Digital Photography: Expert Techniques, 2nd Edition
By Ken Milburn
...............................................
Publisher: O'Reilly
Pub Date: October 2006
Print ISBN-10: 0-596-52690-3
Print ISBN-13: 978-0-59-652690-0
Pages: 404
Table of Contents | Index
Ready to take digital imaging to the professional level? This advanced strategy book offers expert
advice to help you become more competent in your work routine, but it is not your ordinary
workflow book. Through step-by-step procedures based on hard-nosed experience, professional
photographer Ken Milburn covers much more than image management. His updated edition
describes a complete workflow sequence that begins with essential photographic equipment and
digital darkroom setup, and ends once finished images are in albums, exhibits, web sites, or
publications. Milburn's goal is to make your work routine as efficient as possible, whether you're a
working professional or a passionate amateur.
Digital Photography: Expert Techniques takes you through several high-efficiency production
techniques, from non-destructive editing (adjustments to RAW photo files that don't change or
destroy any of the pixels in the original image) to destructive techniques with Photoshop CS 2, such
as changing the number, location, brightness and color of the individual pixels. All the while, Milburn
emphasizes minimizing destructive edits and always maintaining the ability to back to early stages.
This new edition offers:
The first book to fully address non-destructive, start-to-finish, layered workflow; including
learning to take advantage of Camera Raw's non-destructive image adjustments and
adjustment layers.
Each chapter begins with a summary on how the chapter fits the workflow and why.
Every exercise begins with side-by-side before-and-after photos. Get a visual idea of what you
will accomplish before taking the time to read.
Learn to eliminate useless images and maximize image preservation, organization, and
distribution.
Milburn's book features a preview of Adobe Lightroom, the beta application that helps you view,
sort, and rank images quickly. You'll also learn advanced techniques with Photoshop CS 2 and
Photoshop Elements, though this isn' t a typical Photoshop how-to book. Milburn's workflow
strategy includes everything you must do before, during, and after the editing process to ensure
that high-production jobs are done professionally with a minimum of frustration. With Digital
Photography: Expert Techniques, you'll become a better (and more profitable) photographer.
Digital Photography: Expert Techniques, 2nd Edition
By Ken Milburn
...............................................
Publisher: O'Reilly
Pub Date: October 2006
Print ISBN-10: 0-596-52690-3
Print ISBN-13: 978-0-59-652690-0
Pages: 404
Table of Contents | Index
Digital Photography Expert Techniques, Second Edition
introduction Introduction
Chapter 1. A Plan for Nondestructive Workflow
Section 1.1. Getting the Camera Ready
Section 1.2. Computer Equipment and Configuration
Section 1.3. Image Downloading
Section 1.4. Winnowing Your Shoot
Section 1.5. Backing Up Originals
Section 1.6. Presentation for Client Approval
Section 1.7. Preliminary Editing
Section 1.8. Final Output
Chapter 2. Be Prepared
Section 2.1. Pre-Set Your Camera
Section 2.2. Take Along the Basic Accessories
Section 2.3. Know When Not to Shoot RAW
Section 2.4. Start in Program Mode
Section 2.5. Light Metering Tricks
Section 2.6. Tricks for Steady Shooting
Section 2.7. Stop the Action
Section 2.8. Go Where Few Have Gone Before
Section 2.9. Collect Backgrounds, Clouds, and Stuff
Section 2.10. Calibrate Your Monitor
Chapter 3. Bridging the Gap
Section 3.1. How Bridge Differs from the Browser
