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#21
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In article , "David J. Littleboy" wrote:
"Scott Peterson" wrote: Beyond that the only time activation becomes an issue is if you make more than a certain number of hardware changes. This is generally pretty hard to do. I've managed to do it a couple of times, but much less often than I thought I would. As I pointed out, I buy a new machine almost every year (laptop one year, desktop another, usually). That means I have to ask Adobe's permission to use the software on each new machine. Multiply by the number of applications, and that's getting to be a serious pain. Is Adobe going to believe my insistence that I've actually fdisk'ed the old machine or are they going to think I sold it as is with all the software installed??? I have to admit it's a pain in the neck, but not an insurmountable one. It's not insurmountable, it's unacceptable. I was hoping I wouldn't have to become a Gimp developer, but that may be my fate... This could be the best thing to come from product activation! You vote with your $$$. Turbo Tax dropped activation after their customers revolted. www.extremetech.com still has a link to the details as they developed. --wally. |
#22
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David J. Littleboy wrote:
(About Product Activation): It's not insurmountable, it's unacceptable. I was hoping I wouldn't have to become a Gimp developer, but that may be my fate... Let us consider the realities of the situation: 1. It is totally unacceptable to have to ask a software company for "permission" for every time one wants to install the working tools we need. Software must be capable of being installed and used independent from its manufacturers, now, tomorrow or whenever the user wants on his or her present or future machine. Failing that, the software is crippled and has to be rejected. 2. If the software business must protect itself against its own customers, it basically has no right to exist in its present form. As it is today, more and more of the software industry's money is invested in administration, marketing, copy "protection" and Digital Rights Management schemes which seriously impede the function of computers. A whole new industry had emerged whose sole purpose is to develop copy control and activation schemes which are an intolerable burden to honest users, and a grave threat to data security because they destroy people's right to control their own computers. Also, guess who has to pay for all this. Who has to pay for the establishment and maintenance of activation servers and phone operators who receive activation requests all the time? The proprietary software industry has become irrational. Let us also bear in mind that both Microsoft and Adobe introduced Product Activation when they had achieved a near-monopoly within their product categories. Then they felt strong enough to introduce Product Activation, apparently thinking that they could get away with it. It may well be that they were wrong. 3. GIMP is not yet as good as Photoshop. However, there are only very few things that must be improved before it can be a fully professional tool. What is needed are the following functional additions: * GIMP must have 16-bit support, so that corrections of color and exposure can be done in high bit depth. * GIMP must have CMYK support, so CMYK conversion can be done by the photographer. * GIMP must have LAB color capability, so sharpening can be performed in the Luminance channel. * Extremely important: GIMP must be given a much improved Unsharp Mask filter. Today, it is impossible to sharpen an image to the same level of clarity and detail as can be done in Photoshop. This is in all probability a rather simple task to change in the sharpening algorithms, and I believe that the source of error has been that those who have so far participated in the development of GIMP have not had photography as their main area. But if photographers can now partake in the development of GIMP, this can be remedied. Either it can be done by photographers who are also skilled in programming, or programmers and photographers can come together in the GIMP project and cooperate. Per Inge Oestmoen, Norway http://www.alpha-gruppen.com/ |
#23
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"David J. Littleboy" wrote:
through the 24-hour automated Activation Voice Response (AVR) system. And pay international rates to be put on hold? No thanks. You seem to have a comprehension problem from your desire not to like this. What I quoted have an automatic system to you don't have to talk to anyone or hopefully be put on hold. . I agree that calling from Japan is a PITA, but if you want US software, don't expect a local number. At least we don't have to go through the crap about software being on the restricted export list any more...or have a crippled product to get compliance. I don't use it any more, but I remember some of the fights we used to have with Quark over licencing issues because they'd insist on trying to query our entire network for other copies. I eventually had to put filters in the routers so that none of their searches would get off the local network. It made anything I have to deal with here trivial. Of course, you can just wait until the crackers get done and download one of the code generators. They've gotten cracks for every other product that uses this kind of stuff. Scott Peterson He's not dead, he's electroencephalographically challenged. |
#24
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"Scott Peterson" wrote in message ... "David J. Littleboy" wrote: through the 24-hour automated Activation Voice Response (AVR) system. And pay international rates to be put on hold? No thanks. You seem to have a comprehension problem from your desire not to like this. What I quoted have an automatic system to you don't have to talk to anyone or hopefully be put on hold. . And you have an incredible degree of naivete if you expect it to be anything other than an obnoxious intrusion for anyone who does anything even slightly different from what Adobe expects, e.g. replaces their PCs at a rate faster than Adobe thinks "normal". I agree that calling from Japan is a PITA, but if you want US software, don't expect a local number. There shouldn't be a need for any number if I've paid US$700 for the thing. Of course, you can just wait until the crackers get done and download one of the code generators. They've gotten cracks for every other product that uses this kind of stuff. You're suggesting I pay US$700 and still have to use an illegal crack to actually use the thing? That's seriously silly. Like I said, maybe I'll become a Gimp developer. David J. Littleboy Tokyo, Japan |
#25
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pioe(rmv) wrote:
