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How To Get Hired By Creative Agencies - Interview With Creative Director: Scott Wallace

Most photographers looking to advance their commercial photography careers come to the realization that in order to score the big jobs, they need to work with creative agencies. The question is, how does a photographer get those agency gigs? I sat down with Associate Creative Director Scott Wallace of Magner Sanborn to discuss the creative agency/photographer relationship and what we can do as photographers to get noticed and ultimately get hired.

It's a pretty casual interview which consists of questions provided by viewers via Twitter and stuff I just made up on the spot. I've worked with Scott on projects in the past and felt he was a good representation of the creative teams I've done business with over the years. Some Art Directors are micro managers, while others provide almost no feedback on a shoot. I found Scott to be someone who was right in between. He knows what he wants, but doesn't drive you nuts on set while trying to get there. He'll let the photographer work through issues and evolve the shot(s) through their own creative process, while providing valuable feedback when necessary. It's really a personal preference each photographer will figure out as he/she gains experience working with varying degrees of art direction.

If you don't feel like watching the video interview (I don't blame you, I'm no Katie Couric and it's not the most riveting of interviews), the short and skinny of it is that every creative team is different. Creative agencies still like to see a printed book, and source books (Workbook, AtEdge, etc) are still relevant. As you can expect, whether through social media, portfolio website, Behance, professional organizations, or rep sites, they pretty much turn to the internet for it's broad reach when looking for photographers. It's a slow 25 minute video, but there's some good nuggets of information, especially for those just starting their careers and building relationships with creative agencies.

PhaseOne Ambassador

I'm now a PhaseOne Ambassador! Which means if you're interested in learning more about PhaseOne products, hit me up (and I'll hook you up with the right people). 

CaptureOne Pro 8 was released this week at Photokina and boasts new features, faster performance, and additional camera compatibility. here's a code for 10% off: AMBROSLUND 

Don't say I never gave you anything.  

Skip The Lab: How To Mount And Frame Prints Yourself

Growing up in the family's studios and labs, I learned a thing or two about mounting and framing prints, and I also ruined a lot of them in the process. In this video, I'll demonstrate a version of my process so you can skip the lab and mount your own prints, fresh from your home or studio printer.We start by creating a blemish free print on our favorite inkjet paper. In the video, I'm using a 24" wide roll of Moab Lasal Exhibition Luster which is then coated with Moab's Desert Varnish spray. The spray provides a durable top coat to the prints, which prevent scratches or fading, and protect them from splashes, spit, or whatever else may hit your image. I normally apply three even coats and let it dry overnight.

Next we pick our substrate; I typically use Gatorboard instead of foamcore for anything larger than 11"x14" as it tends to stay flat and won't warp over time. One of the other issues with foamcore is that it dimples if it's handled wrong, and those dimples will show through in your print. I precut our piece based on the size of our print (we buy it in full 4'x8' sheets) and file the edges with a straight file to eliminate any burrs or rough areas. Before applying our pressure sensitive adhesive, I always clean the surface with a rag or brush, followed by high pressure air (either an air compressor or canned air). 

Now we roll out our pressure sensitive adhesive. As I mention in the video, not all are created equal. The cheaper ones tend to leave air pockets or lift over time, while the better quality stuff gives even, uniform, long lasting adhesion. Over the years I've tried most of them, and these days Neschen Gudy 831 is the only stuff I'll use. It's quite a bit more expensive than other brands, but it's hands-down the best stuff I've found. After rolling out the material to expose the tacky surface we carefully place the substrate, making sure to align the factory edges. If you screw this part up, the whole print will be crooked and you'll have to start over. Once we get our substrate positioned, we can trim the excess and separate it from the roll.

We can use a rubber brayer to apply pressure to the adhesive material, establishing a bond between the substrate and the adhesive. Don't worry if you see small air pockets or ripples at this point, as long as there aren't any creases, it'll work out fine when we remove the release paper and attach our print. I like the wider brayers over the smaller versions, especially when mounting larger prints.

Once we've got our adhesive on the substrate, we can use a straight edge and tear off about a 1"-2" strip of release paper, exposing the tacky surface of the adhesive. I usually avoid removing the entire piece of release paper at this point to prevent dust from sticking to our adhesive. It also helps position the print just right, since we only get one shot at this!

