Backup Workflow – Do It or Else

As a photographer nothing is more important than your digital image files.  If you are an amateur or hobbyist they represent your “moments in time”, or your hobby output.  If you are an advance amateur or pro, they are the output of your passion or your livelihood.  Bottomline, you can’t afford to lose them.  That’s why it’s uber important to have a solid backup workflow.

What do I mean by a backup workflow?  To me it means 2 things:

·         Where do you maintain your images once they come off your camera?

·         What process do you follow to store your digital images and back them up?

First, I’m going to assume you WANT to back up your images.  If not, then all I can tell you is; you should.  Can you imagine losing photos of your children, your kid’s prom, the wedding job you did, your portrait session, etc. etc.  Bottomline, keeping your image files only on your computer is a disaster waiting to happen.  Don’t let it happen to you because a good backup plan is easy and costs very little money.

Here’s my workflow.  First, and this may sound strange to some but I don’t keep my images on my computer’s hard drive.  Instead, I keep them on an external hard drive that is always attached to my main computer.  That way if I ever need to take my entire portfolio to another location or another computer it’s available.  I use a Western Digital My Book Essential  External Hard Drive at 2TB.  I simply attach the HD through a USB plug and plug in the power.  My Windows 7 computer recognizes the external HD every time I turn it on.  You can pick these hard drives up for less than $150.

I upgraded this recently from a 1TB which was getting full. 

And now the important part, and something any serious photographer should do.  I backup my external hard drive and store it in a different location.  I simply use another WD My Book and plug it into my computer.  Than at least weekly I backup the images from my main WD hard drive.  I simply use Microsoft’s free SynchToy to handle the backup.  I created a synch pair, set it to “echo” and let it go.  When I’m done with my work, I take the backup hard drive and store it separately.  Paranoid, maybe, but I’ve talked to others that do more than this.

I now have a backup of all my images in case my main external hard drive fails, or is stolen.  At worse I have images up to the date of my last backup.

Here’s my workflow:

·         I create a new folder in my primary image directory on the main WD hard drive.  The folder naming convention is the YEAR,MO, DAY – Name of shoot

·         I copy all images from my camera’s card into the folder.  I do not hook the camera to the computer; I use the computer’s card reader,

·         I use Nikon’s ViewNX and rename all my images to reference the shoot or subject.  I’m fairly generic to the shoot versus the specific image,

·         I use Nikon’s ViewNX to add my EXIM data (I have a script which includes my copyright data, my name, contact info and also tags

·         I open Adobe Lightroom 3 and synch folders to bring in the new images

·         After I process any images (especially if it’s a large number of images, or it’s that time of the week) I attach the backup hard drive and using SynchToy back up my images. 

Note, the one reason I use a backup application versus simply dragging and dropping is because I want the backup HD to be an exact uncompressed copy.

This has become standard operating procedure to me.  There are many other ways to do it much faster or to do exactly what I am doing with other tools, software, etc.  Also, there are many external hard drive options.  Bottomline, the key is to backup your images!!

One additional comment.  You can consider a free or paid “cloud” based service.  This gives you more flexibility, but you need an internet connection and you are relying on the cloud provider.  I’m sure over time this will become more reliable, but for now I’m sticking with what works for me.  Don’t wait, go out and do it now.  Please, you can thank me later.

Big Car Service Center Model Shoot

I recently participated in an interesting photo shoot organized by a local photographer thru a Flickr Group called Indianapolis Strobist. This group came about as a result of the Joe McNally / David Hobbie Flash Bus Tour event that took place in Indianapolis this spring. This photoshoot was organized by Paul D’Andrea, a local photog that I’ve known for about 3 years.

Paul arranged for a group of 6 photographers to meet at the Big Car Service Center. The facility is a “retired” Firestone car repair shop being converted into an arts colony / gathering place for all types of art related events. The location is perfect for a grunge / abandoned industrial photo backdrop. Paul hired 3 local models, all excellent. We paired up (I paired up with Stacy), selected a model and went on our way. 

Amanda (Model Mayhem ID #1025679) agreed to team-up with me and Stacy. Amanda came ultra prepared with multiple changes of clothing for different looks, and even a wig. She was skilled so it allowed us to focus on position & lighting.

Because I wasn’t sure how much power would be available at the facility I brought portable flash units. My trusty Nikon SB-600 Speedlights. I used a LumiQuest SoftBox III on each. Both flash units were set to manual and triggered by Elinchrom EL-Skyport universal receivers. Both mounted on generic light stands. This is my typical portable light setup since it’s easy to set up and portable. Although the LumiQuest’s are called softboxes, I think they really act more like large directional diffusers.

