Definitions
PPI = Pixels Per Inch
This is a clarity measurement used primarily with monitors. It's literally the number of linear pixels visible on a viewing screen. Digital camera file sizes are measured in pixel dimensions and megabytes of storage memory.
DPI = Dots Per Inch
This is a clarity measurement used primarily with home printers. It's literally how many dots of ink are placed along one linear line of paper.
LPI = Lines Per Inch
This is a clarity measurement used primarily with commercial presses. It's literally the number of etched lines packed into a single inch of a single printing screen (plate).
While ppi is roughly comparable to some printers' dpi if the display size is set to the correct proportion, lpi isn't. In essence, it's the difference between a tattoo and needing a tourniquet.
A tattoo is made of hundreds of tiny pin pricks on the skin. These can be seen as dots per inch.
A single full-page lpi can be seen as an 11.5-inch cut from a razor. Imagine what 275 of these razor cuts within one inch would do. Then, multiply these cuts times four for the four plate screens involved on a cyan/magenta/yellow/black (CMYK) press. Next, place these razor cuts at the correct degree angles (15C, 45M, 0Y, 75K) to ensure coverage.
Yup, you'd need a tourniquet or at least a skin graft. ;-}
Why do PJs need to know?
Working PJs need to know this information to adjust to the needs of different clients. For example, books and magazines are frequently printed at 275 lpi or higher while newspapers are more likely published around 85 lpi.
The required lpi is ultimately determined by paper quality and "dot gain" (ink bleed). Glossy (coated) paper has little dot gain and higher clarity. The ink on newsprint paper has serious dot gain and less clarity. When ink is absorbed in a wider circle by the paper, it needs a lower lpi to appear as a "full color" image.
These differences mean PJs may need to adjust their capture quality sizes. For most newspaper gigs, it's acceptable to capture .jpg images at fine quality, but medium size (roughly 3M). However, anything larger than 1M after a crop works.
For most magazine and book gigs, it's best to shoot RAW+.jpg at fine quality at the maximum file size (roughly 6M to 30M, depending on the camera). Most high-lpi publications seek images in a range higher than 5M (jpg).
Pixel measurements
Dots and pixels per inch are close measurement approximations, but they're not exactly the same. Furthermore, most dedicated computer monitors are set at resolutions of 72ppi (low-res Windows) or 163ppi (iPhones). While images may appear clear on some monitors, they won't necessarily reproduce well.
Most newspaper staffers use 200 ppi as a baseline measurement. However, for general PJ work, 400 ppi is a better working number.
Depending on the actual use of the image, these ppi measurements approximate how large or small an image could be used on the printed page.
For example images posted on this blog are set at 92ppi. At 92ppi, an average image may appear 3.565 inches tall or wide. However, at 400ppi, the same image is only 0.82 inches tall or wide.
The size will appear larger on a low-resolution monitor, and tiny on a high-resolution monitor. Nothing changes except the resolution of the viewing monitor.
Dot measurements
As stated above, dpi (dots per inch) is a measurement of most home computer printers. In casual conversation, it's often (incorrectly) used as a substitute for ppi.
Folks would like to imagine dpi is a universal "standard." It's not. Nobody could give a definitive answer for the size of a single dot because it varies between machines. It's deliberately vague.
It's safest to work in ppi when referring to images. A single pixel is made of red, green and blue light in combinations of millions of colors. A dot is just a single-colored dot.
Line measurements
Printers use LPI (lines per inch). This a far more detailed measurement because a million or even 10 million dots still don't technically fit into a solid line. Consequently, there is no real digital equivalent to press numbers. So, we use 400 ppi to approximate one lpi line because the dots become so small they appear to be a solid line.
Please understand the press reproduces every defect down to a single pixel, dot or snigglefritzel.
Book requirements
During the day, I'm a book Editor at a specialty publisher. At night and on weekends, I still shoot and write for newspapers and magazines.
The book publisher requires authors submit 1M (megabyte) .JPGs images for quarter-page placement. Full-page images must be 5M .JPGs to approximately fit on the page at the correct proportions. Other format images - such as .TIF or .EPS - should be much larger. To get the approximate proportions for layout, we divide the image dimensions by 400 (ppi) for an inch count. Then, measure the placement box.
For example, an image could be 2100 x 1575 pixels (683K). This means its maximum size is 5.25 x 3.9375 inches. It can’t be laid out to fit in a hole that is 11.25 x 8 inches because it's about half the size it should be. It’s too small.
To make the example image fit a full-page, the layout program (InDesign) would stretch and degrade (interpolate) the images. When we fit the image to fill the full-page hole, it's 161.904 percent at 300 ppi (the lowest acceptable setting for the press).
We can improve an image's resolution by sending the image through a software program to increase the file size with minimum degradation. The new file size would be 5.13Mb. If the original image had started as a 5.2Mb file, it would have been the correct size.
Artificially increasing file sizes
Most software is capable of increasing file sizes. If it can be avoided, DON'T ARTIFICIALLY INCREASE FILE SIZES. Most programs "invent" pixels between other pixels. This is called interpolation.
During interpolation, most software averages surrounding pixels and approximates a solid pixel of the average color. The average color between a red pixel and a blue pixel on a football uniform is magenta (bright pink). Magenta isn't exactly a "football color."
If required, let the publisher increase file sizes because they'll have special programs to accomplish this with minimal damage to the original image.
We use PhotoZoom Pro 3. It can be tweaked to increase resolution with minimal degradation of the original. It still degrades the image, but it's nowhere near as bad as "upsizing" through basic photo software.
While the software is helpful, it isn't as good as a full-size original because it artificially increased the file size. It still invented "stuff between stuff," but it does so better than other software programs.
If authors wanted to mail prints to our office, we can scan up to 9,600 ppi to ensure clarity. Otherwise, the software can handle minor "upsizes" if the images are clear.
However, if the image was already degraded (via previous artificial increases or other software manipulations) before we got it, the program simply enlarges all previous problems. The program can be set to fill pixel gaps and smooth lines, but this only degrades the actual image more.
In short, no program "improves" images by making them larger, artificial increases only degrade images. It's best to get the original capture medium (film, digital file, etc.) and work forward from there. Then, scan the original at the largest file size possible and run it in a location smaller than the actual file size.
