Acknowledgments

This book would not have been possible without the full support of my family: Alyson, Josie, Maddy, Dot, Paul, and the rest of the Kroghs, Gallaghers, and Hookways. I am also grateful for the tenacious support of my friend and mentor Steve Uzzell, who has provided invaluable advice and assistance for more than 25 years. I also need to thank Darren Higgins for keeping the wheels of Peter Krogh Photography turning while I was busy writing this book (again), and for his valuable contributions to the development of my workflow.

I have had the great privilege of working with some really smart people over the last few years, and my understanding of this complex subject matter would not be complete without them. Special thanks to these smart people: Mikkel Aaland, Richard Anderson, John Beardsworth, Shayne Bowman, Russell Brown, Yan Calotychos, Robert Edwards, Melissa Gaul, Tom Hogarty, John Nack, Tom Nolan, Marc Rochkind, Skip Steuart, Mike Stewart, and Josh Weisberg. All of you have been invaluable.

My relationship with ASMP has also been extremely important over the last 10 years. Thanks to all the board, staff, and volunteers, and in particular Victor Perleman, Gene Mopsik, Susan Carr, Todd Joyce, Judy Herrmann, Stan Rowin, Elena Goertz, and Pete Dyson.

Microsoft has been an important sponsor of the work I do through the Icons of Imaging program. I would not have been able to give this book the attention it deserved without that generous support. Thanks particularly to Mike Tedesco, Jeff Greene, Amy Sorokas, Neil Latham, Phil Hayward, Kostas Malios, and David Vaskevitch.

This book would also not be what it is today without the support and involvement of a number of people at Adobe, including Thomas Knoll, Troy Gaul, Dustin Bruzenak, George Jardine, Frederick Johnson, Gunar Penekis, and Kevin Connor, as well as the Lightroom, Bridge, and Photoshop teams.

A number of other people have helped me understand various components of the digital imaging ecosystem. Thanks to Alan Dorow, Katrin Eismann, Martin Evening, Mark Fuccio, Eric Hyman, David James, David Riecks, Andrew Rodney, Jeff Schewe, Jeff Sedlik, Derrick Story, the Metadata Working Group, and the Photoshop and Lightroom prerelease teams.

I could not ask for a better publisher of this material than O’Reilly. In particular, Colleen Wheeler, who edited the first volume of the book, has been instrumental in getting the second one done. Bonnie Bills took over the development editing for this edition, and has worked tirelessly to make the material clear and relevant. Thanks to Kim Wimpsett for moving the book through a challenging production schedule. My friend and technical editor Michael Stewart once again brought much-needed clarity to this project, and I thank him for his perseverance. I’d also like to thank everyone else at O’Reilly who helped bring this book to fruition, especially Steve Weiss for recognizing and believing in the project.

Finally, I need to thank my colleagues at the University of North Carolina Yackety Yack, with whom I’ve shared a love of photography for nearly three decades, including Bryce Lankard, Greg Dinkins, Sam Kittner, Bob Donnan, Thad Watkins, Rusty Walden, May Lois Hare, Gaston Callum, and Susie Post.

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