The way we operated was to have one photog man the flash units and adjust the power settings and move them around as needed while the other shot. I have 2 Elinchrom Skyport triggers so it was easy for me and Stacy to work seamlessly. We started off putting our model in-front of a large electrical panel, and later in a corner between some industrial grade shelving. Because we got set up first a couple of the other photographers (Ashley & Faith) joined in for a look and a shoot.

I had my camera set to M mode, 400 ISO, 1/125-250 shutter speed & f/5.6-6.3. In all but a few shots I used a Nikkor AFS 24-70mm f/2.8 G ED lens (The Nikkor). Note, 1/250 is the max synch speed I have set for the camera / flash setup. I could use high speed synch, but for this type of work it is not needed. 

One addition was the use of colored gels on one of the flash units for part of the shoot. Red & green turned out to bring in the right mood.

After about an hour with this setup, I switched to the “big room”, mainly because it was getting so hot in the electrical / storage room. There Paul had set up a big piece of peg board. I also used an Elinchrom D-Lite 4it 400w with Portalite soft-box mounted as my key light. I had the key light set head high right from the shooter. I also mounted an SB-600 setup behind the peg board to highlight the holes. Finally another SB-600 setup was moved around the model to change the shadowing. Amanda had changed up her clothes and put on a wig which was almost like having 2 models in one!

One other thing I experimented in this setup was to put a flash unit directly behind the model. The idea was to have the flash fire directly into the camera. I enjoy playing with this sunburst effect.

Overall, we were there or about 3 hours. Part of the time I spent watching the other photographers in my group shoot.

A few after-shoot thoughts and comments:

• The models we hired (Diablo, Bovary & Amanda) were great. They were skilled and completely into the shoot. They were easy to direct and participated in setting the correct mood of the image. I can’t stress enough how important it is to make sure your models know in advance what is expected and that they share your concepts.
• If you are in a grungy / sweaty / dirty environment, bring a towel. I did this time and used it to put my equipment on it versus right on the concrete floor, and to wipe my face. It was sweaty.
• Experiment and try different light settings and gels. Some of my favorite shots were with the gels and unusual lighting locations.
• Watch other photographers shoot. It’s interesting to see how others view a scene and what they create. It also give you a break.
• Plan your shoot. Bring the right kit. It wasn’t as much of an issue on this shoot since we actually parked our cars right next to (and inside) the facility, and multiple photographers meant we would have just about everything.
• Post your images for others to see. We use a Flickr group for these shoots and it was very interesting to see what others captured and processed.
• The Nikon SB-600 flash unit is a good basic unit, but getting a bit dated. 

We’re planning another model shoot next up. This time in another building and in the surrounding alleys.

Model Photography Tips From A Pro

Here are additional tips for a model shoot. This comes from Jeff Greer an East Coast based photographer who used to live in Indianapolis. While here Jeff taught several photo classes that I took. He can be found at:

http://www.jeffgreerphotography.com/

These are all excellent tips.

1) A make-up artist can be a huge help but only if you get a good one. Also expect to tell them the look you want (tear sheets are very helpful).

2) Don't expect a model to bring clothes to match a look you want. A lot of models come in everyday clothes, which isn't going to work. Or they bring whatever clothes they have that they think are hip or stylish. Often this ends up looking like club wear, sometimes really bad club wear. A hat, an interesting necklace or a stylish coat can do a world of good. If it is a female model, you can ask for clothing that can be worn off-the-shoulder (good to ask them to bring a strapless bra) and you can always fall back to a head-and-shoulder look, leaving clothing entirely out of the frame.

3) Unless I am doing the young, in-your-face skateboard look (which I don't do), I stay away from wide focal lengths. I rarely use anything wider than 50mm and often go with 105mm on an FX camera.

4) Fashion lighting is often simple. Most of the times I get by with one or two lights.

Models Are Hard

So here I am your typical, experienced photographer trying his hand at something new. This time its model photography. I’ve dabbled in casual model shoots before, but recently was the first time I’ve hired a model specifically for a model shoot. At first you think, come on, how hard can it really be? You know your camera and kit, you know about lighting, you know about composition. How difficult can it be to photograph a pretty girl? Let me tell you, it takes skills. I have a new found respect for those of us in the photo community who can work with a model and come out with great images.

