`Change dialog box in Chapter 4.
`
`Renaming images during import
`
`Camera~generated names are fairly meaningless, and though you can always search for
`images by digging through thumbnails, having well-named files can Facilitate easier search—
`ing and sorting later. By default, Aperture uses the original camera names when it imports
`images. You can rename images during import by selecting a new naming option from the
`Name Format pop-up menu.
`
`Of Course, Aperture preserves the original names when it imports your images. The new
`names you define are given to the initial versions that Aperture creates and are stored in the
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`lMl’ORTlNG FROM A CAMERA OR. MEDIA CARD
`
`4?
`
`Version Name field of each image’s metadata. So when we speak or." renaming in Aperture,
`wl'rat we’re really talking about is defining a new version name.
`The Name Format pop-op menu provides renaming options that allow you to include
`sequential numbers, version names, date and time stamps, and counters.
`
`At the top of the Info pane, Aperture shows you the new file name for the selected image,
`allowing you to double—check that you’ve selected the correct name Format (Figure 3.4).
`
`l
`
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`
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`
`Figure 3.4 At the top of the Info
`pane in the Import dialog box,
`f
`Aperture shows an example 0 your
`selected renaming scheme,
`
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`Defining custom naming presets
`You can define your own naming schemes by selecting Edit from the Name Format pop~
`up menu.
`
`"re define a new name, click the + button beneath the Name list and enter a new preset
`name. In the Format field, you can enter text to use in your new file names, and you can
`use the Include check heaters to insert various image parameters.
`
`In addition to specifying the predefined parameters, you can enter text in the Format field.
`
`along with the date, separated by a ' (dot character).
`
`Forexample,thedefinitionshowninFigure3.5willrenamethefilewithacustomname
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`n
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`. n-—_u_
`
`CHAPTER THREE: lMPORTlNG
`
`
`
`
`
`Figure 3.5 You can define
`new namlng schemes
`
`using the Custom Names
`Preset editor. This preset
`will rename files using text
`
`entered by the user, a bul-
`let, and then the date that
`the image was created.
`
`TIP: You can also-define file naming presets by selecting Aperture > Presets > File Naming.
`
`Adding metadata
`Chapter 2 introduced the concept ofmetadata—additional data that’s included in an image
`file. Metadata is used for storing the date and time an image was shot, any keywords or
`ownership information that you might want to apply, and much more.
`Aperture supports many types ofnietadata, and you can assign many ofthese metadata tags
`during import. At first, entering metadata may seem like a tedious hassle, but good meta—
`data tagging is well worth the time and effort. When your images have accurate metadata,
`many Aperture operations become much simpler, including searching, sorting, and Web
`gallery construction. As your library grows, good organization and easy searching become
`even more important, so good metadata tagging becomes e5pecially valuable.
`Metadata tags are divided into categories in Aperture, to make it easier to find the particular
`metadata field that you’re looking for. In the Import dialog box, the Add Metadata From
`pop-up menu lets you select the metadata category that you want to View, and as you’ll see
`later, you can customize the existing categories as well as define your own (Figure 3.6).
`This is the same menu that appears in the Metadata panel of the Info pane.
`
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`
`
`Apple EX. 1008
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`Figure 3.6 The Add Metadate From
`pop-up menu lets you select the
`category of metadata that you want
`to edit.
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`IMPORTING FROM A CAMERA OR MEDIA CARD
`
`49
`
`Some of the metadata categories on the Add Metadata From pop—up menu are used to con—
`figure the display oftnetadata in different Aperture views and layouts and so are dimmed
`when you’re in the Import dialog box. You’ll also find that many nietadata tags are repeated
`from category to category. You don’t have to pick just one category—categories are for
`organization only, and you can make as many entries in as many categories as you like.
`
`Metadata that is entered in the Import dialog box is automatically applied to all of the
`images that are imported. You can’t selectively apply metadata while importing.
`
`To edit metadata, find the tag that you want to edit and enter new text in its field. Aperture
`auto-completes any tags that you’ve previously entered, allowing you to type just a few
`characters to quickly enter common tags. At the very least, you’ll probably want to fill in
`the Credit and Copyright Notice fields for all of the images that you import (Figure 3.7).
`(And if you’re wondering, you can type a © symbol by pressing OptionuG.)
`
`wunw:_-—"]
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`
`certain types of searches and sorts later.
`
`Figure 3.7 When importing, it’s a good
`idea to at least tag your images with your
`credit and copyright information. Adding
`keywords Will make it easier to perform
`
`You don’t have to enter metadata only during import. Aperture provides the same metadata
`interface in the main program, so if you forget a particular tag or later change your mind
`about a metadata entry, you can easily alter it after import. However, it’s sometimes easier
`to make rnetadata—and thus organizational—deeisions during import rather than later
`facing the daunting task oftagging a huge project full ofimages.