With an exposed edge, I line up my print with the edge of the substrate/adhesive and begin to apply pressure. Next we roll back the print to reveal the torn edge of the release paper and start to peel it back about 6" at a time. While using the brayer to apply pressure (activating the pressure sensitive adhesive) we slowly continue to peel back the release paper until the entire print is in contact with the adhesive. You may see minor air bubbles at this point, but with a few passes of the brayer, they'll slowly begin to disappear and you're left with a perfect lab quality mount.

After our print is mounted, we can fasten it in a frame using a point driver and framer's points. I usually place one point every 6"-10" around the frame. You can either attach a framing wire or other wall mount to hang the frame and I like to add little rubber bumpers to the bottom corners so it doesn't scratch the wall it's hung on.

Lastly, I glue one of my business cards to the back of the print so the client will always remember who made the piece and where they can reorder.

Essential Gear: The Photographer's Grip Kit

One of the most overlooked, yet most used items in a photographer's arsenal, is the grip kit. A grip kit isn't something most photographers set out to buy, build, or assemble, it's generally born from necessity. Over the years we find ourselves on jobs needing certain things that we don't have readily available and we end up improvising to get the job done. Usually we make a mental note of how we can be more prepared in the future, which often times leads to adding small "grip" items to our pack list. When we collect enough of these items, they typically make their way into some sort of crate, bag, or box also known as a grip kit.

I've tried lugging around heavy bags of miscellaneous grip equipment over the years (that's what assistants are for) and found that a 6 gallon milk crate works best for my needs. Keeping true to form, my assistant figured out a way to work smarter, not harder, and strapped the crate to a rolling cart. He thought it would be a good idea to share the contents of our precious grip cart with the rest of the world, so we put together this video going through the entire pack. While it's not the most riveting topic in the photography world, hopefully it'll give you guys some ideas on what to include with your kits before you head out on future shoots.

Here's a portion of our grip kit inventory/pack list:

  • Multi-Cart R12 - Collapsible, easily transportable cart that doubles as a tethered workstation on location.
  • Hard Hats - To protect your melon and prevent the transfer of head lice.
  • Diffusion/Black Fabrics - Basic rip-stop nylon from any fabric store used to cut the harshness of light or block it completely.
  • Justin Clamps - Spring clamps with a coldshoe mount, great for clipping speedlights to doors, shelves, etc.
  • Gaff Tape - The photographer's duct tape. Leaves no sticky residue, comes in many colors, and can MacGyver just about any problem.
  • Cinefoil - Black tinfoil. Used to shape or block light at the source. Reusable too!
  • Super Clamps - Add a second light to a stand, or just about anywhere by adding a 5/8 pin. Various accessories can be attached (see Magic Arm)
  • Traffic Cones - Establish a workspace or control traffic flow by placing cones around your perimeter.
  • Glass Cleaner - You'd be surprised how often I show up for an architectural gig and the windows are filthy.
  • Stainless Steel Cleaner - Get those stainless steel appliances nice and tidy!
  • Rags - For use with glass & stainless cleaner. Also good for cleaning up dusty areas, or wiping down equipment after a rain drizzle.
  • Screw Drivers - Sometimes you got to take down a decoration, tighten a light fixture, or do a little surgery on your own equipment in the field.
  • Tape Measure - I use it to measure hyper focal distance on location.
  • Crescent Wrench - Take down a sign, tighten up a stand, or defend yourself from attackers on location.
  • Wedge-It - Prop open doors to transport gear, or during a shoot. Florescent green ensures you never forget it when you leave!
  • Caution Tape - Cordon off an area to keep pedestrians from walking through your shot, or to keep cars from parking in unwanted areas.
  • A-Clamps - Also called Jed Clamps as in "Jed Clamp It", used to suspend diffusion material, modify wardrobe, or hold bounce cards in place.
  • Tri-Grip Reflector - I like the white/silver version for bouncing just a little light into a subject. Designed to be held in one hand, with camera in the other, or attached in place with a clamp.
  • Make-Up Powder/Brush - Get the HD powder found at most high-end makeup stores. The same stuff newscasters use on HDTV. Great for eliminating hot spots and shine on a person.
  • Magic Arm - Fully articulating arm that can be attached to a Super Clamp and place a light in hard-to-reach areas. I like the variable friction version.
  • Shoe Covers (Booties) - Grab these from the Doctor's office during your next physical. They're great for keeping floors clean on location.
  • 2-Way Radios - On-site communications between crew, especially when cell phone service is limited.
  • Puppet - A great ice breaker to get people laughing on set. Guaranteed to loosen up an otherwise rigid subject.
  • Bluetooth Speaker - A shoot just isn't the same without the Spice Girls.
  • Ratchet/Sockets - See Crescent Wrench above.
  • Work Gloves - Sometimes we got to do some heavy lifting or even move dirty equipment to get the shot (if you don't have gloves, an assistant or intern works well too).
  • Paper Towels - The quicker picker upper.
  • Batteries (various) - Pocket Wizards, Bluetooth Speakers, Speedlights, etc. Everything in the field runs on batteries.
  • Allen Wrenches - Some of our heads and stands have set screws that occasionally need adjustment.
  • Shout Stain Remover - Keep this in your kit for that one time when a client spills coffee on his tie just before a shoot.
  • Tampons - You'll be a hero if you're the only one on set who has them, and your model needs one. 