I thought I would give you my take-aways and tips based on my introduction to model photography. Think of it as my gift to you. No charge.

First, you MUST know your camera and equipment. Working a model is not the time to be fumbling around with your camera figuring out settings or how something works. My tip is to come prepared. I do this with other types of photoshoots, so why not when shooting a model. Consider what settings you want to use, what speed, what ISO, what WB, what about lighting, etc. Be prepared and then adjust from there. Sounds simplistic but plan ahead.

Directing a model is hard. Unless you are working with someone who has experience or a set of poses then it’s up to you to tell the model how you want him / her to move. This can be difficult at first, and honestly a bit awkward. I’ve always found this part of photographing models challenging so my solution was to come prepared with a number of photos of other models from websites and magazines to use as reference. I showed them to my model and she did a great job helping me out on her poses.

Don’t machine gun your camera. I’ve seen photographers just lay on the shutter release button and shoot in 5-7 shot burst hoping one will turn out. Personally, I think this is a waste. My workflow is to shot one or two photos to test lighting and to fine tune my settings (I tell the model to relax during these setting shots). I then take one or two shots and regularly check the image to make sure I’m getting what I like, move the model and shoot again. Before I know it I have 100+ images and it makes it much easier on post processing.

Focus on the nearest eye by default. I’ve heard others tell me to focus on the model’s nose, or ear, but I go right for the eyes. If necessary I’ll focus on the eyes and reposition my camera. There is absolutely nothing worse than getting back to your digital darkroom and cursing yourself because your images are out of focus. My goal is tack sharp.

Watch for things sticking out of you model in weird places. Watch for hair out of place. Are the models cloths lying properly? Does something in the background appear to be poking out of your model’s head? Be spatially aware and watch your background. Just like focus, it stinks to spend your post processing time cleaning up an image because you weren’t paying attention.

Think about lighting. I wasn’t going to mention this since I felt most people would think this is common sense, but you must plan your lighting correctly and check it regularly. Shadows in the wrong place or hard lighting when you need soft can ruin an otherwise good image.

Work out the details of how the model is to be compensated and what images he or she will get, if any, in advance. If it’s not a TFP or TFCD shoot, and even if it is, work out the details in advance. How is the model to be compensated and how much. I always pay the model on the spot, and get her to acknowledge receipt of payment on the model release after the shoot.

Get a model release. Just be safe, even if you not planning on selling or posting the images I recommend you get a release. You can get good examples off the internet. I get a model release signed even if I’m simply shooting for practice.

Tell the model in advance what you plan to shoot and how you want him / her to dress. Again pretty common sense, but if you want to shoot dark and moody; the vibe is ruined if your model comes in with a summer weight dress. Of course, I’m assuming you are not a pro and have wardrobe available. Anyway, if you did then you wouldn’t be reading this article. Also, make sure you give you model an idea in advance what type of images you want to shoot or what type of mood you want to capture. As an example I’m planning a night shoot with a model in a downtown alley setting. I told her in advance and she’s cool with it. Can you image what would happen if I sprung it on her at the last moment?

Communicate in advance and talk during the shoot. I don’t take myself too seriously so I like to chat up the model during the shoot so we both feel comfortable. Mainly what I’m doing, what I expect, how the images are coming out, etc. etc.

If the model is new she/he is probably as nervous or feeling as clumsy as you. Put him / her at ease (see comment above about communication). Compliment the model, talk to him / her and take breaks if necessary. Remind your model that you are new to this as well.

Be prepared. Common sense. Be set up if you are in a studio. If on location be there early and get set up. I plan to pay to shoot, not to have the model waiting around while I get ready.

Be a gentleman. I’ve seen guys treat models like a girlfriend or violate their personal space. Even to me that’s kind of creepy. I’m old school that way, sorry. Also, if you need to touch the model, i.e. move hair out of the way, ask FIRST. Anyway if I hire a model and she likes my work and my work ethics I may want to use her for a reference.

Bottomline, my goal is to get good at this.  There are more tips that I will save for later, but as you can tell much of this is simply planning ahead. So go out there and shoot.

Nighttime Photography Preparation Basics

One of my favorite photo environments is shooting at night. Even the busiest locations takes on a completely different “feel” and “mood” after the sun goes down. Also, colors unseen during the day come alive at night.

However, I’ve learned after many nighttime photoshoots you need to prepare differently and take different kit versus a daytime shoot. I wanted to share my normal routine and kit. As always this is my experience only. Others more or less accomplished may have completely different advice.

