Around year end is a good time to review your back up. Specifically, how your personal images are stored. Here are five things to consider.
1. Do You Even Have A Back Up?
You should at least have an extra copy of everything. On another hard drive or in the cloud. Ideally have three copies (see point 5) with one stored offsite. If you only have one copy of your images then it’s only a matter of time before they are lost due to hard drive failure, data corruption, viruses, ransomware, burglary, fire, flood or human error.
2. What’s Your End Game?
What do you want to do with your images? Maybe your photos are disposable and show what you eat to share on social media. They have no future value to you. In that case you don’t need to worry about back up.
However if your photos are of your children, family and friends most likely they’re precious. You want to share and hand them on to future generations. This is the most important scenario for having a proper back up.
3. Cloud Is OK For Phone Cameras
Google, Apple, Dropbox and others offer free or low cost solutions to sync your smartphone JPEG images to their cloud storage. This gives you an easy way to back up and share those images. Note these cloud syncing solutions are not a true back up. If you accidentally delete all your images eventually your cloud images will sync and be deleted.
For cloud back up a dedicated service like Backblaze will copy your entire system to their servers. When a disaster occurs you can recover data including your images. But it takes time and is very dependent on your internet speed. In Australia that rules out this type of service as our internet speeds are going backwards. For the rest of the world look at Cloudwards who review cloud services.
Apple Time Machine
Your images are only as safe as your most recent back up. Ideally automate the back up process with software like Apple’s Time Machine or Microsoft’s Back up so you don’t need to remember. Even better are Carbon Copy Cloner for Mac and SyncBack for Windows.
5. The Best Solution Is (Still) 3-2-1
In his book Digital Asset Management for Photographers author Peter Krogh recommends a 3-2-1 strategy for back up:
3 x separate copies
2 x different media (hard drive, cloud, optical, etc)
1 x off site (cloud, external hard drive, etc).
Back up to different media (illustration by Tina Hartman)
Anything less is compromising the safety of your photos. Use a system that is the most simple for you and one that you will use.
Make Back Up Your New Year’s Resolution
Don’t make the same resolution that you’ll likely break again in the new year. In 2018 plan to make sure all your images have a back up. At the very least buy a large external hard drive, plug it in and turn on your operating system’s built-in back up software. And have a Happy New Year!
Teaching is a vocation. It’s a calling for those individuals who shape our lives and those of our children. The most quoted section from Robert Fulghum’s book All I Really Need To Know I Learned in Kindergarten tells us the rules of a civilised world are taught that first year at school.
As with any parent I take a close interest in those who teach my children. I’ve seen great teachers who have had a huge impact on them. More than the pedagogy it’s the simple things, the human element, that influenced their outcomes.
“The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires.” – William Arthur Ward
You might guess as a photographer that my art teacher played an important role. Colleen Hinder had an enormous influence. Her classes encouraged exploration and removed traditional rules. She encouraged, inspired and celebrated our work. Once, unable to blend colours in a painting I resorted to a fan brush, to which she exclaimed, “The student has become the master!”. Mrs Hinder talked with us as peers; she never spoke down to us. Her positive, forward facing outlook absolutely stimulated creativity.
Practical lessons in art history and theory flamed my passion for art. The length of written assignments was given as “anything from the back of a matchbox to a telephone book” as long as it answered the brief. Without knowing it Mrs Hinder gave me the confidence to continue on to study art at university and pursue a career in a creative profession.
“It is the supreme art of the teacher to awaken joy in creative expression and knowledge.” – Albert Einstein.
Education photography is an area I’ve specialised in for over twenty years. It’s given me the opportunity to work with several hundred schools, to see behind the scenes and meet hundreds of teachers. I began this post with ‘teaching is a vocation’ and that comes from witnessing the men and women who dedicate their lives to support students. Many go well beyond their job description to care for student welfare.
As a caring profession teaching never seems to be adequately rewarded, at least not financially. Teachers please know that over a lifetime you are a major part in the development of who we become.
Photography conferences are a great way to learn, network and socialise with your industry. You can cram maybe a years worth of experience into just a few days. Please share your tips on Facebook and LinkedIn for attending conferences.
For well over 50 years the Australian Institute of Professional Photography has been representing the profession of photography in Australia. While similar associations have shrunk the AIPP continues to grow. In recent times the Australian Video Producers Association, Professional Schools Photographers Association and the Australian Commercial + Media Photographers have all merged with the AIPP.