Enough for now,
Showing posts with label work flow. Show all posts
Showing posts with label work flow. Show all posts
Friday, February 12, 2010
Sunday, December 02, 2007
Use Assignment Confirmations
Most of my freelance clients have worked with me enough where my assignment confirmations consist of an e-mail stating, "Got it."
To me, "got it" means I have the assignment and agree to the usual terms. To them, "got it" means I'll do my best, turn in the assignment before the deadline, acquire required releases, and everything else required to complete the assignment to their satisfaction and get paid.
I've been at this a while, so "got it" works for me and most of my clients. We "get it." Newer clients and student PJs stepping into the pro world might not.
This is when it's appropriate to use an official Assignment Confirmation form. Technically speaking, this form is the first step in a PJ's workflow.
What's an Assignment Confirmation form?
An Assignment Confirmation form is a contract. It essentially states a publication (or commercial client) has contracted the services of a PJ to provide images. It spells out the price, rights, deadlines and other responsibilities for both parties.
If there's going to be a misunderstanding, it's much better to identify it a few minutes after the initial phone call rather than when the invoice is due.
When to use this form
If an assignment is immediate (deadline) AND with a regular client, this step can be skipped. Shoot, transmit and invoice as usual.
Otherwise, pro PJs use this form with each new client. It's a good, professional habit to always send a form when an assignment is accepted (with both new and old clients).
For newer PJs, it also acts as a focusing device while talking to a new client. By filling out the form while the client is on the phone, the PJ gets the most out of the phone call. The client knows the PJ is a professional and also gets a contract to show a supervisor.
Customer service
One advantage of this form is a customer service technique. It lets the client know the PJ is a professional, cares about the assignment and wants to get the information correct. It also establishes the business-to-business atmosphere and may yield higher payment than "standard rate," which is almost always negotiable.
For example, we expect to answer some questions and give some information when we call a cable company to have the service installed. The people we talk to are customer service representatives.
Photo buyers expect the same customer service. If they don't get this service, they may not feel as comfortable about the PJ's ability to deliver the service. We want clients to feel confident in their decision when they conclude the call. The form helps focus the conversation and follows with a written version of the conversation.
Parts of the form
Address blocks
Take a look at a blank Assignment Confirmation form. Feel free to copy and paste it into a word processor document and modify as appropriate. This is a complete form. If parts aren't necessary for a specific gig, delete those parts. However, read the notes below before it's stripped down too much.
The first section is the PJ's contact block. It lists an address and every imaginable way to contact the PJ if something goes crazy.
The second section is the client's info block. It lists how we'll contact the client in an emergency and where the images and/or invoice will be sent.
Form content
The first content section is the actual contract. It states the PJ and client made a verbal commitment and set the terms as acceptable. It also states the details of the assignment as the PJ understands the assignment (cut and paste the assignment slug if the client sends an e-mail).
The second section establishes who's who. This keeps the form flexible enough to use with multiple clients.
Amounts
Now we get to the guts of the deal. The first information we need to know is how much we're getting paid for the gig.
On the blank form provided, all blanks contain (XXX). On the actual form I use, I have real minimum amounts in these locations. If the client doesn't meet the minimum prices, our conversation is over unless it's some subject I'm salivating to shoot. If their budget is too low, I may refer them to someone who accepts gigs for less money (if the offer is insulting, I may suggest they call a day labor service).
If PJs already know their cost of doing business and Day Rate, it makes life easier. Plug these numbers into the form. Next, get the client up to the minimum numbers (or keep the PJ's mouth shut when the client offers more than an acceptable rate).
Guarantee
A guarantee is the price a PJ will be paid if nothing gets published. This is what the PJ is paid to cover time and expenses. It's often called a "kill fee." This means if the assignment is killed for any reason, the guarantee will be paid. Otherwise, PJs get the full space rate, which should be a much higher amount.
Space rates
While most newspapers pay a flat rate for shoots, several magazines pay space rates. These are amounts a magazine has budgeted per image on each page of editorial space.
In other words, legitimate magazine publishers already know how many advertising and editorial pages they'll have. They budget an amount per cover and for each inside image. Then, they find stock images or make assignments. Often this happens eight to 10 months before the publication date.
If a magazine editor calls and doesn't know how much they pay for space rate, be concerned. It means the magazine probably won't exist when it's time to pay invoices or the publication doesn't hire pro PJs oftenand will probably choke when you give them a legitimate price.
What's a day?
A "day rate" is how much a PJ charges for services. There are two kinds of day rates: travel and work.
Travel is a lower rate than work because nothing is produced. However, image buyers must pay for the time it takes to put the PJ in location. Otherwise, the PJ loses income because they can't accept assignments while traveling to and from the location.
The work day rate is considered any part of a day where images are produced. This means PJs have the camera out and are producing publishable images, whether published or not. This also means the PJ is using privately-owned equipment and hard-earned skills. This costs the client more.
If PJs' travel rates are too low, they must make up the difference with their work day rate. If the work day rate is too low, the PJ will be out of business soon. This benefits nobody.
Additional fees
All legitimate fees incurred while shooting are passed along to the client. These aren't expenses PJs would have if they weren't on assignment. No PJ pays a hotel, rental car or restaurant meal if they stay home. Keep the receipts and pass them along to the client.
"On stock" items are bought in bulk. Not too many years ago, we all had bricks of film and 100-sheet boxes of paper in our freezers. We purchased film and paper in bulk to keep our stock standardized (predictable results).
Now, we buy spindles of CDs/DVDs. Some folks even make prints for clients and need to calculate the cost per piece (I'll get back to this one day).
These are legitimate costs to the client. They would pay full price if the PJ didn't have these items on hand. The PJ has tested these products and found them up to standard. So, the client pays full price to get a superior product. Any difference goes toward the PJ's research and development phase. The only difference is there are no receipts to give to the client. So, they must accept the PJ's invoice as the receipt.
Due date
Most PJ work is Net 30. This means the invoice payment is due within 30 days of the date the invoice is submitted. Almost all clients pay on or before the due date (see below). The rest go into collections.
The importance of this paragraph is the establishment of interest charges for delinquent accounts. I've had at least one incident where the interest charges equated to much more than image use price. I eventually got the total due, but I would've rather gotten the fair amount on time.
The "terms and conditions" clause is the delivery memo.
Copyright
The copyright clause clearly states the PJ is the sole owner of the copyright. It also clearly states the client is buying a license to use an image. This eliminates misunderstandings.