`
`NOTE: lfyou’re importing scanned images, they Won't have EXlF metodata of any kind (your scanner doesn‘t
`know when an image Was shot) so you’ll need to enter as march date as you need by hand. Obviously, which
`fields are important to you is a personal decision.
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`In any type of photography, but particularly in event or journalistic photography, you
`often shoot bursts of images. Perhaps you’re trying to get: just the right facial expression,
`or you’re trying to capture the precise moment that a football quarterback releases the ball.
`Since most digital cameras provide the ability to shoot image bursts (at anywhere from
`three to eight frames per second), it’s easy to cover a specific moment with lots of shots.
`
`If you’re a landscape or nature photographer who regularly brackets your shots, then you
`might use your camera’s burst feature in conjunction with its auto-bracketing capability to
`automatically capture bursts of bracketed images.
`
`In either case, your shoots will often yield groups of related images that were shot at around
`the same time You will usually want to pickjust one of these images as your final “keeper.”
`
`To help in your organizational chores, Aperture lets you group images into special collec—
`tions called stacks. Stacks are very simple in concept, and this simplicity belies the depth of
`their usefulness. (We’ll be spending a lot of time with stacks in later chapters.) Stacks are
`especially useful for managing bursts of shots, thanks to Aperture’s ability to automatically
`create stacks out of images that were shot within a certain time interval.
`
`Figure 3.8 The Auto Stacking slider at the
`bottom of the Import dialog box lets you auto—
`matically group your images Into stacks, based
`on the time interval between shots.
`
`50
`
`CHAPTER TI'iRE'E:
`
`lMPORTlNG
`
`Stacking
`
`
`
`At the bottom of the Import dialog box you’ll find a small slider with time markings
`beneath it (Figure 3.8). This is the Auto Stacking slider. You can use the auto—stacking fea—
`ture to group your images into stacks, based on the amount of time that elapsed between
`shots. As you move the slider to the right, images shot within a certain time interval will
`clump together. For example, if you move the slider to :15, then any images shot within
`15 seconds of each other will be stacked together.
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`I:
`
`lMPORTlNG FROM A CAMERA OR MEDIA CARD
`
`
`
`1. Find the Auto Stacking slider at the bottom ofthe Import dialog box and slide it to
`the right until it sits about halfway between the first two notches (at about 8 seconds).
`
`As you move the slider, the images in the Import dialog box should coalesce into
`stacks of related images (Figure 3.9).
`
`
`
`Figure 3.9 As you slide the
`Auto Stacking slider to the
`right, your images automati-
`cally clump together into stacks.
`Here, Aperture is set to auto"
`maticaliy stack any images shot
`within approximately 8 seconds
`of each other.
`
`2. Try moving the slider more to the right and then back to the left to see how the
`stacks change.
`
`The stacking Feature is like a sieve that filters time. The images that the Auto Stacking,r
`slider groups tugether may not necessarily be related, but images shot within a close time
`interval usually are, so the auto-stacking feature usually creates a good initial stack. In
`Chapter 4, you’ll see how to edit your stacks to add or remove images.
`
`Stacks can be open or closed. When a stack is open, you can see all of the images that it
`contains. By default, the Auto Stacking slider creates open stacks.
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`Cl-lAPTER THREE: lMl’ORTlNCi
`
`The first image in any stack is considered the “pick” of the stack—the select image that
`you want to use from that batch. The number in the corner of the pick image shows the
`number of images in the stack. You can click the number to open and close the stack
`
`(Figure 3.10).
`
`
`
`Figure 3.10 Stacks in Aperture
`can be closed (top). showing
`only the pick image, or open
`(bottom) to reveal all of the
`
`images contained within.
`
`While Aperture’s auto-stacking facility does a greatjob of automatically grouping bursts of
`images, in a fast-paced shoot: you may quickly shoot small bursts of unrelated images in a
`ivory short span of time. When you use auto—stacking, these unrelated images may end up
`grouped together. The Import dialog box provides three tools for separating and merging
`stacks (Figure 3.11).
`
`-
`
`SplitStack
`Join Stacks
`Unstatk All Stacks
`
`button to eliminate all stacks.
`
`Figure 3.11 You can use the Join Stacks
`and Split Stack buttons to merge and
`divide stacks: use the Unstack All Stacks
`
`Split Stack: Use the Split Stack button to divide one big stack into separate smaller stacks.
`Simply select an image at the point where you want the stack split and then click the
`Split Stack button or press Option—K. Aperture splits at a point before the selected image
`(Figure 3.12).
`
`
` Figure 3.12 The upper image
`shows the original stack, with
`
`an image selected. After the
`
`Split Stack command is exe-
`
`cuted, there are two stacks.