Section 3.2. Customizing Workspaces
Section 3.3. Working in Bridge
Section 3.4. Using Bridge for Winnowing the Shoot
Section 3.5. Add Metadata for the Record
Section 3.6. Ranking Images in Bridge
Chapter 4. Streamlining Camera Raw
Section 4.1. Save to DNG
Section 4.2. Leveling and Cropping in Camera Raw
Section 4.3. Understanding Camera Raw's Tabs
Section 4.4. Automating in Camera Raw
Section 4.5. Using the Image Processor with RAW Files
Section 4.6. Differences in Camera Raw in Photoshop CS2 and Photoshop Elements
4
Section 4.7. Opening and Adjusting Multiple RAW Files in Photoshop CS2
Section 4.8. Using Camera Raw for Creating Effects
Chapter 5. Nondestructive Layering
Section 5.1. A System of Layers for Nondestructive Editing
Section 5.2. Layer Abbreviations in Filenames
Section 5.3. What the Layers Palette Looks Like for All Stages
Section 5.4. The Magic Action for Layered Workflow
Section 5.5. Using Layer Options
Section 5.6. What You Can Do with Adjustment Layers
Section 5.7. Things You Can Do to Modify a Layer
Section 5.8. Grouping Layers
Chapter 6. Nondestructive Overall Adjustments
Section 6.1. The Basic Levels and Curves Routine
Section 6.2. Adjustment Layer Advantages
Section 6.3. Using Blend Modes on Adjustment Layers
Section 6.4. Changing Hue/Saturation
Section 6.5. Color Balance Techniques
Section 6.6. Applying Color Balance Techniques to Other Images
Section 6.7. Making Destructive Adjustments on the Layers
Chapter 7. Making Targeted Adjustments
Section 7.1. Tips for Using Selections
Section 7.2. Using Layers to Make Targeted Adjustments
Section 7.3. Creating Effects with Targeted Adjustments
Chapter 8. Repairing the Details
Section 8.1. General Repair Toolkit
Section 8.2. Specific Types of Repair Projects
Chapter 9. Collage and Montage
Section 9.1. Where to Find the Pieces for Your Collage or Montage
Section 9.2. Making a Collage
Section 9.3. Photoshop Features Especially Useful for Making Montages
Section 9.4. Matching a Knockout to Its Background
Chapter 10. Creating the Wow Factor
Section 10.1. Organizing Your Layers to Apply Effects
Section 10.2. Applying Filter Effects
Section 10.3. Using the Filter Gallery
Section 10.4. Blurring Memories
Section 10.5. Satisfaction in Liquefaction
Section 10.6. Using the Warp Tool
Section 10.7. Using Lighting Effects
Section 10.8. Homemade Backgrounds
Section 10.9. Colorization Effects
Section 10.10. Pattern Overlays
Section 10.11. Photo Filters
Section 10.12. Film Effects
Section 10.13. Monochrome Effects
Section 10.14. Sharpening
Chapter 11. Special Purpose Processing
Section 11.1. Stitching Images for a New Point of View
Section 11.2. Extending Dynamic Range
Section 11.3. Converting Photos to Paintings
Chapter 12. Presenting Your Work to the World
Section 12.1. Printing Your Digital Images
Section 12.2. Showing Your Work
Section 12.3. Promoting Your Images on the Web
Section 12.4. Create a Digital Slide Show
Section 12.5. Saving a Digital "Positive"
Appendix A. Workflow Alternatives
Section A.1. Capture One Pro
Section A.2. Raw Shooter
Section A.3. Aperture
Section A.4. Adobe Lightroom
Section A.5. iView Media Pro
About the Author
Colophon
Index
Digital Photography Expert Techniques,
Second Edition
by Ken Milburn
Copyright © 2007, 2004 O'Reilly Media, Inc. All rights reserved.
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0-596-52690-3
978-0-596-52690-0
[L]
Introduction
If you've picked up this book, you're obviously interested in digital photography. And there is a wide
variety of digital photography books available these days. However, if you've ever dreamed of being
a serious digital photographer, the second edition of Digital Photography Expert Techniques is the
place to start.