Uses
The next paragraph lists the licensed uses. The additional statement is a formality. However, it does clarify for the uninformed that images used for self-promotion must appear in context.
Embargo
An embargo is a designated amount of time a publication has to use an image without it appearing in other publications. Spot news typically has no embargo while assignments do.
This is why it's CRITICAL for new PJs to never accept ex-post facto (after the fact) "assignments" for spot news. Publications are simply trying to secure an exclusive and limit the PJ's potential income.
The dates set are a normal embargo for an assignment. I've had clients want up to eight months, but those clients paid sufficiently for the time.
Another important embargo issue involves understanding the agreement is void if the client doesn't pay on time. It's a contract. They're contractually bound to pay by the due date. If payment isn't received, the embargo is void.
Either way, they must still pay use or kill fees, but the PJ is no longer obliged by contract to honor the embargo if the PJ has another client. This motivates most clients to pay on time.
Safe return
This confirmation form is old school. The safe return clause applies primarily to prints and chromes. Back then, it was important to get these safely returned because it was expensive to replace these images.
Now, images are mostly digital. It's far more important to ensure the images aren't "accidentally" reused without payment. I retain this clause to have leverage if something unusual happens down the road.
Credit
PJ's don't advertise in a traditional sense. Instead, our credit line ("photo by") is our advertising mechanism. While we don't particularly want our name used as a graphical device to fill space on a page, we want potential clients to see our name.
As such, our credit line has value. Publishing our images without this credit line costs us potential income, and we need to get it back. This clause sets our value of our investment and how important our advertising investment is to us.
Libel protection
Almost all publications change cutlines. Each publication has their own style and no publication wishes to be redundant (cutlines cover much of the same information for a series of images).
This clause is the PJ's protection against being involved in a libel suit because someone on the copy desk decided to be "cute" with the caption.
We accept full responsibility for our cutlines as provided. If they're modified, the publication accepts responsibility.
Several publications try to shovel libel responsibility onto PJs. It won't hold up in court, but they try.
Model releases
We've already covered model releases. If it's an assignment, get them. If it's spot news, only sell to editorial publications or get releases before selling images. Remember to charge an adequate fee for acquiring these releases and pass along model compensation fees.
This clause clearly states the PJ provides the model release rather than a client-provided release. The client's release typically only indemnifies the client and leaves the PJ hanging. In rare egregious circumstances, it tries to assign copyright to the client. Whereas the PJ's release protects both parties and places the copyright duly with the PJ.
Courtesy close
Finally, the courtesy closure gives assurance the PJ is a professional and will work diligently to provide the best images possible in a timely manner.
Enough for now,
To me, "got it" means I have the assignment and agree to the usual terms. To them, "got it" means I'll do my best, turn in the assignment before the deadline, acquire required releases, and everything else required to complete the assignment to their satisfaction and get paid.
I've been at this a while, so "got it" works for me and most of my clients. We "get it." Newer clients and student PJs stepping into the pro world might not.
This is when it's appropriate to use an official Assignment Confirmation form. Technically speaking, this form is the first step in a PJ's workflow.
What's an Assignment Confirmation form?
An Assignment Confirmation form is a contract. It essentially states a publication (or commercial client) has contracted the services of a PJ to provide images. It spells out the price, rights, deadlines and other responsibilities for both parties.
If there's going to be a misunderstanding, it's much better to identify it a few minutes after the initial phone call rather than when the invoice is due.
When to use this form
If an assignment is immediate (deadline) AND with a regular client, this step can be skipped. Shoot, transmit and invoice as usual.
Otherwise, pro PJs use this form with each new client. It's a good, professional habit to always send a form when an assignment is accepted (with both new and old clients).
For newer PJs, it also acts as a focusing device while talking to a new client. By filling out the form while the client is on the phone, the PJ gets the most out of the phone call. The client knows the PJ is a professional and also gets a contract to show a supervisor.
Customer service
One advantage of this form is a customer service technique. It lets the client know the PJ is a professional, cares about the assignment and wants to get the information correct. It also establishes the business-to-business atmosphere and may yield higher payment than "standard rate," which is almost always negotiable.
For example, we expect to answer some questions and give some information when we call a cable company to have the service installed. The people we talk to are customer service representatives.
Photo buyers expect the same customer service. If they don't get this service, they may not feel as comfortable about the PJ's ability to deliver the service. We want clients to feel confident in their decision when they conclude the call. The form helps focus the conversation and follows with a written version of the conversation.
Parts of the form
Address blocks
Take a look at a blank Assignment Confirmation form. Feel free to copy and paste it into a word processor document and modify as appropriate. This is a complete form. If parts aren't necessary for a specific gig, delete those parts. However, read the notes below before it's stripped down too much.
The first section is the PJ's contact block. It lists an address and every imaginable way to contact the PJ if something goes crazy.
The second section is the client's info block. It lists how we'll contact the client in an emergency and where the images and/or invoice will be sent.
Form content
The first content section is the actual contract. It states the PJ and client made a verbal commitment and set the terms as acceptable. It also states the details of the assignment as the PJ understands the assignment (cut and paste the assignment slug if the client sends an e-mail).
The second section establishes who's who. This keeps the form flexible enough to use with multiple clients.
Amounts
Now we get to the guts of the deal. The first information we need to know is how much we're getting paid for the gig.
On the blank form provided, all blanks contain (XXX). On the actual form I use, I have real minimum amounts in these locations. If the client doesn't meet the minimum prices, our conversation is over unless it's some subject I'm salivating to shoot. If their budget is too low, I may refer them to someone who accepts gigs for less money (if the offer is insulting, I may suggest they call a day labor service).
If PJs already know their cost of doing business and Day Rate, it makes life easier. Plug these numbers into the form. Next, get the client up to the minimum numbers (or keep the PJ's mouth shut when the client offers more than an acceptable rate).
Guarantee
A guarantee is the price a PJ will be paid if nothing gets published. This is what the PJ is paid to cover time and expenses. It's often called a "kill fee." This means if the assignment is killed for any reason, the guarantee will be paid. Otherwise, PJs get the full space rate, which should be a much higher amount.
Space rates
While most newspapers pay a flat rate for shoots, several magazines pay space rates. These are amounts a magazine has budgeted per image on each page of editorial space.
