Aug 2007
Image Backup: Another Difference Between the Professional and Amateur Photographer
August/10/07 12:20 PM
I work with many different types of
commercial clients, from corporate marketing managers and
executives to magazine editors to book publishers to home builders
and architects. I also provide a fair amount of portrait work for a
number of retail clients. For all I apply the same tried and proven
method of digital work flow and backup of image files.
In about 95% of my assignments I shoot in what is known as digital raw file format, on both my Canon 1D and 5D cameras. Shooting in raw format (which leaves the original digital capture unprocessed in the camera) provides me the greatest latitude for editing and fine-tuning via Aperture or Photoshop on my Macintosh desktop and laptop systems. From the raw file I can create just about any size JPEG or TIFF file while maintaining optimal quality for the client’s use of the image, whether it be for a web site, broadcast television or print publication.
The rare occasions that I shoot in JPEG format are usually for my own personal work that involves fast moving sports, wildlife and event photography, however, even in those cases it is becoming less and less common as card capacity (a raw file takes up about two or three times as much memory space as a high-quality JPEG) continues to go up and card prices go down.
I view and treat all original raw files as my original, digital “negative.” Notice the use of the word “my.” Unless the client is willing to purchase full, exclusive rights to the photographs taken for an assignment, they do not receive the original raw image files. What I provide my clients, per their intended use specifications, are JPEG or TIFF versions of the original raw file.
All of my original raw image capture files are carefully backed-up on removable media even before I put the CompactFlash card into the card reader for editing and processing. The removable media, with the raw files, is carefully marked with the shoot date and client information and stored in a fire-proof safe.
If something were to happen to the working versions that are on my hard drives I have the peace of mind knowing that the original raw digital “negative” files are safe and secure. I also provide peace of mind for the client in the possible event they lose track of the JPEG or TIFF versions provide to them or if those JPEG’s or TIFF’s become opened and saved so often that they begin to degrade in quality.
I bring this point up as one of the many benefits of doing business with an experienced, professional photographer. Working in smaller market such as Dayton - where sometimes the value of true professional photography goes a bit undervalued - I routinely see situations where local companies and ad agencies try to cut corners as much as possible when it comes to photography of their products, services or facilities. They’ll usually go with a family friend who “does photography on the side,” a young person just out of school or worse yet, they try to do it themselves.
Almost always they end-up with what they pay for, and not just in terms of poor quality (is that really how you would want the world to view your products and services ???) but also no backup of the original raw file - that is if they are even shooting in raw format.
A year or two goes by and sure enough no one can find the original file when it comes time to print that brochure, community report or new ad for the trade magazine.
Bottom line: hire a professional photographer and ask him or her about what format he or she shoots in and if they do indeed backup the original image files.
In about 95% of my assignments I shoot in what is known as digital raw file format, on both my Canon 1D and 5D cameras. Shooting in raw format (which leaves the original digital capture unprocessed in the camera) provides me the greatest latitude for editing and fine-tuning via Aperture or Photoshop on my Macintosh desktop and laptop systems. From the raw file I can create just about any size JPEG or TIFF file while maintaining optimal quality for the client’s use of the image, whether it be for a web site, broadcast television or print publication.
The rare occasions that I shoot in JPEG format are usually for my own personal work that involves fast moving sports, wildlife and event photography, however, even in those cases it is becoming less and less common as card capacity (a raw file takes up about two or three times as much memory space as a high-quality JPEG) continues to go up and card prices go down.
I view and treat all original raw files as my original, digital “negative.” Notice the use of the word “my.” Unless the client is willing to purchase full, exclusive rights to the photographs taken for an assignment, they do not receive the original raw image files. What I provide my clients, per their intended use specifications, are JPEG or TIFF versions of the original raw file.
All of my original raw image capture files are carefully backed-up on removable media even before I put the CompactFlash card into the card reader for editing and processing. The removable media, with the raw files, is carefully marked with the shoot date and client information and stored in a fire-proof safe.
If something were to happen to the working versions that are on my hard drives I have the peace of mind knowing that the original raw digital “negative” files are safe and secure. I also provide peace of mind for the client in the possible event they lose track of the JPEG or TIFF versions provide to them or if those JPEG’s or TIFF’s become opened and saved so often that they begin to degrade in quality.
I bring this point up as one of the many benefits of doing business with an experienced, professional photographer. Working in smaller market such as Dayton - where sometimes the value of true professional photography goes a bit undervalued - I routinely see situations where local companies and ad agencies try to cut corners as much as possible when it comes to photography of their products, services or facilities. They’ll usually go with a family friend who “does photography on the side,” a young person just out of school or worse yet, they try to do it themselves.
Almost always they end-up with what they pay for, and not just in terms of poor quality (is that really how you would want the world to view your products and services ???) but also no backup of the original raw file - that is if they are even shooting in raw format.
A year or two goes by and sure enough no one can find the original file when it comes time to print that brochure, community report or new ad for the trade magazine.
Bottom line: hire a professional photographer and ask him or her about what format he or she shoots in and if they do indeed backup the original image files.
|