Basic tips:

Plan out your shoot. I think this is the number one “to do”. Get a feel of where you want to go in advance. Walk around an area at night a couple of days before your shoot if possible. I’ve been to some areas during the day that look A-OK, but at night just aren’t safe. Also, I’ve been to places (i.e. back alleys) during the day that look great, but at night they have huge spot lights on, that ruin the mood.

Dress appropriately. Sounds silly to point this out, but I can’t tell you the number of times I’ve been out at night ready to go and wished I had a jacket, or wished I hadn’t lugged a coat,

Don’t go where you’re not supposed to go. I’ve had friends, and have been personally tempted to get into abandoned buildings or areas blocked by fences. My credo is don’t do it. Personally, I just don’t want the hassle of dealing with authorities or a crazy owner if I end up someplace I’m not supposed to go.

Don’t take too much kit. Again, sounds basic but if you are like me and go out for 3-5 hours at night you’ll kick yourself for stuffing your backpack with gear you don’t need. Go as light as possible.

Take the right camera kit. Requirements at night are completely different than daytime. Plan out what you need to take. More on this below.

Tell someone where you are going, and check-in if you’ve agreed to do so. Not an issue if you are doing the shoot in your neighborhood, but if you are going city crawling like I do, its best if you someone know where you are going.

Go with another photographer or a friend versus going alone. Again, not a major drama if you are just around the neighborhood, but if you are going someplace new or away from your comfort zone take someone to watch your back. Personally, I don’t do this enough. I know this sounds paranoid, but I would prefer spending my time enjoying photography, versus looking over my shoulder.

Take minimal personal items with you. When I go out at night I bring some cash, my ID and a credit card. I leave my wallet at home.

Know what the weather. Again sounds silly, but it’s important. As an example, if you are taking city skyline shots and it’s really hazy, the light from the city will reflect off the haze when using long exposures. Doesn’t look good. Also, nothing worse than going out and calling it quits because it starts to rain.

Know your equipment. Some kit just doesn’t work well at night, and low / no light settings is no time to be fumbling with your camera to find out where a button or setting is.

Bring your fastest lenses. Any lens will work, but the faster your lens the more options you will have. I never bring anything slower than F/2.8.

Take the clear filters off your lenses. Unless you have very high quality, expensive, filters take them off. I know this is like driving without a seatbelt, but I find the filter causes ghosting on your images around strong light sources.

Kit to bring:

Again, this is a personal decision based upon your comfort level and what type of kit you have. The following is what I find is the most useable.

Lenses – I normally bring only 2, a medium zoom & a fast prime. My personal favorites are my Nikkor 24-70mm F/2.8 & my Nikkor 50mm F/1.4. Sometimes I’ll switch my 50mm for a 60mm F/2.8 Micro, or a 35mm F/1.8. Leave your long lenses at home, in my opinion.

Camera – take only one, and take your best. I have several cameras and have occasionally brought 2, but I always find it’s just a pain. When I say “your best”, I mean the one that has the best image quality at high ISO settings. I normally shoot on a tripod so this isn’t really an issue, but if you want to do any hand held images you will need high ISO.

Tripod – take it. Also, if you have one with a shoulder strap, use it. I shoot almost all of my night images with a tripod, so I can set my ISO to its lowest setting and my aperture to F/9 or higher. If you don’t have a tripod, invest in a good one.

Flashlight – bring one that you can put in your pocket. Something better than a penlight you have on your key ring. One important use for your flashlight is to help your camera focus. If your camera won’t auto focus due to the low light, shine your flashlight onto the subject and in many cases it provides enough light or contrast for your lens to focus. Oh yes, make sure the batteries are fresh.

Trigger release – camera shake can really mess up an image. I used to use a cable release, but have since switched to a wireless trigger. The alternative is to set you camera for a timed shutter release, but that’s a pain. Nothing in photography is cheap, but I would recommend you invest in a trigger release.

Backpack – I always put my kit in a good backpack / sling bag. Not only is it more efficient, but also keeps your kit out of sight. I prefer a backpack versus a camera bag.

Flash units – I rarely bring them for night photography, but if you are shooting people or confined spaces it may be handy. You know the drill about flash, off camera is better than on camera…. Only bring a flash unit if you specifically plan to use them. If I “think” I might use it, I leave it at home. If I “know” I will use it because it’s planned, I’ll bring them.

That’s basically it. As you can tell I haven’t gone into “how” to take a good night image, just how to plan and what to bring. Bottomline, like all endeavors worth doing right, practice, practice, practice.