In other words, legitimate magazine publishers already know how many advertising and editorial pages they'll have. They budget an amount per cover and for each inside image. Then, they find stock images or make assignments. Often this happens eight to 10 months before the publication date.
If a magazine editor calls and doesn't know how much they pay for space rate, be concerned. It means the magazine probably won't exist when it's time to pay invoices or the publication doesn't hire pro PJs often
What's a day?
A "day rate" is how much a PJ charges for services. There are two kinds of day rates: travel and work.
Travel is a lower rate than work because nothing is produced. However, image buyers must pay for the time it takes to put the PJ in location. Otherwise, the PJ loses income because they can't accept assignments while traveling to and from the location.
The work day rate is considered any part of a day where images are produced. This means PJs have the camera out and are producing publishable images, whether published or not. This also means the PJ is using privately-owned equipment and hard-earned skills. This costs the client more.
If PJs' travel rates are too low, they must make up the difference with their work day rate. If the work day rate is too low, the PJ will be out of business soon. This benefits nobody.
Additional fees
All legitimate fees incurred while shooting are passed along to the client. These aren't expenses PJs would have if they weren't on assignment. No PJ pays a hotel, rental car or restaurant meal if they stay home. Keep the receipts and pass them along to the client.
"On stock" items are bought in bulk. Not too many years ago, we all had bricks of film and 100-sheet boxes of paper in our freezers. We purchased film and paper in bulk to keep our stock standardized (predictable results).
Now, we buy spindles of CDs/DVDs. Some folks even make prints for clients and need to calculate the cost per piece (I'll get back to this one day).
These are legitimate costs to the client. They would pay full price if the PJ didn't have these items on hand. The PJ has tested these products and found them up to standard. So, the client pays full price to get a superior product. Any difference goes toward the PJ's research and development phase. The only difference is there are no receipts to give to the client. So, they must accept the PJ's invoice as the receipt.
Due date
Most PJ work is Net 30. This means the invoice payment is due within 30 days of the date the invoice is submitted. Almost all clients pay on or before the due date (see below). The rest go into collections.
The importance of this paragraph is the establishment of interest charges for delinquent accounts. I've had at least one incident where the interest charges equated to much more than image use price. I eventually got the total due, but I would've rather gotten the fair amount on time.
The "terms and conditions" clause is the delivery memo.
Copyright
The copyright clause clearly states the PJ is the sole owner of the copyright. It also clearly states the client is buying a license to use an image. This eliminates misunderstandings.
Uses
The next paragraph lists the licensed uses. The additional statement is a formality. However, it does clarify for the uninformed that images used for self-promotion must appear in context.
Embargo
An embargo is a designated amount of time a publication has to use an image without it appearing in other publications. Spot news typically has no embargo while assignments do.
This is why it's CRITICAL for new PJs to never accept ex-post facto (after the fact) "assignments" for spot news. Publications are simply trying to secure an exclusive and limit the PJ's potential income.
The dates set are a normal embargo for an assignment. I've had clients want up to eight months, but those clients paid sufficiently for the time.
Another important embargo issue involves understanding the agreement is void if the client doesn't pay on time. It's a contract. They're contractually bound to pay by the due date. If payment isn't received, the embargo is void.
Either way, they must still pay use or kill fees, but the PJ is no longer obliged by contract to honor the embargo if the PJ has another client. This motivates most clients to pay on time.
Safe return
This confirmation form is old school. The safe return clause applies primarily to prints and chromes. Back then, it was important to get these safely returned because it was expensive to replace these images.
Now, images are mostly digital. It's far more important to ensure the images aren't "accidentally" reused without payment. I retain this clause to have leverage if something unusual happens down the road.
Credit
PJ's don't advertise in a traditional sense. Instead, our credit line ("photo by") is our advertising mechanism. While we don't particularly want our name used as a graphical device to fill space on a page, we want potential clients to see our name.
As such, our credit line has value. Publishing our images without this credit line costs us potential income, and we need to get it back. This clause sets our value of our investment and how important our advertising investment is to us.
Libel protection
Almost all publications change cutlines. Each publication has their own style and no publication wishes to be redundant (cutlines cover much of the same information for a series of images).
This clause is the PJ's protection against being involved in a libel suit because someone on the copy desk decided to be "cute" with the caption.
We accept full responsibility for our cutlines as provided. If they're modified, the publication accepts responsibility.
Several publications try to shovel libel responsibility onto PJs. It won't hold up in court, but they try.
Model releases
We've already covered model releases. If it's an assignment, get them. If it's spot news, only sell to editorial publications or get releases before selling images. Remember to charge an adequate fee for acquiring these releases and pass along model compensation fees.
This clause clearly states the PJ provides the model release rather than a client-provided release. The client's release typically only indemnifies the client and leaves the PJ hanging. In rare egregious circumstances, it tries to assign copyright to the client. Whereas the PJ's release protects both parties and places the copyright duly with the PJ.
Courtesy close
Finally, the courtesy closure gives assurance the PJ is a professional and will work diligently to provide the best images possible in a timely manner.
Enough for now,
Tuesday, February 15, 2005
Get flash cards in order
In the film and photo vest days, it was easy to know if a roll was shot or not. If the film had a leader, it was fresh. If the leader was inside the canister, it was shot. The fresh film sat in one pocket, and the shot film went into a different pocket.
Because we were in darkrooms then, we established eyes-free ways to find and change film in total darkness. We also took extra precautions with exposed film to secure it. One lost 36-exposure roll could cause a week of restless nights – imagine what a missing flash card of 200 images would do.
With digital cameras it's still important to establish a foolproof way to keep flash cards orderly to avoid overwriting or damaging a card.
Use a card wallet to organize the flash cards. Mine is a Lowepro D-Res 4M Memory Card Wallet and it cost about $9. There are more and less fancy options.
Each flash card costs about $75. Most pro PJs travel with at least six cards. It's worth the cost to keep them organized and secure. A card wallet protects flash cards from dirt and impact damage as well as keeping them in a central location. One glance in the photobag for the wallet, and PJs can go to the car feeling secure. At the newsroom, grab the wallet and notepad and run inside to make deadline.
How to organize the wallet
The first item to place in the card wallet is a current business card. The business card is your only hope at getting the cards returned if the wallet is lost. Consider circling the cell phone number in red ink and writing “Reward if found” on the business card.