A History of Professional Photography in Australia by Paul Curtis.
AIPP is a membership organisation governed by its members who support one another through:
Peer review via awards
Helping each other in an increasingly isolated profession
Photo: David Simmonds
Business Development AIPP markets its members to photography buyers through recognition, accreditation, public relations, marketing and advertising.
Lobbying AIPP actively engages with federal, state and local government on behalf of the profession lobbying on:
Many More Benefits A long association with the photography industry AIPP has many sponsors and even more importantly, support from individuals and the leading brands. No, its not a discount club but members do receive vendor discounts, access to free magazines, legal advice, contracts, and other benefits.
Like any membership organisation to get the most out of it you need to participate, get involved, volunteer – and of course join AIPP.
Like many Corporate Photographers I use Adobe Photoshop Lightroom to manage my digital camera images. With images Lightroom can edit, convert, print, publish them and more. However video support is limited to managing those generated by still cameras and smartphones, and all modern cameras offer that. With video Lightroom only really offers video trimming and basic grading features. For professional video editing an application like Adobe Premiere Pro is required.
Apart from editing images Lightroom is also the centre of managing an image collection. You can (and should!) rate, keyword, tag, add metadata, move, delete and do all your digital asset management within Lightroom.
How do you manage videos not supported in Lightroom? Many higher end video cameras capture formats not recognised by Lightroom. What I do with video editing is package each project in a folder structure with all its assets (raw video, audio, music, images, documents, Adobe Premiere files, final edits, etc,). I then catalog the final edited master in Lightroom. That way I can search for and scrub videos even when they are offline. If and when I need to access the project and its assets I search for the final edited master in Lightroom, right-click and select ‘Show in Finder/Show in Windows Explorer’, which reveals the project files:
After you right-click & select ‘Show in Finder’ the video project files are revealed.
In an ideal world Lightroom would allow us to catalog any file type and use proxies for those it doesn’t support. If you require that level of digital asset management Phase One Media Pro is a better option.
Phase One Media Pro lets you catalog any file type.
As a corporate photographer with experience in Digital Asset Management clients sometimes ask me what I suggest for their business. Bynder Orbital is a new freemium Digital Asset Management (DAM) application launching soon. Think of it as Dropbox for DAM. Here’s a 60 second video explaining Bynder Orbital:
Bynder Orbit is a ‘Software as a Service’ (SaaS) storing your assets and the application over the internet. That means there is no need for users to install or maintain applications on their computers or devices.
Bynder Orbit Interface
Users will get 100GB free online storage to manage their assets and pricing for higher tiers are yet to be announced. 100GB amount of storage is enough for small businesses managing vector and bitmap images for graphics, JPEGs, etc. Storing large files such as video and camera raw (DNG) files will quickly eat into your free account limit. Orbit currently supports a wide range of file types outlined in their Knowledge Base. Add-ons like connecting to Adobe Creative Cloud, WordPress and more are available in the Bynder Marketplace.
Bynder Orbit isn’t just for business. The interface is simple and would suit novices including families wanting to privately share their images, videos and other content. The Bynder terms of service are far less daunting than social media corporations. Just don’t make it your only storage. Remember, Cloud Storage essentially means you’re storing your stuff on someone else’s computer. Like every storage service out there Bynder could disappear overnight. So have your assets stored locally on at least two other storage systems (hard drive and back up copy).
DAM for Dummies
Earlier this year Bynder offered a free digital copy of ‘DAM for Dummies’ (Bynder Edition). This 84 page book is a great introduction to the principles and terms used in DAM. Sign up for your free copy here.
Michael E. Gerber’s business book The E-Myth is now over 30 years old. Much if not all of it is still relevant for those who own businesses today.
Part of the book involves systemising and documenting your processes, as if you’re going to franchise your business. To write these manuals you need to have experience in all the roles. In photography that’s relatively simple.
Video Production has many roles that can scale from a single operator on a corporate video to a Hollywood production with a crew of hundreds. You’ve seen the credits at the end of films: producer, director, writer, camera, sound, gaffer, editor, etc,. As a small video and multimedia producer for corporate communications with a degree in film production I began as a production supervisor at a regional TV station. The advantage of these opportunities means I’ve gained professional experience in all the main roles.