Since the first edition of this book was written, the focus of the book has moved to a nondestructive
workflow. The term "workflow" has been bantered about so much that it can mean most anything. In
the context of this book, it means an organized process of creating a finished photograph that starts
with an idea and ends by being shown or passed on to other people. That organization is structured
so that when a change in the interpretation of the image is required, it is possible to go back only to
the specific stage at which the re-interpretation must be made. That is because each new step is
done in a way that does not disturb the original image, or the process does not use any more
adjustment steps than absolutely necessary in order to make the needed change.
Organization of This Book
This book consists of 12 chapters. At the beginning of most chapters is a sidebar titled "How This
Chapter Fits the Workflow," which gives you perspective on what you will be doing and why you're
doing it at that stage of the organization. After that, I address common issues that you're likely to
face as you move further into that domain. As the title of this book suggests, the combination of
these issues form a set of "expert techniques" that you can use to successfully master that task.
Chapter 1, A Plan for Nondestructive Workflow
Puts the organization of the entire book in perspective, so that you know what my concept of
start-to-finish workflow is all about, as well as the rationale for the sequence.
Chapter 2, Be Prepared
Tells you everything you need to know about getting ready to start shooting. The chapter
covers how to set your camera to be prepared for shots, what accessories are likely to be
helpful, what settings are likely to work when you don't have time to think, how to keep the
camera steady, and how to freeze action.
Chapter 3, Bridging the Gap
Is all about Bridge; this image management program now comes with any and all the Adobe
CS2 Suite applications. In this instance, however, Bridge is discussed primarily in relation to
Photoshop and to the myriad ways that it helps to keep your workflow organized.
Chapter 4, Streamlining Camera Raw
Gets into a great deal more depth about streamlining your processing while in Camera Raw and
the benefit of doing as much of your processing as possible while you're in this completely
nondestructive stage of operations.
Chapter 5, Nondestructive Layering
Describes, in detail, how layers can be used to isolate destructive operations so that they can
be carried out without affecting anything else you've done to the image.
Chapter 6, Nondestructive Overall Adjustments
Shows how to use adjustment layers, which are completely nondestructive, to make overall
image adjustments. There are tips and tricks for using almost all the different types of
adjustment layers. Image adjustments administered by commands that are not available as
adjustment layers are covered in Chapter 8, when you've exhausted all the possibilities for
completely nondestructive editing.
Chapter 7, Making Targeted Adjustments
Discusses making and using selections, masks, and other means of making adjustments that
pertain only to portions of the image. You also learn how to modify layer masks after the basic
adjustments have been made to further enhance a portion of the image.
Chapter 8, Repairing the Details
Covers all types of image repair, including retouching. Retouching is always maximally
destructive, so you are also taught how to isolate the image to preserve all the work you have
done up to this point.
Chapter 9, Collage and Montage
Discusses making one image from multiple images using the techniques of both collage and
montage. A collage is an image obviously composed of multiple images and doesn't require
doing such things as matching shooting angles, hiding cutout borders, and otherwise
attempting to "fool" the viewer into thinking that this is a factual photo. A montage takes the
viewer to a time and place that, though it looks real, never really existed as a visual reality...at
least not when a camera was present to record it.
Chapter 10, Creating the Wow Factor
Presents the next stage of progressively more destructive editing: special effects. Most special
effects are created by filters and plug-ins that respecify every pixel in the targeted portion of
the image.
Chapter 11, Special Purpose Processing
Covers "specialized" (for lack of a better, all-inclusive term) image processing. More
specifically, it discusses panoramas and enhanced resolution images (including how to shoot
them so the multiple images required to make them blend together seamlessly), dynamic
range extension techniques, and converting photos to "paintings."
Chapter 12, Presenting Your Work to the World
Contains the most effective techniques for communicating your photographic talents to the
world. In other words, this chapter is all about preparing your image for output and then how
to use that output to show off your talents in an efficient and cost-effective way.
