Scan Elite 5400

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.

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/

"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.

"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

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...

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

Join the following group ... quite educational

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)

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)