`
`The split occurs just before
`
`the selected image.
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`lMPORTlNC: FROM A CAMERA OR MEDIA CARD
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`53
`
`Join Stacks: IF you have tWo stacks that you want to combine, select the images in both
`stacks (just as you would normally select a group of images) and then click. the join Stacks
`button or press Command-K.
`
`Unstaek All Stacks: Finally, if you change your mind and decide that you don’t want any
`images stacked, click the Unstaclt All Stacks button.
`
`As with metadata, you don’t have to perform your stacking operations during import.
`
`Aperture provides the same stacking controls
`and more—within the main application.
`You’ll learn much more about statics and how to use and edit them in Chapter 4.
`
`Performing the import operation
`
`Once you’ve selected your desired images and defined the metadata and stacking informa—
`tion that you want, you can click the Import button at the leave:- right of the Import dialog
`box to start the import operation.
`
`The Import dialog box will go away and a small progress indicator will appear next to
`the project into which you’re importing (Figure 3.13). The speed of the import process
`will vary depending on the speed of your computer, the speed of your camera or media
`card reader, and the read-write speed 01" the media card itself. However, you don’t have
`to wait For the import process to finish bei’bre continuing to use Aperture. While import-
`ing, you can Freely work on other projects or even start working on images that have been
`successfully imported From the current importjob. Aperture shows the thumbnail For an
`image as soon as it copies the image into its library Depending on the processing poorer of
`your computer, though, performing other operations while importing may or may not be
`speedy enough For productive work.
`
`
`
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`
`Figure3.13 When importing images,Aperture
`displaysasmallprogressindicatornextto the
`destination project. Because importing happens in
`the beekground, you can continue working in the
`program while your images are imported.
`
`NOTE: Some cameras save separate, tiny thumbnail files alongside their full-res images, and sometimes
`Aperture imparts these when you import directly from a camera, so you see two tli ambnalls for those
`images. You can usually solve this problem by copying the images to your hard drive first and importing
`from there.
`
`
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`54
`
`CHAPTER THREE: IMPORTING
`
`Canceling an import session
`
`Figure 3.14 You can use the Task
`List window to cancel any currently
`running import operations.
`
`2.
`
`In the Task List window, there should be an entry called Image Import. Select this
`
`entry by clicking it.
`
`3. Click the Cancel Task button. The import process will be canceled. Aperture wiil ask
`you whether you want to eject the card, erase and ej cct the card, or simply stop the
`process. After answering, click Done to dismiss the Background Task List dialog box.
`
`NOTE: ifynur camera provides a voice annotations feature, note tharAperture wiii norimporr these anno-
`tations to your Mac. To ensure thatyou don’t lose your annotations, you’ll need to import them separately
`using the Finder.
`
`You can cancel an import session after it has begun—maybe you’ve changed your mind
`about what to import, or perhaps you need full processing power to edit another image—
`using Aperture’s Show Task List window.
`1. While the images are still importing, select Window 2* Show Task List (Figure 3.14).
`
`
`
`IMPORTING IMAGE FILES
`
`If you want to import images that have already been copied to a hard drive or stored on a
`(ID-ROM or DVD, you can invoke the Import dialog box by choosing File ‘9 Import >
`Images or by pressing Command-I.
`
`When importing in this way, you will be presented with an Import dialog box that looks just
`like the one described in the preceding section, but with the addition of a file browser at the
`top of the window. Use this browser to select the folder you want to import (Figure 3.15).
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`Once you have selected a folder, the Import dialog hex will show thumbnails of all ot‘the
`images contained within. All of the other import controls work the same as when you are
`importing from a camera or media card.
`
`Importing folders as projects
`
`If the images you want to import have already been sorted into Folders and subfolders, you
`can preserve that structure by choosing File :> Import :s Folders into a Project. Aperture
`will ask you to choose a Folder and will then automatically create a new project with the
`same name as the folder you select, and it will import all images within that folder into the
`new project. IF your chosen Folder contains any subfolders, Aperture will create albums
`within your project and arrange the contents to match the subfolcler’s existing structure
`and content.
`
`Note that ifyou have a project selected in the Projects pane when you select File 3- Import :3
`Folders into a Project, then Aperture will create a new folder within that salaried prayer? and import
`the images into that lOcation. As before, Aperture will create albums for any subfolders.
`
`Drag-and-drop importing
`
`Because Aperture also supports drag—and-drop importing, you don‘t have to use the Import
`dialog box at all. Simply drag and drop an image from the Finder into a project in Aperture's
`Projects pane. Note that you cannot drag and drop into the Browser or Viewer pane.