Appendix, Workflow Alternatives
Takes a look at some workflow alternatives, including software tools such as Capture One,
Aperture, and Raw Shooter. You'll also find information there about how to access the bonus
chapter on Adobe's Lightroom (http://digitalmedia.oreilly.com/lightroom).
Who This Book Is For
This book is for photographers who are serious about producing the highest quality photographs in
the most efficient and cost-effective way possible. For that reason, I speak as though I'm talking to
fellow professionals, all the while knowing that any serious photographer can do her best by taking a
professional approach to creating images that communicate as effectively as possible.
Because there are so many solutions and techniques to cover, I faced a conundrum: should I try to
make it easy for everyone to understand, or assume that readers have at least a little familiarity with
Photoshop? I opted for the latter. For example, I assume that you know how to use common
commands and tools (e.g., the Magic Wand and the Move tool), and I also saved a lot of time, words,
and pictures by making liberal use of keyboard shortcuts or by simply putting the command in
brackets.
Does this mean that Photoshop novices shouldn't buy this book? Not at all. It just means that you
may need a beginning Photoshop book as a quick tutorial. If you're looking for a good place to start,
consider Deke McClelland's Adobe Photoshop CS2: One on One (O'Reilly).
This edition concentrates on digital single-lens reflex (SLR) cameras, which have become the
hallmark of serious digital photographers in the time since the first edition was written. This book
focuses on digital SLR cameras that have higher megapixels of noninterpolated resolution,
interchangeable lenses, and larger, more noise-free sensorsin other words, professional-quality
cameras that let you clearly see exactly what the lens sees. Because these cameras are all capable of
producing high-quality RAW files, this book also explores how to get the most out of RAW files.
This book is more about workflow than it is about procedures in a specific program. Because the
majority of serious digital photographers use Photoshop, that's the program used in most of the
examples in this book.
So does this book contain all the information you'll ever need as a professional digital photographer?
Of course not. Hundreds of books have been written on the subject of digital photography and digital
image editing. If anyone could have fit all that information between the covers of one or two books, it
would have been done a long time ago. Be sure to let me and the folks at O'Reilly know if we've
missed any that are especially dear to your heart. We'll try to squeeze them into the next edition.
About Photoshop Versions
Adobe Photoshop CS2, which first appeared in the summer of 2005, is the ninth iteration of Adobe's
world-famous image editing program. I'll gleefully point out new features in Photoshop CS2 that are
especially notable at particular stages of the workflow recommended in this edition of Digital
Photography: Expert Techniques.
Conventions Used in This Book
This book is meant to be equally useful to both Mac and Windows aficionados. There is virtually no
difference in the operation of Photoshop and the other programs mentioned herein.
Menu commands are exactly the same unless followed by a parenthetical remark that points out a
difference or distinction. Menu commands are given in hierarchical order, with an preceding each
new appearance of a cascading menufor example, Image Adjustments Levels. If a menu
appears from a palette or dialog menu, the name of the menu or dialog will precede the naming of
the command hierarchy.
Macs and PCs use different but equivalent keys for keyboard shortcuts, so I'll give you both
commands in one breath. Because Photoshop first appeared on the Mac, the Mac command
abbreviation is given first, followed by the Windows command abbreviation. So a keyboard shortcut is
given like this: Cmd/Ctrl-Opt/Alt-D (that is, Cmd-Opt-D on the Mac and Ctrl-Alt-D on the PC). Today,
there is no meaningful difference in the functionality of the Mac or Windows versions of Photoshop
CS2.
The following typographical conventions are used in this book:
Plain text
Indicates menu titles, menu options, menu buttons, and keyboard accelerators (such as Alt and
Ctrl).
Italic
Indicates URLs, email addresses, filenames, file extensions, pathnames, and directories.