ASMP Promotional Ad

I was recently contacted by the ASMP (American Society of Media Photographers), a professional organization for photographers and digital artists of which I am a member, about using one of my food images for their national ad in various magazines. Here's the ad as it will appear in PDN this month:

September_PDN_Ad_Full_Page-LoRes.jpg

DIY Diffusion Panels For Less Than $30

As a product photographer, I use diffusion panels almost daily. I prefer the flexability and control I get from them over softboxes, and they're easy to store or pack flat for taking on location. Several companies have prefab "blades" intended for holding diffusion materials and fit nicely into grip heads/knuckles, but at nearly $100 a pop, buying several of them may not fit into everyone's budget. A friend showed me an easy way of making my own for a fraction of the cost, so I put together this video to show you the process.

Note: In the video I used a portion of Rosco #3008 diffusion material from a roll I had in the studio. This material is also available in pre-cut sheets for a few dollars each if you don't want to pony up for an entire roll.

Bulletproof Backup Strategies for Digital Photographers

As your photography archive grows, so does the need to handle and protect that data. What happens if your computer doesn’t boot, or an image file won’t open? What if your home or studio gets robbed, or worse, catches fire? What if your backup drive fails, or your laptop gets stolen? These are all questions I ask myself when planning my backup strategy.

I’m a photographer, not an IT professional. Everything in this article is from my own experience since I switched to digital in 2001. I use a Mac, so if you’re on a PC you may need to do a little research to find the equivalent to some of the steps I’m going to talk about here.

Bootable Backup

Many people think that if they use Mac OS X’s Time Machine to backup their computer they’re protected if a drive doesn’t boot. But Time Machine doesn’t make bootable backups. For backups to be restored from TM, you need to have a working OS. The solution is to create a bootable drive which would allow you to hold down Option+C during boot, select the external (bootable) drive as your start-up disk, and you’re up and running. There are several pieces of software (both PC & Mac) that will allow you to create bootable backup drives, but my favorite is Carbon Copy Cloner. Trying to resolve technical issues and restore operating systems with a client standing in your studio can be a stressful situation. By creating a bootable backup, you can get back in the game quickly and replace/restore your main drive when time allows.

Copy to second card during capture

Now that we have a solution to our bootable drive backup, we need to start thinking about protecting our images from the moment we create them. Most DSLR cameras these days have two card slots and will allow the user to setup how those slots are configured. While setting your camera to fill one card at a time so you don’t have to change cards as often may seem like a good idea, it doesn’t provide any protection of your data if something goes wrong. If you want to incorporate redundancy into your workflow, this is a good place to start. By setting up your camera to write both cards at the same time, you’re getting two copies of your data in case one card fails.

Shooting Tethered

When shooting tethered, you need to make sure your files are backed up while you’re shooting since you’re probably not writing to the memory cards. Once again, with an application like Carbon Copy Cloner, you can create “tasks” to automatically copy files, folders, or entire drives to a second location. I have modified my MacBook Pro with a DataDoubler from OtherWorldComputing allowing me to replace the internal optical drive with a second hard drive (or in my case a second SSD). I have created a task in CCC which automatically copies my “Tethered” folder from Drive A to Drive B every 30 minutes. This way if my main drive fails, I know I have a second copy on Drive B. Alternatively, if you don’t have the ability to replace your optical drive, you could just plug in an external drive and have CCC do the same thing.

Copy To Second Location on Import

Most cataloging apps, like Adobe Lightroom or Capture One, allow you to define a second location to store images during import. This way when you ingest images from your memory card, or during tethered capture, you can create a backup of your images automatically. Just don’t make the second location on the same drive as the original location.

Where To Store Files?