Next, place the flash cards into the wallet with the label facing outward. This is the PJ's code for fresh cards. As the cards are used, place them back into the wallet with the label facing inward in a specific order by assignment.
The inward-facing cards are shot, and PJs know which cards were used for each assignment by their location in the wallet. This could be critical on deadline assignments where every second counts.
Other wallet items
Many PJs also keep a card adapter inside the larger pocket. The adapter ensures the cards are read by laptops and most machines in the office.
Flash gels can be kept behind the adapter. They are folded into quarters so they don't get lost or damaged. If the main light source changes, open the wallet, get the appropriate gel, return the wallet to the bag and keep shooting.
Where to keep the wallet
Many PJs keep the card wallet in their shirt pocket. However, there's the chance of forgetting the wallet altogether when making a quick exit from the house.
A good location to place the wallet is inside the camera bag. It should be deep inside the bag rather than in an outside pocket. The point is to keep it in a location where it won't be easily dislodged. As an extra security, some PJs clip them on a lanyard to ensure the wallet doesn't escape.
When it's raining or there's a chance of getting wet, place the wallet in a high-quality, airtight freezer bag. It takes a second more to get to the cards, but it only takes a second to loose all the images forever.
Back-up plan
As a general rule, PJs use one card per camera per assignment. At the end of a stressful day, PJs could have up to 10 flash cards full of images. However, there will always be the one early morning call to cover a shooting or fire. The PJ might be too tired to check for the card wallet before leaving home.
For these instances, stash an extra high-capacity card somewhere in your car. Place it in a secure, airtight container in a seat pocket or glove compartment. Use it only in emergencies (otherwise it'll be at home with the rest in the card wallet). A small, keychain card holder with one or two high capacity cards accomplishes the same goal. However, the keychain version may get banged around more than practical.
If there's time after the shoot to retrieve the wallet, great. Otherwise, dump images onto the laptop while in route to the next assignment. Even though it's a pain, you'll be happy for the back-up.
Enough for now,
Because we were in darkrooms then, we established eyes-free ways to find and change film in total darkness. We also took extra precautions with exposed film to secure it. One lost 36-exposure roll could cause a week of restless nights – imagine what a missing flash card of 200 images would do.
With digital cameras it's still important to establish a foolproof way to keep flash cards orderly to avoid overwriting or damaging a card.
Use a card wallet to organize the flash cards. Mine is a Lowepro D-Res 4M Memory Card Wallet and it cost about $9. There are more and less fancy options.
Each flash card costs about $75. Most pro PJs travel with at least six cards. It's worth the cost to keep them organized and secure. A card wallet protects flash cards from dirt and impact damage as well as keeping them in a central location. One glance in the photobag for the wallet, and PJs can go to the car feeling secure. At the newsroom, grab the wallet and notepad and run inside to make deadline.
How to organize the wallet
The first item to place in the card wallet is a current business card. The business card is your only hope at getting the cards returned if the wallet is lost. Consider circling the cell phone number in red ink and writing “Reward if found” on the business card.
Next, place the flash cards into the wallet with the label facing outward. This is the PJ's code for fresh cards. As the cards are used, place them back into the wallet with the label facing inward in a specific order by assignment.
The inward-facing cards are shot, and PJs know which cards were used for each assignment by their location in the wallet. This could be critical on deadline assignments where every second counts.
Other wallet items
Many PJs also keep a card adapter inside the larger pocket. The adapter ensures the cards are read by laptops and most machines in the office.
Flash gels can be kept behind the adapter. They are folded into quarters so they don't get lost or damaged. If the main light source changes, open the wallet, get the appropriate gel, return the wallet to the bag and keep shooting.
Where to keep the wallet
Many PJs keep the card wallet in their shirt pocket. However, there's the chance of forgetting the wallet altogether when making a quick exit from the house.
A good location to place the wallet is inside the camera bag. It should be deep inside the bag rather than in an outside pocket. The point is to keep it in a location where it won't be easily dislodged. As an extra security, some PJs clip them on a lanyard to ensure the wallet doesn't escape.
When it's raining or there's a chance of getting wet, place the wallet in a high-quality, airtight freezer bag. It takes a second more to get to the cards, but it only takes a second to loose all the images forever.
Back-up plan
As a general rule, PJs use one card per camera per assignment. At the end of a stressful day, PJs could have up to 10 flash cards full of images. However, there will always be the one early morning call to cover a shooting or fire. The PJ might be too tired to check for the card wallet before leaving home.
For these instances, stash an extra high-capacity card somewhere in your car. Place it in a secure, airtight container in a seat pocket or glove compartment. Use it only in emergencies (otherwise it'll be at home with the rest in the card wallet). A small, keychain card holder with one or two high capacity cards accomplishes the same goal. However, the keychain version may get banged around more than practical.
If there's time after the shoot to retrieve the wallet, great. Otherwise, dump images onto the laptop while in route to the next assignment. Even though it's a pain, you'll be happy for the back-up.
Enough for now,
Monday, January 17, 2005
Set up a database
An archive of images isn't very useful by itself. PJs need some way to organize and quickly retrieve images from their library. A database is the final piece of a personal digital workflow.
What's a database?
A database is basically an electronic card catalog. It's a way to quickly store, sort and retrieve information. Most major software manufacturers offer different levels of database programs.
Large organizations use SCC MediaGrid to store and retrieve images and the text associated with them (cutlines and assignments). Individual PJs and smaller organizations use consumer database software programs.
Each database program differs slightly, but they all can be customized to fit most small business needs. For PJs, separate databases may be kept for the archive, assignments, clients, sales and many other uses.
Any large set of distinct information could be stored in a database. Modern databases also include mathematical functions to allow them to work as spreadsheets as well.
Types of databases
Any collection of static information can go into a database. PJs commonly use them to store and locate specific information. For PJs, databases can be broken down into two main types: past and future.
Past
Past databases are useful for storing confirmed information. Typically, a past database would contain an archive library, client lists, address books and such.
Future
Future databases are useful for planning and organizing. Typically a future database lists upcoming events or assignments. It can also detail marketing plans or images needed (for stock).
Depending on how the databases are arranged, information from the future database can easily import into the past database once time has passed or the assignments are complete.
Likewise, past information can be added to future databases to plan for regularly occurring events (weekly, monthly or annual meetings, holidays, or particular community functions). Most need adjustments for the next occurrence.