Comments and Questions
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Acknowledgments
Thanks to Steve Weiss, the O'Reilly executive editor for digital media who has groomed many a
Photoshop author into achieving fame and fortune. He's also fun to talk to and a superb human
being. Colleen Wheeler, the developmental editor, is supremely intelligent and has a wonderful sense
of humor as well as organizational and technical perspectives. James Duncan Davidson was the
technical reviewer for this book, providing insight and helpful comments every step of the way. And I
have to give credit to the great O'Reilly production team.
Also, many thanks to Margot Maley Hutchinson, my agent at Waterside Productions. She is simply the
cream of the crop: honest, loyal, brainy, hard-working, and a great mom.
Many of the best lessons in life are taught to us by our families. My son, Lane, has been a great
teacher, and the directions his life is taking today are just downright inspiring. I also owe a lot to my
extended family: Bob Cowart, Janine Warner, Nancy Miller, Jane Lindsay, Sherry Epley, Kim Friscia,
Jim Coe, Roger Mulkey, Rick White, and a host of other friends and neighbors.
I'd especially like to thank Tatyana You'no, the amazing face painter who did a job on herself
especially for this book's cover. Her baby daughter is also on the cover. If you're looking for a face
painter or a very patient model, you can reach Tatyana by email at
[email protected].
Finally, this book couldn't have happened without support and help from every manufacturer or
publisher whose products are mentioned or featured.
Chapter 1. A Plan for Nondestructive
Workflow
This chapter gives you an abbreviated overview of the workflow around which the rest of this book is
structured. It's a sort of quick guide. More importantly, it orients you to the way this book builds itself
on what is currently being called nondestructive workflow. Although the workflow buzzword has lately
been thrown around with a variety of meanings, this workflow is very carefully structured so that you
are guaranteed to be working in what will ultimately be the most productive and efficient way. It also
guarantees that you will never have to start from scratch when you need a different interpretation of
the same subject.
So what's nondestructive all about? Well, first of all, the procedure only starts with being
nondestructive. Of course, certain operations, such as retouching or using special-effects filters, are
maximally destructive. However, when it comes time to do such work, you will have already done all
the completely nondestructive work that you can. Furthermore, you will have protected that
nondestructive work, keeping it on separate layers within the same file, so you never need do it
again. So if you ever want a different look in that respect, you can simply turn off that destructive
layer, then create a new layer (or layers) from the nondestructive layers for the process required by
the alternative operation.
Another thing that's all-important to efficient workflow is being able to track your images and their
variationsthe DAM work. We're not swearing; DAM stands for digital asset management.
NOTE
The DAM topic in this book is much more abbreviated than in The DAM Book: Digital Asset
Management for Photographers by Peter Krogh (O'Reilly). On the other hand, you can do a
lot of work here that will eventually blend with advanced techniques when employing the
full scope of The DAM Book.
Something else that's different here: this book doesn't start with processing in Photoshop, but with
planning your shoot to give the best and most data-rich images possible as a starting point. After all,
it does you no good to work extensively on images that don't have the best potential right from the
start.
1.1. Getting the Camera Ready
Chapter 2 will go into great detail about your equipment needs and setup. However, for this
overview, I've listed a few key thoughts about how to have your camera ready to create the best
input data for the rest of the process:
NOTE
Many pros like carrying a compact camera as a second or third camera. You can be assured
of having it with you all the time, it makes it easier to shoot from extremely low or high
angles, and it is especially well-suited to macrophotography (extreme closeups) due to the
greatly extended depth-of-field afforded by their tiny sensors.
Keep your basic lens on the camera unless you know you're about to shoot a special situation.
For instance, if you normally do photojournalistic work, you'll probably want to keep the 35mm
equivalent of a 28120mm lens on the camera.
Always keep a strap on each camera and wear the camera you use the most around your neck,
ready to shoot. Then all you have to do when the moment comes is "ready, aim, fire." If a
passerby bumps you and the camera flies out of your hands (or someone tries to steal it), it
stays around your neck.
