So you discover something wrong, and realise it is wrong in your latest backup too - be that onsite, in teh cloud, whatever. Another way to meet that same requirement, is to rotate through physically separate media which then live disconnected on a shelf for a while - ideally, a shelf within some other building. SO, more sophisticated backup systems work incrementally and let you go back in time in effect. But it is a poor backup in another sense: say a file gets corrupted or deleted unknowngly, and that corruption or that deletion has in due course been duplicated into the backup, you are then no better off for having it Also there are some people who advocate backing up to cloud and others who still like to use USB connected portable drives.Īny system which maintains a simple up to date copy elsewhere, of your working storage, is a good backup in one sense (any sudden problem with your computer, you have a very current set of data that you can resume working with very quickly). There are different file backup utilities available depending on whether you are on MacOS or on WIndows. That is aside from backups of the Catalog itself. merged DNGs and externally Photoshop edited files, will live - and thus, all get backed up together on a regular basis. However, most people find it better to concentrate on having good backups of the main storage location where not only their imported Raws, but also e.g. As a protection against all of those, if you want, when copy-importing from camera card you can - in the import settings - choose for a second copy to be made into another disk storage location as a safety backup. The only destructive things that can happen to a Raw are to be deleted or otherwise corrupted to be renamed in some confusing and unintended way to be converted to DNG format (and the original removed) if you later came to regret that conversion. But the contributing Raws still stay there too. It's true that merging multiple images to HDR or to a Pano creates a fresh image file (DNG file type). The Lightroom equivalent of that, is that all the adjustments can be Reset and this Raw is going to be treated again, just the same as it was when first imported. By a director with no knowledge of what other performances have already happened, say. It is always possible to be performed again "as if" for the very first time. The words of the author's score are not in any way changed by being performed FROM. But the author does not also need to keep back an "unperformed" copy of the script. Any possible performance might happen, and a recording made perhaps (in Lightroom terms, an export). To draw an analogy, the Raw is the author's script for a play, and the adjustments are different ways of performing FROM that script. The Raw is not altered in any way by adjustments that you may make to that.
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