Database fields
Each field in a database is a package of specific information. A field may contain text, numbers or a combination of both. A database contains several fields for each separate entry.
As an example, an assignment is an entry and the fields would be such items as event, time, date, location, contact, etc... The collection of these entries makes the database.
A database can be viewed as either a form or a table. Form views allow the user to see all information contained within each field of a single entry. Table views allow the user to see multiple entries, but only display a portion of each field.
Table views are best for an initial search while form views are best for seeing detailed information about a specific shoot.
Archive or photo library
This is the single most useful database PJs could maintain. As part of the personal digital image workflow, PJs should make an entry into their archive database. This allows the PJ to quickly locate appropriate images at a later date.
The archive should contain useful information for PJs. Primary entry fields should include: date, event, contact, phone, location, client name, and library location. Additional fields could include: cutline names and notes, keywords, e-mail addresses, Web sites, notes, choice frames and more.
It's good to include useful keywords for future searches. In addition to "eagle," it might be good to include words like "bird of prey," "raptor" and "animal" in a personal archive database. However, the single word "bird" would not need to be repeated because it's already included in "bird of prey."
To avoid problems, use singular (as opposed to plural) keywords. Later, when performing a search, always search for the singular "fly" (the insect) rather than "flies."
Client lists
A separate database can function as an address book for client lists and potential clients. Entry fields might include: names, titles, phone numbers, addresses, billing addresses, pay rates, invoice numbers and other notes.
From personal experience, try to only include information in a client database once contact has been made with the client. It's very easy to make huge lists of potential clients. It's harder to contact the client and get a gig. PJs need gigs to pay the bills, not a list of names and phone numbers.
Planners
Planning databases could contain the same information as the archive database. However, it should also include specific times and other information to assist the PJ organize the day and complete all required steps before the event (credentials, travel plans, equipment rentals, etc...).
How to use the database
Everyone reading this information has used a search engine on the Internet. The database performs a similar sorting function. However, it only searches information previously entered or imported into the database. This is why it's important to enter complete and accurate information into each entry.
If clients request images of eagles, PJs search their archive databases for "eagle" and each occurrence is displayed. Each displayed entry should allow PJs to locate the CDs or film within their archive and transmit images rapidly to the client. Both the client and the PJ are well served by an accurate and up-to-date database.
Don't be redundant
Because it's simple to fill entire columns with information, some might be tempted to include semi-useful information. Balance the worth of the information against input and retrieval speed.
If PJs shoot different film formats on chrome, B&W and color negative as well as digital each day, this information might be useful. However, if the PJ hasn't shot anything but 35mm digital for the last 10 years, it's pointless to include a field for this information.
Don't waste time
PJs with obsessive personalities(i.e. most PJs) need to keep everything in perspective. No matter how complete and detailed the database is, it doesn't buy new equipment or put a dime in anyone's pocket. It's merely a way to store and locate information.
Instead of spending premium hours perfecting a database, use the time to make new images. Enter information into the database as time allows and tweak it later when there is no light or nothing happening. Like everything else in photography, the system refines with time and experience.
Enough for now,
What's a database?
A database is basically an electronic card catalog. It's a way to quickly store, sort and retrieve information. Most major software manufacturers offer different levels of database programs.
Large organizations use SCC MediaGrid to store and retrieve images and the text associated with them (cutlines and assignments). Individual PJs and smaller organizations use consumer database software programs.
Each database program differs slightly, but they all can be customized to fit most small business needs. For PJs, separate databases may be kept for the archive, assignments, clients, sales and many other uses.
Any large set of distinct information could be stored in a database. Modern databases also include mathematical functions to allow them to work as spreadsheets as well.
Types of databases
Any collection of static information can go into a database. PJs commonly use them to store and locate specific information. For PJs, databases can be broken down into two main types: past and future.
Past
Past databases are useful for storing confirmed information. Typically, a past database would contain an archive library, client lists, address books and such.
Future
Future databases are useful for planning and organizing. Typically a future database lists upcoming events or assignments. It can also detail marketing plans or images needed (for stock).
Depending on how the databases are arranged, information from the future database can easily import into the past database once time has passed or the assignments are complete.
Likewise, past information can be added to future databases to plan for regularly occurring events (weekly, monthly or annual meetings, holidays, or particular community functions). Most need adjustments for the next occurrence.
Database fields
Each field in a database is a package of specific information. A field may contain text, numbers or a combination of both. A database contains several fields for each separate entry.
As an example, an assignment is an entry and the fields would be such items as event, time, date, location, contact, etc... The collection of these entries makes the database.
A database can be viewed as either a form or a table. Form views allow the user to see all information contained within each field of a single entry. Table views allow the user to see multiple entries, but only display a portion of each field.
Table views are best for an initial search while form views are best for seeing detailed information about a specific shoot.
Archive or photo library
This is the single most useful database PJs could maintain. As part of the personal digital image workflow, PJs should make an entry into their archive database. This allows the PJ to quickly locate appropriate images at a later date.
The archive should contain useful information for PJs. Primary entry fields should include: date, event, contact, phone, location, client name, and library location. Additional fields could include: cutline names and notes, keywords, e-mail addresses, Web sites, notes, choice frames and more.
It's good to include useful keywords for future searches. In addition to "eagle," it might be good to include words like "bird of prey," "raptor" and "animal" in a personal archive database. However, the single word "bird" would not need to be repeated because it's already included in "bird of prey."
To avoid problems, use singular (as opposed to plural) keywords. Later, when performing a search, always search for the singular "fly" (the insect) rather than "flies."
Client lists
A separate database can function as an address book for client lists and potential clients. Entry fields might include: names, titles, phone numbers, addresses, billing addresses, pay rates, invoice numbers and other notes.
From personal experience, try to only include information in a client database once contact has been made with the client. It's very easy to make huge lists of potential clients. It's harder to contact the client and get a gig. PJs need gigs to pay the bills, not a list of names and phone numbers.
Planners
Planning databases could contain the same information as the archive database. However, it should also include specific times and other information to assist the PJ organize the day and complete all required steps before the event (credentials, travel plans, equipment rentals, etc...).
How to use the database
Everyone reading this information has used a search engine on the Internet. The database performs a similar sorting function. However, it only searches information previously entered or imported into the database. This is why it's important to enter complete and accurate information into each entry.