Neutralize the camera settings. That is, set them so that you're most likely to be ready for what
happens next. If you're shooting RAW (read Chapter 3 to see why you should beand when you
shouldn't), if you have to shoot JPEGs, turn off all the settings that cause the camera to
preprocess the photo: color balance, saturation, and special effects (such as sepia or infrared),
and situational settings (sun, shade, snow, portrait, etc.). You can always turn them on when
you need them.
Most cameras give you the choice of naming all files in sequence or restarting the sequence
each time you change a card. Make certain that this setting always stays at the default of
naming all files in sequence.
I like to keep my camera set for sequence shooting. If there's fast action going on, I'm more
likely to catch the peak moment. If there's any doubt about whether the camera will be steady
enough to ensure a sharp shot, shooting a sequence makes it likely that one or two of the shots
will be sharper than the others. Remember, there's no such thing as wasted film in digital. You
just delete whatever doesn't work out.
It's a good idea to carry two camera bodies. I often use a full-frame body and back it up with a
slightly less expensive DSLR. On the other hand, if your base camera is relatively affordable (for
some time, mine was a Digital Rebel XT and now it's my No. 2), it's worth considering simply
buying two of them. Any pro will tell you that the only time your camera breaks down is when
you can least afford it. You're on the vacation or assignment of a lifetime when a donkey kicks
the tripod and knocks it off an 800-foot cliff.
Don't change lenses when there's visible moisture, dust, smoke, or other "stuff" in the air. No,
not even if your camera has a built-in dust remover. It is possible to over-power any
technology. If you don't have a proper sensor cleaning kit, then you're definitely going to spend
hours retouching the same spot on hundreds of frames. The best plan, whenever possible, is to
take along a pair of bodies. Put a long zoom on one and a wide-angle zoom on the otheror
whatever two focal lengths you're most likely to need. Having two bodies with different lenses
also makes it faster to switch focal lengths. Or get one of the new 18200mm zoom lenses being
offered by many manufacturers.
Because you're bound to change lenses sooner or later, be sure to take along a sensor-cleaning
'kit. Do not even think about trying to clean your sensor with lens-cleaning spray, cotton swabs,
or blower brushes. Those are all good items to keep handy for lens and body cleaning, but they
will ruin your sensor. There are many sensor-cleaning kits on the market and it seems like a
new one is introduced every week. My two favorite sites for checking out the latest reviews on
these prodcuts are www.dpreview.com and www.robgalbraith.com. Figure 1-1 shows two of the
more popular sensor swabbing kits. Be sure to get the one that is sized to fit the width of your
particular camera's sensor.
Figure 1-1. Sensor-specific cleaning kits are the only appropriate tools for cleaning
your sensor.
Finally, you want to make sure you have all the right accessories at hand. You'll find all the basics
listed in Chapter 2.
1.2. Computer Equipment and Configuration
Today's images are getting bigger and better than ever. If you were used to shooting 5 MP JPEGs and
then jumped to the 8 MP RAW files that some of today's $900 DSLRs shoot, your file size will increase
from about 1.5 MP to between 5.5 MP (saved to DNG) and 8 MP (Canon CR2 file in 16-bits [only 12-
bit of image data] for 8 MP image). Once you've processed that file according to the
recommendations in this book, you'll have between 5 and 15 layers and several will be image layers.
You could easily end up with 100 MB files for all your best imagesthat is, the ones you have the
incentive to really put some effort into processing to perfection. For example, last year I shot some
8,000 images in CR2 format. Let's say the toss-out rate is about 15 percent. That still leaves 6,800
images I have to store and find...and I have to spend most of my time writing books! Still, this isn't
too bad. I've used only about 54 gigabytes of storage so far. If about 10 percent graduate to
stardom, that's only 680 images. The problem is, each image is going to need about 100 MB of space
by the time I finish editing them nondestructively. So I need another 54 GB for the special 10 percent
that survive. You begin to see the problem when you realize that a lot of pros shoot at least 10 times
as many images as I do.