Although they can be stored on the local drive, storing your image files on a remote drive or networked drive is likely a better option. If you have large catalogs of images, you may need a RAID system in order to create a volume large enough to accommodate all your files. By getting them off the main hard drive of your computer, it will allow your computer run faster and enable you to setup a backup system that’s accessible from any computer and expandable to fit your needs.

Redundant Array of Independent Disks (RAID)

There are several variations of RAID available, but the four most common are:

  • RAID 0 = No redundancy (max size)
  • RAID 1 = Mirrored (50% total size)
  • RAID 5 = Spanned across multiple drives (60–80% of total capacity), 1 drive can fail
  • RAID 6 = Same as RAID 5 but 2 drives can fail

I won’t dive deep into RAID types in this article, there’s plenty of information around the internet to bring you up to speed on how it all works. I’ll leave that to the IT professionals, but the biggest advantages of RAID systems are their ability to survive limited hardware failure, and their virtually unlimited size.

3–2–1 Strategy

Now that we have our data on a dedicated external drive we need to think about how protected that data is. IT professionals have long promoted a 3–2–1 backup strategy for secure, redundant backup of your data, and it certainly applies here. 3 backups of your data, on 2 types of media, 1 of those off-site.

Putting It All Together

Hang on, this is where it gets complicated. You can probably store all your files on a single external storage device, whether that’s a 2TB drive, 4TB drive, or 24TB RAID system. Look at how much you shot in the last few years on average and figure out how big of a drive you need to store several years worth of data. Maybe you can fit it all on a single drive, maybe you need a massive RAID system. Either-way, that’s the main storage for your files, so this is where you want to spend your money. But remember that RAID systems only protect against hard drive failure. They don’t necessarily protect against file corruption/deletion. In order to do that you need to have a backup of your primary files. If you're thinking RAID 1 accomplishes that, not quite. RAID 1 is an exact mirror between drive A & B. The problem is that information is instantly copied from one drive to the other. If something goes wrong on Drive A, it also goes wrong on Drive B. We need to create an opportunity to restore corrupted data from the uncorrupted copy. This is where a second drive (whether it’s a single disk or a RAID system) comes into play. By using an automated application like Carbon Copy Cloner to make daily backups of your main drive, you’ll have a second drive to restore from in the event something goes nutty on the main drive.

Now we have 2 copies of our data (you still with me?). We need a third to complete the first part of our 3–2–1 backup strategy. We have a couple options here. For our third copy, we need to be on a second type of media (the “2” in our 3–2–1 strategy). In Ancient Greece they used CDs and DVDs for this, but in today’s digital photography world, those methods are slow and small. Not to mention that optical media fades over years. Instead of optical media, we can use “The Cloud”. Companies like Backblaze and Crashplan allow you to store unlimited amounts of data on their servers. It’s a great way to go and covers the "2 types of media" and "1 off-site" parts of our 3-2-1 strategy. There is a downside though, it’s slow to start and slow to recover from. This is where I cheat a little on our 3–2–1 strategy. In addition to creating my third media copy on a second type of media, I also use a third drive to take off-site. Confused? Let me break it down for you:

Drive A copies to Drive B every night at midnight. This gives me a full 24 hours to recover any corrupt or deleted files. Each week I bring in Drive C from off-site and replace Drive B (taking Drive B off-site). Guess what app I use to accomplish this? CarbonCopyCloner automatically runs a task to copy everything on Drive A to Drive B or Drive C when it’s reconnected … so all I have to do is unplug Drive B, plug in Drive C and it starts to copy anything that’s changed since the last backup. Can it get any easier?

Now I have a 4–2–1 backup strategy, even better!

The Gear I Use

I use three G-RAID Thunderbolt drives from G-Technology. I also use a G-Drive Mini as my Time Machine backup (keep in mind TM likes 2x size of your main drive, my main drive is a 240GB SSD). I also have LaCie Rugged drives (various sizes) which come in both HDD and SSD versions to create copies of our tethered folder in the field. Even though we have two copies on the dual internal drives, we want to be protected in case something happens to our laptop on the way back to the studio. This drive is stored/carried separately from the laptop by my assistant. The next piece of gear we purchase, that will make this a truly bulletproof backup, is a Network Attached Storage system that can automatically sync with a duplicate NAS system off-site. This will solve the issue of something happening to the two G-Raid drives in the studio and losing everything from the past week that hasn't been copied to the off-site rotating backup. We're reviewing a few models now and will update once we've made a decision and incorporated into our backup strategy.