This helps inform my decisions when quoting on making videos for businesses: what roles to do, delegate or eliminate if need be. And what to expect from those professionals I need to outsource to. The video community in Australia is small enough to know people who specialise in key roles, or know who ask when I need a recommendation. While not as unionised as the USA, the local film industry still has demarcation lines. Whether it’s in writing or not crew members know their role in the production.
Of course there is a lot more to Gerber’s book than documenting business roles. If you’re interested, in 1995 it was republished as The E-Myth Revisited as a book, ebook and audiobook.
Everyone has a cache of photos, slides and negatives tucked away somewhere. They might be your images, family photos from your parents, or a film archive from your company. They all hold great value whether personal, sentimental or a business asset. It can seem like a huge responsibility:
What are you going to do with them?
How will you do it?
How long will it take?
And how much is it going to cost?
Chances are you would like to have your photos in a digital form to more easily access, share and if it’s a business, monetise them. Last month I wrote about converting video tapes to digital. Converting, or digitising, ‘analog’ prints and film can seem even more daunting. Traditionally photos and film would be carefully scanned by experienced technicians, one at time. Scans would be individually tweaked and cleaned up then saved as a TIF file. There is a much easier, faster, more cost effective way!
Camera Scans Peter Krogh, commercial photographer and image collection management guru, coined the phrase Camera Scanning some 20 years ago. A digital camera is used to capture raw images of photos and film at high resolution.
Digitising set-ups Photo: Peter Krogh
Once the copy system is set up it’s a simple process to digitise and anyone with minimal training can do it. A huge advantage is expertise is only required at the backend, when the images are actually needed. Then they’re converted from camera raw format to TIF or JPEG. This saves you a lot of time and money. Traditional scanning puts the expertise at the capture stage, for every photo as it’s digitised. With decades of experience in scanning, slide duplication, photo copying, and digital asset management I’ve implemented the Camera Scanning system for at least three film archives and seen the results.
Digitising Photos with Your Camera – Step by Step A decade ago Peter Krogh wrote a Camera Scanning white paper as part of the National Digital Information Infrastructure and Preservation Program for the US Library of Congress.
Digitizing Your Photos multimedia ebook Photo: Peter Krogh
This month he released Digitizing Your Photos with Your Camera and Lightroom, a comprehensive multimedia ebook complete with 94 instructional videos to guide you through the whole process. Written, illustrated and produced in typical Krogh style the new book goes into great detail on the whole procedure from strategy to publishing options (social media, website, printed book, etc,).
Digitizing Your Photos video instruction
Based on the real world experience of digitising his fathers photographic archive you will see Peter and his daughter Josie go through the entire workflow. Whether your goal is more modest or demanding, the system Peter demonstrates scales perfectly.
The Problem with B&W and Colour Negatives Copying slides has a long tradition and is made easier because we are making a digital copy of a positive image. Negative film, especially colour negs, create a digital negative that needs to be inverted in post production. Thankfully Peter has been lobbying Adobe to make the inversion from a camera raw file a painless process. Colour negatives have an orange mask that needs to be corrected and the book shows how easy it is in Adobe Lightroom or Adobe Camera Raw within Photoshop.
Crowd Sourcing Information Once digitised your photos won’t have any metadata to search on when you need to find the images. Here Peter shows how to include information included with the original photo or slide at capture time. Thinking laterally he also shows you how to crowd source more information from other people to add their knowledge via web galleries. This metadata will increase in value as time (and people) move on, creating a valuable personal or business asset.
The DAM Book lite As author of the best selling The DAM Book for Photographers Peter Krogh is the leading authority on the subject. Part of Digitizing Your Photos includes a chapter on managing your digital archive. It’s worth a ebooklet on its own. Coincidentally Peter is now hard at work updating The DAM Book and the third edition is expected later this year.
Video tape archive at Denmark’s DRs Heritage Project
Now is the time to start digitising all your video or audio tapes.
Why? The Australian National Film and Sound Archive made the year 2025 a hard deadline for transferring magnetic tape to digital. After 2025 many factors compound to make digitisation practically impossible:
Obsolesce – equipment to play tapes no longer made or repairable
Experience – people with the knowledge to operate equipment retired
Tape deterioration – tape has a limited life span
Supply and demand – costs increase as more businesses and consumers need tapes digitised
Procrastination – as businesses and consumers consider ROI the costs increase
Worse for business – due to larger scale
Should You Outsource? There are many services available worldwide who can digitise your video. My advice is to ask a friend or business similar to yours who they recommend. Some operators literally work out of their living room, while others ship tapes overseas.