The bottom line is that you need to start with a very fast computer with lots of storage. For either
Windows or Mac, I'd suggest a dual core or 64-bit processor running at around 2.4+ gigahertz. Plug
at least 1 MB of RAM into the motherboard and move up to 2+ MB as quickly as you can afford it.
This book is going to teach you to truly appreciate speed and horsepower.
Every time you see a sale on 250500 GB external hard drives, get yourself another. External drives
make the most sense for storing large image libraries. They're easy to copy to one another for
backup and they can easily be moved from computer-to-computer. At sale prices, you'll pay around
75 cents per gigabyte or $180 for a 250 GB drive. Make backups by copying one drive to another
while you're sleeping. External hard drives love to crasha much unpublicized factand you don't dare
risk your valuable images. Be very careful to follow the prescribed routines for installing the software
for the drives, plugging them in and out, and turning them on and off.
When it comes to your ability to see your images clearly so you can judge them accurately, you'll
want to pay attention to your video system. You want a high-performance video card. The NVIDIA
GeForce, ATI Radeon, and Matrox are presently considered best-in-class. Check out current web
reviews and information for what is considered state-of-the-art. (You don't need the top of the line
cards that are intended for the gamers' market.)
It's also time to move up to a state-of-the-art flat-panel screen unless you're doing pre-press work in
a production house. There are now excellent 19-inch models on the market for less than $300. Look
for a model with a contrast ratio better than 500:1 (the higher the contrast ratio, the better) and the
widest possible viewing angle. Most of us will gladly trade a tiny margin of brightness and contrast
ratio for a steadier image that is much easier on the eyes and has virtually no screen glare. Besides,
you need the extra room on your desk for a Wacom graphics tablet and all those hard drives.
Given the resolution that pros are expecting from their images, I wouldn't even consider a screen size
smaller than 19 inches. If you have an older 17-inch monitor, consider getting a dual monitor video
card and using the second monitor strictly for menus, Bridge, or DAM software.
Speaking of image backup, don't even think about anything less than a state-of-the-art DVD writer8X
write speed minimum. CDs just aren't capacious enough for contemporary files, and you have to
spend way too much of your time swapping disks when they fill. Do not write on the disks with
Sharpie markers or paste labels on them. Instead, go to your local office supply store and ask for
acid-free markers. They look just like Sharpies, cost a bit more, but won't send your images to
heaven when you least expect it. Archival qualities of optical media are covered later in this chapter.
NOTE
Delkin (http://www.delkin.com/products/archivalgold/scratcharmor.html) now makes gold
DVD disks with a guaranteed life span. As soon as I've done my winnowing for a shoot, I
put a duplicate of its folder into a folder reserved for DVD backup. I keep checking its
properties until it's nearly a full DVD's worth of data, and then I copy that data to a Delkin
gold disk and store it in an acid-free binder. I also make a contact sheet of what's on that
disk, so I can quickly find the files I'm looking for.
If you travel or hike while shooting, a high-horsepower laptop is a lifesaver. Look for the following
features: 1+ MB RAM, 100+ GB HD, 15.4- or 17-inch widescreen, DVD writer, built-in WiFi, and built-
in card reader. Even a duo-core 64-bit processor is an affordable option nowadays. You should be
able to get all this for around $1,200 in a Windows laptop or for around $2,200 in a Mac laptop.
1.3. Image Downloading
One of the most critical points in an efficient workflow is the disciplined process by which you get
your pictures from camera to computer. You want to combine downloading with both an efficient and
effective naming process and a disciplined and regular means for backing up. As a part of this
process, you want to get rid of anything that might be embarrassing to you, your client, or your
model. Never was the phrase "out of sight, out of mind" more appropriate than when winnowing out
the crap. The difference between an average photographer and a great one is that the great ones
know what to throw away. Then, you want to immediately get your images to your client in a
professional-looking presentation that makes you look as good as possible. Generally speaking, the
more pictures the client likes, the more you'll get paid, and the more often you'll be asked to shoot
again.