A Few Closing Thoughts

Isn’t all this expensive? Sure, but isn’t losing all your data, or even data from one job (a wedding for example) more expensive? Buy good stuff, spend the money once, spend the money now. Don’t buy cheap stuff and have it fail, you might as well not do anything. Don’t establish a backup strategy AFTER you have a problem. I don't expect everyone to run out and buy a few thousand dollars worth of RAID drives, but hopefully I've given you the incentive to start thinking about how your data is protected. Good luck, and let me know in the comments if you have any questions.

 

First Day with the PhaseOne IQ

I had my first shoot with our new PhaseOne IQ medium format camera this morning . . . WOW! The detail this camera can capture is simply ridiculous.

Close up at 100% - straight out of camera.

Close up at 100% - straight out of camera.

As a product/food/architecture photographer, I don't do a lot of head shots these days. As a third-generation photographer, growing up in portrait studios, I learned how to create solid head shots. It's not necessarily where I wanted to start with this new PhaseOne system, but we put it through the paces none-the-less. With a big, bright viewfinder, focusing and composing an image is much easier than with my Nikon D800. One caveat is that if you miss the focus, it's real apparent. Below is a sample of the finished image.

Final image

Final image

Promo Mailer by Wonderful Machine

This week Wonderful Machine sent nearly 5000 creatives this piece promoting my work. We're looking forward to gaining more traction in the food/beverage industry as we continue to work with the various NW breweries, distilleries, and restaurants. If you're ready to refresh the look of your marketing materials or promote your brand through creative imagery, give us a call!

Fstoppers Workshops with Rob Grimm

RGG_Photo.jpg

Catch my friends Rob Grimm and Gary Martin over at RGG Photo as part of the Fstoppers workshops in the Bahamas this coming May. If you've ever wanted to get hands-on learning of how to create commercial images for the beverage industry, or get more technical with studio product lighting, this is a rare opportunity to learn from someone with decades of experience working with top ad agencies. If you missed the original airing of courses on CreativeLIVE, you can still catch them and get a good idea of the techniques and teaching style Rob will be expanding on in the Bahamas. There's more information on the Fstoppers Workshops below. I'll be there helping out the guys at RGG Photo between drinking cocktails and working on my tan. I hope to see you there!

This May, Rob Grimm will be teaching a hands on, highly specialized workshop in the Bahamas in conjunction with Fstoppers.com. We are teaching 1 workshop on creating commercial images for the beverage industry with a specialty in liquids and another highly technical workshop on studio product lighting. Both workshops will be hands on where you will become part of the crew, operating the cameras, working as a digital tech, creating the composition, and helping to guide the outcome of the photo shoot. Our goal for both workshops is to give you a practical expereince in a “mach advertising shoot.” What we shoot will also be up to the class. Rob and I will be bringing a variety of products and we will teach what the class wants to learn. We will also be providing in depth portfolio reviews after the event to help you create the best presentable portfolio in the commercial world. You will leave with a better understanding of how to sculpt light, using a variety of modifiers, shooting with medium format, DSLR’s, and a much better understanding on creating compelling compositions that sell products and build your clientele.
— Gary Martin | RGG Studio Manager

To find out more info on the workshop and prices please visit the course details here: http://fstoppersworkshops.com/rob-grimm/

2014 RGG Blog Post: http://robgrimmphoto.com/blog/fstoppersworkshops

Moab Adventure Sports | Seattle Commercial Photographer

While on vacation in Moab, UT back in March of this year, I passed by these climbers off the side of the road. They were locals getting a few climbs in before the tourist season started and things became much more populated. They call the road I was on “Wall Street” for obvious reasons.

Rock climbers in Moab, UT.

Rock climbers in Moab, UT.

Tony Roslund Photography
www.tonyroslund.com
Spokane - 509-995-6316
Seattle - 206-486-5857
Facebook | Twitter | Instagram | 500px

Represented by: Wonderful Machine

I’m proud to announce that I am now represented by Wonderful Machine. Joining the ranks of well known photographers such as Zack Arias, Rob Grimm, and many other talented shooters.

wonderful-machine.jpg

Wonderful Machine provides creatives with the most comprehensive source of high quality photographers doing all kinds of work, all over the world. We’re selective about the photographers we show, we list them only in locations where they actually live, and only in specialties in which they are highly proficient.

Learn more about Wonderful Machine here.