If clients request images of eagles, PJs search their archive databases for "eagle" and each occurrence is displayed. Each displayed entry should allow PJs to locate the CDs or film within their archive and transmit images rapidly to the client. Both the client and the PJ are well served by an accurate and up-to-date database.
Don't be redundant
Because it's simple to fill entire columns with information, some might be tempted to include semi-useful information. Balance the worth of the information against input and retrieval speed.
If PJs shoot different film formats on chrome, B&W and color negative as well as digital each day, this information might be useful. However, if the PJ hasn't shot anything but 35mm digital for the last 10 years, it's pointless to include a field for this information.
Don't waste time
PJs with obsessive personalities
Instead of spending premium hours perfecting a database, use the time to make new images. Enter information into the database as time allows and tweak it later when there is no light or nothing happening. Like everything else in photography, the system refines with time and experience.
Enough for now,
Saturday, January 15, 2005
Create a personal digital workflow
We've already discussed How professional digital work flows. We discovered a professional workflow uses several powerful software programs to give PJs and image administrators control over images on a primarily Mac platform.
Frequently, the individual PJ doesn't have the resources to purchase all these software programs or the hardware to support them. This entry is geared toward PJs who need to accomplish many of the same initial steps without the overhead expenses and with a standard personal computer (PC).
This is a long post because all of these steps are required for each set of images. Consequently, there's no way to break it down to reasonable bites. The example below uses one flash card with a single reader.
Equipment
PJs with personal PCs are expected to have the following minimum core elements: a computer (PC or Mac), a monitor, one or more card readers, a CD writer and a full version of Adobe Photoshop.
Calibration
Calibration is important. I'll need to completely expand on this one day. For now, PJs can calibrate their home monitor to images at NPPA (they removed the contest calibration image). Open the image and adjust the monitor settings until the test image appears as expected.
In short, there is no "industry standard" because each system is calibrated backward from a particular press. However, this test image is the standard for international competition and is fine for most PC users. Once calibrated, monitors should display acceptable brightness, contrast and color balance for use on the PJ's personal system or the Web.
If the test image appears washed out or extremely dark even after all adjustments have been made, it might be time to have the monitor checked or get a new one.
Check supplies
Before PJs start into the home workflow, they need to verify they have all image cards, any assignment forms and cutline information. If something is missing, get it before starting.
The first few steps are difficult and mistakes can add expense (CDs and time) if PJs aren't adequately prepared.
Create work folders
Work folders should help PJs organize their files. For this example, we'll assume all images were shot on one date at one location or (at least) under one manageable theme. If multiple subjects are recorded onto one card, the PJ should consider creating a folder for each distinct subject. It'll make sense in a moment as to why.
Create a folder on the computer desktop for the images on the card. Title the folder with a date and a one-word slug. For sorting and archive purposes, it's best to format the folder name as YYYYMMDD-slug (for example: 20050115-Birds).
Copy
In all cases, the point of the first step is to back-up the images from the flashcard onto a second (hopefully stable) platform. As long as two copies of the images exist, PJs can begin to breathe easier.
Place the card into a card reader. Copy images directly into the desktop folder. Once all images are copied, remove the flash card from the reader to avoid permanent mistakes. Secure the card in a card wallet.
Infuse
Without sophisticated ingestion programs, PJs must work through Photoshop to infuse information into the images. The infused information allows PJs to quickly prepare images for resale or presentation. Although I don't personally know of a way to search the Web for imbedded file attributes, I'm sure someone knows how or is working on a way to recover this information. This ability will mean a secure income for PJs of the future if their images are imbedded with proper copyright notices.
This process looks difficult at first glance, but becomes second nature over time. It also saves countless hours of digging through shoeboxes of crumpled papers for cutline information.
Set attributes
Open any of the image files. Open the File Info dialog box. Complete the sections labeled: Author, Caption, Caption Writer, Copyright Status, Copyright Notice, Owner URL, Date Created, City, State/Province and Country.
Different versions of Photoshop locate these boxes in different order under "Section." Include a stable e-mail address or phone number in the Credit box. Additional keywords can be added to the keyword section if desired.
Make the caption (cutline) as specific as possible in general information (day, date, place), but leave some wiggle room for variances. Because these files are probably personal property and copyright, consider taking the time to include all possible names, notes and phone numbers into the caption field. Again, it's virtually impossible to include too much searchable information into your own archive system.
Once all the boxes are complete, Save the File Info. A dialog box requests a location and name. Use the slug word for the name and save it inside the desktop folder with the images. Hit OK. Close the image file, you don't need to save the image file now.
Automate attributes
Next, we'll automate the attributes to infuse all with the same information. Open any image file. Open Actions from the Window menu in Photoshop. If the Actions are in button mode, change to record mode. From Actions, select New Action. Name the new action "Attributes" or "Cutlines"or "Bob" if you want to be a smartypants. The program will add .XMP to the file name. Hit Record.
Open the File Info dialog box. Hit Load. When the caution box opens, it's OK to overwrite existing information (i.e. add info to blank info). Choose the (*.XMP) file you saved a moment ago. Hit OK. Select Save, select Close. Hit the Stop Recording button on the Actions box.
From the Photoshop menu, choose "File, Automate, Batch..." Choose the correct Source Folder (the current image folder on the desktop) and choose "Folder" for the destination folder. Make sure the "Attributes" (or whatever you named it) Action is selected. Hit OK and your computer starts freaking out (it's supposed to do so).
The batch file opens each file individually, applies the attributes, saves and closes the file for the entire folder. Once the process is done, open any image file and check the File Info to certify the attributes are now imbedded.
Cut CD
The CD is the de facto archive. At this point, the PJ should have the original digital files safely on the original card as well as a copy of the images infused with attributes. Cut a CD of the infused copy images.
Common CD burning programs are Toast (Mac) and Easy Media Creator (PC), both by Roxio.
Check the CD to ensure images are located and accessible on the CD. If so, remove the burned CD, use a bold permanent marker and mark it with assignment number (if applies), date, PJ's name and content keywords (i.e. East vs. West boys soccer, tanker explosion, etc...). Place the CD in a protective sleeve or case and store it in the permanent archive.
