If there weren't quite so many of them, I'd suggest converting them all to EPS, which is probably the most stable FM import format. Should you decide to do it, also go back to the original PSDs (if saved) and re-save as EPS. We routinely keep the PSD masters at source resolution, with the final crop guides visible. We flatten, crop, re-size to 200 dpi, and save as EPS. It's then easy to [re]generate a modified image starting from maximum quality. JPEG is generally worth avoiding, both as an archival format, and as a Frame import format. If JPEG is all your camera emits, save a copy as something else right after camera download (PSD, DNG, TIFF or any other format that uses repeat-count, or no, compression), and use that as the edit and archival master. In addition to the version issues explored in this thread, JPEG always* has some level of lossy (curve-matching) compression in use. You get losses after editing the camera image even if saved at the full res. You get losses scaling (or just cropping and re-saving) it for import into frame. You can get more losses if print-to-PDF, Distiller or Acrobat Pro Optimize resamples it again. If your path is to critical color hardcopy, EPS also supports real CMYK that survives the GDI on all versions of Windows, including post-Vista editions with psuedo-CMYK support (that actually converts it to RGB and back). Plus, I really hate JPEG ringing-edge artifacts, but that's just me. ______ * Some of the newer exotic JPEG variants may have less destructive/annoying compression, but they have the too-new versioning issue.
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