Outsourcing is easier for the individual who is not technically minded and time poor. It does come at a price:
Higher costs – you get what you pay for, don’t skimp
Possible loss of tapes – while off site or in the mail
Quality may not be sufficient – test before digitising large quantities
Trust – who is the business doing the digitisation
Privacy – access to personal and business sensitive information
DIY Another option for large scale tape digitisation is to create a (temporary) digitisation department or do it yourself. The benefits are:
Control – over quality, costs and time
On site – security
Lower costs – do it in your own time or employ staff
No risk of loss – tapes don’t leave your premises
Of course there are costs if you DIY:
Time – it will take longer, depends on what your time is worth
Technical – there is a learning curve
Set up cost – if you don’t have all the equipment
That last point is evidenced by the escalating price of used video cameras and players. Obsolete 8mm video cameras now cost more than HD video cameras. That cost will only increase with demand as 2025 approaches.
What I Did Personally I went DIY because as a video professional I’m technically proficient and a control freak when it comes to quality, privacy and risk minimisation. I used my own video equipment and a simple program called LifeFlix (no affiliation) developed by the founder of professional video software company Red Giant.
Not The End Remember to have a solid back up strategy for the video and audio as you would with your born digital video and images. Eventually all that audio visual content will need to be migrated to new media and formats. However it will be far easier than digitising tape!
Once your video tapes are digitised you can breathe a sigh of relief. Businesses can more easily monetise their video and audio archive. Your personal videos can now be shared with family, friends and passed on to future generations.
If you know a good video tape transfer service please share it on Facebook or LinkedIn.
Ask three commercial photographers to quote on the same job and you could receive three different prices. Why is that?
Commercial Photography typically isn’t a la carte where you pick a package. Instead services are custom priced for your individual and unique requirements. This can be frustrating for clients looking to commission photography for their first time. But there is good news – read on!
Why a La Carte Can Be Wrong Having a menu of service options would make commissioning photography much easier. However it doesn’t allow for what you and your business needs. When a CPA is asked to manage your accounts costs will depend on your business structure (sole trader, partnership, company or LLC), turnover, whether you have employees and how much staff time is required.
Going off-menu when ordering a la carte will cost more. When ordering from a franchise pizzeria and asking for no olives it may cost you more to have less on the pizza.
A la carte photography would be like purchasing microstock, royalty-free images. Yes you know the flat fee but the image is by its very nature generic and not about your business. And your competitors can use the exact same image!
So How Is Commercial Photography Priced? Sticking with the stock photo analogy, photographers charge a usage fee for commercial photography, similar to licensing a rights-managed image. There is a vast difference in fees for the same image being used by the local hairdresser in their salon than a multinational company for an international advertising campaign. The value of the photo is far greater the wider it is used. Sally’s Hair Salon will pay less than Revlon. Again you risk a stock image being used by a competitor whereas commissioned photography is custom made for your business.
Commercial Photography licensing fees are based on:
Creative fee (10, 20 or more years experience and the creative execution)
Usage (where the image is used, for how long and in what area)
Pre & Post Production (organising the photo shoot and processing images)
Special equipment & Permits (studio or location hire, parking, etc,)
A photography quote will include these points along with an outline of the creative “treatment” which helps you compare different approaches to your request.
Copyright When commissioning a freelance photographer they own the copyright to images they create. Copyright has a commercial value, people wouldn’t be fighting over it in court if it didn’t. Some companies believe they need to own copyright when in fact they might be asking for control of the images. Copyright buyout is very expensive, typically 3 – 5 times the normal usage rate. Licensing usage will serve the same purpose at perhaps one fifth the cost. Note if images contain models their agreement might only be for 12 – 24 months, making a 2 year photography usage license more relevant and far more cost effective for your business.
Photography Brief Providing a brief to photographers when seeking quotes helps eliminate variances in photographers estimates. A brief can include:
Example images you like the look and feel of
The purpose of the images (what you want to achieve with the images)
List of images needed
Where they will be used (your website, billboard ads, PR)
Expected timing and dates for shoot
Your deadline for image delivery
The Good News Over time clients and photographers establish a business relationship where similar services are requested. For example, updating staff headshots on a regular basis. It’s known quantity so fees, service and the images can be consistent. As a client that makes your life much easier!