 

Pro Tip: File Naming Conventions

With all the software updates, new software, and various hardware storage solutions entering the market these days, it’s important to have a strategy for naming files so that you can import, move, and find them as you migrate or upgrade within these platforms. What happens if a file gets separated from the parent folder for whatever reason (accidental drag & drop for example)? Finding that file if you don’t remember the exact name could be a royal pain.

One thing that any system is going to be able to do is sort files and folders by name/title. Having a naming convention that is the same format for every job will make it easy to sort and find files/folders.

After years of trial and error, the convention I’ve settled on is as follows:

YRJOB_Subject_SEQ where YR = two digit year, JOB = three digit sequential job number, the subject is whatever I’m shooting, and finally a three digit sequential number for images within that job. For example 13001_McDonalds_001.NEF would be the first job in 2013, with the subject of McDonalds, and the first image in the shoot. 

Now if I need to, I can sort in ascending order, all the files in a folder or on a drive and they will automatically go in order first by year, then by subject title, and finally by shot number. If I need to find a particular image quickly, a client can either give me the job number (13001), the subject (McDonalds), or at the very least the year it was photographed. My sorted list of images would look something like this (with a lot more image numbers in each job):

12998_Smith_001
12998_Smith_002
12999_Jones_001
12999_Jones_002
13001_McDonalds_001
13001_McDonalds_002
13001_McDonalds_003
13002_Johnson_001
13002_Johnson_002
13003_McKinney_001
13003_McKinney_002
13003_McKinney_003

As a commercial photographer, I don’t do enough jobs to use up all 999 job numbers (13001-13999) in a year, but if you were a portrait and wedding photographer for example, you could just simply use a four digit job number, and four digit image numbers (130001-139999 and 0001-9999). Finding an image for the McDonalds wedding from 2013 would be pretty easy.

The subject portion of the name can be as detailed as you want, often times I will include the agency-client-model all within the subject.

Backup . . . or else.

I use several layers of redundancy. Basically, I capture tethred to the local SSD drive (via CaptureOne) which is mirrored up via Carbon Copy Cloner to a second internal SSD drive. When I'm in the studio, those drives are backed up via Time Machine (along with all my system files). Once I’m done shooting a job, I copy the entire CaptureOne session folder to an external drive called “STUDIO1”. This “STUDIO1” drive is now the master drive for all my images, so naturally I want to back it up.

I have another external drive called “STUDIO 2” which is the exact make, model, and size of “STUDIO1”. This does a mirror back up of “STUDIO1” every evening at midnight.

Each week I bring in a third external hard drive called “STUDIO 3” and swap it for “STUDIO 2” and take it home. This way if the studio is firebombed I only lose 7 days worth of work [at most]. At midnight the system will mirror copy STUDIO 1 to STUDIO 3 just like it had been doing all week for STUDIO 2.

Why not use RAID systems you ask? Well, they’re expensive first of all. Second, they only give protection against a drive failure, which I already have with my mirrored backups. What happens if you accidentally delete or corrupt a file on the RAID system? There’s no way to get it back! With my setup, I can just pull a file from STUDIO 2 and restore the file to STUDIO 1, never missing a beat. And since the automatic mirror backup doesn’t happen until midnight, I have all day to do it! (Even RAID 1 system won’t prevent this problem since drive 1 is mirrored to drive 2 instantly. If you screw something up on drive 1, you’ve just screwed it up on drive 2 as well.) Even if my main drive were to fail completely, all I have to do is start using the secondary drive like nothing happened. I’m not saying there isn’t a place for RAID systems, I have a Synology RAID server, but only it for archiving.

When I’m working on location, I carry a portable LaCie Rugged hard drive with me that we backup the laptop to whenever there’s downtime. We also make sure to backup the entire job on the ride home, just in case.

Not a Drobo fan. They write their drives with a proprietary file system. When/if the unit dies, you can’t just pull the drives and pop them in something else. You actually have to use a Drobo to access the data! Ouch!

Time Machine has saved my butt more than once. Last year we came back from a shoot and I connected to the network and “moved” files from the laptop to the server. Big mistake, I usually “copy” files and never move them, but I was tired and stupid. They got corrupted while moving across the network and ended up unreadable! Fortunately, Time Machine had done it’s thing as soon as I connected to the network and we were able to pull the original files back to the laptop and “copy” them to the server the right way.

I use Carbon Copy Cloner for my nightly backups.

I like G-Technology drives. I use both the G-Drive and G-Drive Mini units and I’ve never had one fail. Synology makes an outstanding RAID system.