`Note that you can often drag and drop images from other applications. For example, you
`can drag and drop thumbnails of images From Adobe Bridge or iVicw Media Pro directly
`
`il-
`
`lMl’ORTlNG IMAGE FILES
`
`55
`
`
`
`Figure 3.15 When you invoke
`the Import dialog box manually,
`Aperture adds a pane at the top
`that lets you browse your local
`drives to find the folder that yen
`want to import.
`
`
`
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`56
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`Cl'lAl’TER, THREE: IMPORTING
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`into an Aperture projecr. Aperture will copy the original file just as if you were adding it
`from the Finder. You can also drag and drop images from iPhoto direCtly into Aperture.
`
`Importing raw files
`
`Aperture provides very good support for raw files, and you’ll learn how to Work with raw
`files in Chapter 6. (That chapter also discosses why you might want to use raw format.)
`Before you can edit any raw files, though, you have to import them, and there are a few
`things to know about Aperture's raw import capability.
`
`
`
`. Raw files appear just like any other files in the Import dialog box. Aperture auto-
`matically builds thumbnails for raw images,just as it does for other formats.
`
`- You can import raw files only from cameras explicitly supported by Aperture. Apple
`maintains a list ofsupported raw formats at this Web address: wvweapplecom/
`aperture/rawf.
`
`Aperture also supports Adobe’s DNG format, an open raw specification that Adobe has devel—
`oped to try to provide a solution to the confusion arising from the glut of raw formats.
`
`You can convert your raw files to DNG format using Adobe’s free DNG Converter
`application, available at wwwadobecomfdng. The Adobe DNG Converter can convert a
`tremendous number of raw formats into DNG format. This would seem to make it some-
`
`thing of a universal translator for raw files that you want to import into Aperture, since
`Aperture supports DN G format. However, Aperture's DNG support is limited to only
`DNG files that were created from the raw formats that Aperture already supports.
`
`If this seems counterintuitive to the idea of a “universal” raw format, we’re in complete
`
`agreement. At the time of this writing, there is a healthy debate waging as to who is to
`blame for this problem: Apple or Adobe.
`
`Many users choose to convert their images to DNG as a form of long—term insurance.
`Since DNG is an open standard, there’s a good chance that it will be around for a long
`time—Something that can’t necessarily be said about a format controlled by a company.
`
`Ifyou do decide to convert your images to DN G format and find that Aperture isn’t reading
`your newly made DNG files, then try changing some of the DNG Converter preferences.
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`IMPORIING lMAGE FlLlZS
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`57
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`1.
`
`In the DNG Converter, click the Change Preferences button in the main window
`(Figure 3.16)
`
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`Figure 3.16 If you Want to use DNG
`files with Aperture, you'll need to
`change a few of the default prefer—
`ences in the Adobe DING Converter.
`
`2. Set the Image Conversion Method to Convert to Linear Image.
`3. Make sure the Embed Original Raw File box is checked.
`4. Click OK.
`
`You’re now ready to start processing.
`Setting the Imarge Conversion Method to Linear Image tells the raw converter to do some
`ofthe necessary color conversions itselfrather than simply storing the original raw data. In
`a way, this “bakes” a certain level ofcolor quality into the file and slightly limits the amount
`of editing you can perform in Aperture.
`By Selecting Embed Original Raw File, you tell the converter to save an exact copy ofthe
`original raw file within the DNG file itself. You can later extract this file iprerture adds
`support For your camera and then import that original raw file into Aperture. This provides
`a safeguard to protect the data lost by your linear conversion
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`CHAPTER THREE: [MPORTING
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`If you're familiar with Apple’s Automator [which is built into Mac OS X 10.4 and later) then you can use
`my Separate JPEGs action. This action automatically creates a subfolder inside your source folder and
`moves any JPEG files in the source folder into the new folder.
`You can download the action for free from www.completedigita!photography.com/index.php?p=408.
`
`Importing Files with the Same Names
`
`If Aperture looks in a folder and finds two files with the same name but different extensions—say a
`Photoshop file and a TIFF file—then it will import only one of the images. Which one depends on the
`file format. Ifyou have two images with the same name, but one is raw and the other is JPEG, then
`Aperture will import the raw file. If you have TIFF and JPEG files with the same name, Aperture will
`import the TIFF. Strangely, if you have Photoshop and JPEG files with the same name, the JPEG file will
`be imported. Ifyou want to import all of the images, you can either separate the images into separate
`folders before opening Aperture's Import dialog box or drag all ofthe images from the Finder into your
`Aperture project.
`
`Importing Raw and JPEG Files
`Many cameras, especially digital SLRs, provide the ability to simultaneously write raw and JPEG files of
`every image you shoot. Having both files gives you added post-production flexibility. If speed is of the
`essence, you can work with theJPEG files, but still have the raw file as a backup in case you need extra
`editing power. If storage is a premium and you find that the JPEG versions of particular images provide
`good enough