David J. Littleboy wrote: (About Product Activation): It's not insurmountable, it's unacceptable. I was hoping I wouldn't have to become a Gimp developer, but that may be my fate... Let us consider the realities of the situation: 1. It is totally unacceptable to have to ask a software company for "permission" for every time one wants to install the working tools we need. Software must be capable of being installed and used independent from its manufacturers, now, tomorrow or whenever the user wants on his or her present or future machine. Failing that, the software is crippled and has to be rejected. 2. If the software business must protect itself against its own customers, it basically has no right to exist in its present form. As it is today, more and more of the software industry's money is invested in administration, marketing, copy "protection" and Digital Rights Management schemes which seriously impede the function of computers. A whole new industry had emerged whose sole purpose is to develop copy control and activation schemes which are an intolerable burden to honest users, and a grave threat to data security because they destroy people's right to control their own computers. Also, guess who has to pay for all this. Who has to pay for the establishment and maintenance of activation servers and phone operators who receive activation requests all the time? The proprietary software industry has become irrational. Let us also bear in mind that both Microsoft and Adobe introduced Product Activation when they had achieved a near-monopoly within their product categories. Then they felt strong enough to introduce Product Activation, apparently thinking that they could get away with it. It may well be that they were wrong. 3. GIMP is not yet as good as Photoshop. However, there are only very few things that must be improved before it can be a fully professional tool. What is needed are the following functional additions: * GIMP must have 16-bit support, so that corrections of color and exposure can be done in high bit depth. * GIMP must have CMYK support, so CMYK conversion can be done by the photographer. * GIMP must have LAB color capability, so sharpening can be performed in the Luminance channel. * Extremely important: GIMP must be given a much improved Unsharp Mask filter. Today, it is impossible to sharpen an image to the same level of clarity and detail as can be done in Photoshop. This is in all probability a rather simple task to change in the sharpening algorithms, and I believe that the source of error has been that those who have so far participated in the development of GIMP have not had photography as their main area. But if photographers can now partake in the development of GIMP, this can be remedied. Either it can be done by photographers who are also skilled in programming, or programmers and photographers can come together in the GIMP project and cooperate. Per Inge Oestmoen, Norway http://www.alpha-gruppen.com/ There seems to be a separate Gimp project that is underway to handle these and future improvements. But that is not expected to bear fruit until at least a couple new Gimp versions have appeared. There was also a Gimp version that was developed in Hollywood for the purpose of adapting the Gimp more closely to the needs of the photographic community. The Gimp version used for departure was 1.0.x, which essentially excludes it from present consideration. By the time the Hollywood community had something to offer, 1.2 was in use and the process of integration was regarded as considerable. In the end, the Gimp developers decided that there needed to be a development platform that would make current and future integration much more reasonable, and the Hollywood crowd is now screaming about man/years of development having been rebuffed by the Gimp project management. Obviously, the Hollywood crowd hasn't a clue about things Gnu-ish, or they would know that corporate administrative hierarchy is not duplicated in the open source community. This Hollywood version was known as FilmGimp. Since the parting of ways, it is now known as CinePaint. It has the facility to hand up to 128bit per channel color depth, so I understand. I've no idea what is involved in using 16 bit files created by the Minolta with whatever software is used, and that's because I haven't looked. I determined that there is no way to utilize FilmGimp/CinePaint to run my Epson Stylus Photo 2200, and as I use negative film and the Epson to print my work, that software is useless to me. Until there is a 16 bit gimp-print developed for FG/CP. A fellow by the name of Kai-Uwe Behrmann ) is said to be the owner of the project to develop a 16 bit gimp-print. I've had an exchange with him, and he says he'll have something soon (what that means I've no idea). And that's where that fork has fetched upright. So, anyone who wants to contribute to the Gimp needs to contact the people who contribute to the Gimp project, and see what they're up to. Seems obvious to me that they know what they're doing, simply from use of their current product, and so coordinating one's efforts with them is likely to be the most effective way to go. Obviously, I have a "vested" interest in the Gimp because of my platform, but I've nothing to contribute (my C skills are pedestrian...). Dunno what service I can be, but I reckon I'm one of a number of Linux using photographers who would really appreciate a genuine PhotoGimp. Bill Tallman -- Registered Linux User: #221586 Mdk-9.0 and IceWM Gkrellm still watches over me... |
#27
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John Wight wrote: Minolta Number is 1 800 808 4888 address 101 William Drive Ramsey, NJ 07446 You can get through to them or get a good answer in my opinion I have a 5400 I can create change/job but when I call it up in the batch more ... it doesnt work / no effect on the color I'm taking it back tomorrow for my money back ...... Im thinking about going to soney for about the same price soney? Who is that? They make a film scanner? Join the following group ... quite educational Educational? 120 messages in many months is not very impressive. http://groups.yahoo.com/group/minolta_scanners/ ---------- In article , (Mike) wrote: Need some information from anyone who has the Minolta Scan Elite 5400. Does the Digital ICE work in 16-bit mode? Does the Pixel Polish work in 16-bit mode? Does the Grain Dissolver work in 16-bit mode? What about other advanced features and using them in 16-bit mode (e.g., image adjustment tools)? Does their digital ICE only modify the image where it finds dust/scratches or does it adjust the entire image (which typically justs blurs everything a little...)? I am asking help here for two reasons. 1. I have the dual scan III and these types of functions do not work when scanning in 16 bit mode. 2. I sent these questions to Minolta (more than once) a while back and never got an answer. Now when I go to their site, it is Konica-Minlota and they do not even have asking quesitons and the FAQ available (at least where I looked) |
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