1.3.1. Downloading Alternatives
There are several devices you can use to download your images from camera to computer. First,
most all digital cameras, and certainly all DSLRs, have either a USB or FireWire port that allows you
to connect your camera directly to your computer. Second, you can buy a card adapter that plugs
into either a USB or FireWire port. Finally, there are computers that have card readers built into
them. You can see two of these devices in Figure 1-2.
Figure 1-2. Left to right, an external card reader and a built-in card reader.
It won't do much good for me to tell you which downloading device to use, because there are too
many variables between devices, card speed, and internal computer circuitry to make that opinion
meaningful. However, I will tell you that download speed is important. I've seen a difference of a
minute and a half to 12 minutes just to download the same images from the same card through
different devices to different computers. My advice to you: get or borrow all three types of devices,
take them home, and test them with a stopwatch. A state-of-the-art digital card reader only costs
about $25 these days, and spares come in handy if you're traveling without a computer or have to
loan one to a client or friend. Actually, you'll need one if you have a Mac. Macs aren't available with
built-in card readers! (Duh! Hello Apple, do you know how many of your customers are digital
photographers?) Anyway, back to reality: Put your card filled with photos into each device and clock
the download time for that card in that device. Put your camera in sequence shooting mode and fill a
card with images. Then, download that card's images through an internal card reader, a USB 2.0 card
reader, and (if you have a FireWire port) through a FireWire card reader. Make sure you download
from the same card each time; that way, you know that it's not the speed of the card that is
influencing your decision. Now you know which download device is fastest. Regardless of the speed of
the card itself, the device that downloads that card fastest will download any card of any speed faster
than the other devices you tested.
NOTE
The speed designations that manufacturers give their cards are only useful as a guideline.
One maker's 4X card is not necessarily the same as another's. Borrow several brands and
speeds, fill each with photos, and test them for yourself. It's easy to test download times
for the cards.
All things being equal, I'm in favor of the convenience of built-in, front-mounted card readers.
They're always where you can reach them easily, don't require any operating expertise, can be used
while you're camera is shooting something else, and require no software expertise. Plug a card into
the appropriate slot (it won't fit if it isn't the right slot). Immediately, a new drive will appear on your
desktop (Mac) or in My Computer (Windows). Read the files and do with them just as you would files
in any other directory on your computer.
1.3.2. Storing the Files
Be sure to store all the files from a shoot in the same folder. Name that folder after the most broadly
applicable name you can give to the shoot. If it's personal, I name it after the person or place where
I did the shoot. Occasionally, an entire shoot consists of a study of one subject. In that case, I name
the folder after the subject. If the subject is something like a road trip, I name the folder after the
farthest or most memorable destination. If it's a commercial shoot, I name it after the purpose of the
shootnever after the client. There are a couple of reasons for that: some of the photos may end up
being sold to a variety of clients, and I may have folder after folder for the same client, many of
which can contain very different subject matter. The point is that you want to name your folders so
that you're most likely to know what they contain. You won't always be right, but you'll be right more
often than not.
NOTE
Another photographer just suggested naming the file with the date ahead of the descriptive
name. She puts the two digits for the year first, then month, then day. That way, the files
automatically sort so that the most recent is at the bottom of the list. After trying that
approach, I really like it. It's much faster to find the files I've shot most recently, which are
the ones I'm likely to need most often.
The first part of the folder name is the six-character date of the shoot organized by year, month,
dayfor instance, 060224. I don't use dashes or slashes or characters that are illegal in filenames.
Here are some typical folder names:
060912 Lydia furs
051227 Morgan Hill
050612 Smith Wed
050707 Small Town Stock
1.3.3. Back up RAW files to DVD