Now change the music from Enya to AC/DC because your are covered baby. :-)
Additional steps
If time allows, PJs should update their archive database and may choose to create and run additional batch commands to prepare images for use or edit images from the copy file on the desktop. Prepare the images and write specific cutlines for edited images. If something goes wrong, start again from the secure CD.
Enough for now,
Frequently, the individual PJ doesn't have the resources to purchase all these software programs or the hardware to support them. This entry is geared toward PJs who need to accomplish many of the same initial steps without the overhead expenses and with a standard personal computer (PC).
This is a long post because all of these steps are required for each set of images. Consequently, there's no way to break it down to reasonable bites. The example below uses one flash card with a single reader.
Equipment
PJs with personal PCs are expected to have the following minimum core elements: a computer (PC or Mac), a monitor, one or more card readers, a CD writer and a full version of Adobe Photoshop.
Calibration
Calibration is important. I'll need to completely expand on this one day. For now, PJs can calibrate their home monitor to images at NPPA (they removed the contest calibration image). Open the image and adjust the monitor settings until the test image appears as expected.
In short, there is no "industry standard" because each system is calibrated backward from a particular press. However, this test image is the standard for international competition and is fine for most PC users. Once calibrated, monitors should display acceptable brightness, contrast and color balance for use on the PJ's personal system or the Web.
If the test image appears washed out or extremely dark even after all adjustments have been made, it might be time to have the monitor checked or get a new one.
Check supplies
Before PJs start into the home workflow, they need to verify they have all image cards, any assignment forms and cutline information. If something is missing, get it before starting.
The first few steps are difficult and mistakes can add expense (CDs and time) if PJs aren't adequately prepared.
Create work folders
Work folders should help PJs organize their files. For this example, we'll assume all images were shot on one date at one location or (at least) under one manageable theme. If multiple subjects are recorded onto one card, the PJ should consider creating a folder for each distinct subject. It'll make sense in a moment as to why.
Create a folder on the computer desktop for the images on the card. Title the folder with a date and a one-word slug. For sorting and archive purposes, it's best to format the folder name as YYYYMMDD-slug (for example: 20050115-Birds).
Copy
In all cases, the point of the first step is to back-up the images from the flashcard onto a second (hopefully stable) platform. As long as two copies of the images exist, PJs can begin to breathe easier.
Place the card into a card reader. Copy images directly into the desktop folder. Once all images are copied, remove the flash card from the reader to avoid permanent mistakes. Secure the card in a card wallet.
Infuse
Without sophisticated ingestion programs, PJs must work through Photoshop to infuse information into the images. The infused information allows PJs to quickly prepare images for resale or presentation. Although I don't personally know of a way to search the Web for imbedded file attributes, I'm sure someone knows how or is working on a way to recover this information. This ability will mean a secure income for PJs of the future if their images are imbedded with proper copyright notices.
This process looks difficult at first glance, but becomes second nature over time. It also saves countless hours of digging through shoeboxes of crumpled papers for cutline information.
Set attributes
Open any of the image files. Open the File Info dialog box. Complete the sections labeled: Author, Caption, Caption Writer, Copyright Status, Copyright Notice, Owner URL, Date Created, City, State/Province and Country.
Different versions of Photoshop locate these boxes in different order under "Section." Include a stable e-mail address or phone number in the Credit box. Additional keywords can be added to the keyword section if desired.
Make the caption (cutline) as specific as possible in general information (day, date, place), but leave some wiggle room for variances. Because these files are probably personal property and copyright, consider taking the time to include all possible names, notes and phone numbers into the caption field. Again, it's virtually impossible to include too much searchable information into your own archive system.
Once all the boxes are complete, Save the File Info. A dialog box requests a location and name. Use the slug word for the name and save it inside the desktop folder with the images. Hit OK. Close the image file, you don't need to save the image file now.
Automate attributes
Next, we'll automate the attributes to infuse all with the same information. Open any image file. Open Actions from the Window menu in Photoshop. If the Actions are in button mode, change to record mode. From Actions, select New Action. Name the new action "Attributes" or "Cutlines"
Open the File Info dialog box. Hit Load. When the caution box opens, it's OK to overwrite existing information (i.e. add info to blank info). Choose the (*.XMP) file you saved a moment ago. Hit OK. Select Save, select Close. Hit the Stop Recording button on the Actions box.
From the Photoshop menu, choose "File, Automate, Batch..." Choose the correct Source Folder (the current image folder on the desktop) and choose "Folder" for the destination folder. Make sure the "Attributes" (or whatever you named it) Action is selected. Hit OK and your computer starts freaking out (it's supposed to do so).
The batch file opens each file individually, applies the attributes, saves and closes the file for the entire folder. Once the process is done, open any image file and check the File Info to certify the attributes are now imbedded.
Cut CD
The CD is the de facto archive. At this point, the PJ should have the original digital files safely on the original card as well as a copy of the images infused with attributes. Cut a CD of the infused copy images.
Common CD burning programs are Toast (Mac) and Easy Media Creator (PC), both by Roxio.
Check the CD to ensure images are located and accessible on the CD. If so, remove the burned CD, use a bold permanent marker and mark it with assignment number (if applies), date, PJ's name and content keywords (i.e. East vs. West boys soccer, tanker explosion, etc...). Place the CD in a protective sleeve or case and store it in the permanent archive.
Now change the music from Enya to AC/DC because your are covered baby. :-)
Additional steps
If time allows, PJs should update their archive database and may choose to create and run additional batch commands to prepare images for use or edit images from the copy file on the desktop. Prepare the images and write specific cutlines for edited images. If something goes wrong, start again from the secure CD.
Enough for now,
Sunday, January 09, 2005
How professional digital work flows
Apparently digital workflow is a big issue to some folks. For most PJs it's only a minor part of the job. It has a specific rote pattern. However, it must be followed semi-exactly, like processing film or making a print. This entry is geared toward folks who haven't been in a professional scanning room (the modern equivalent of a darkroom). We'll discuss personal digital workflow in a different entry.
This is a long post because all of these steps are required for each assignment. Consequently, there's no way to break it down to reasonable bites. The example below uses one assignment. For non-immediate deadline assignments, repeat each step for each assignment before moving to the next step while processing multiple assignments.
I doubt any two scanning rooms around the world are exactly alike. Different organizations use different software and hardware. It's important for freelancers to rapidly adjust to whatever situation they face at different locations. It's also important to know what steps each organization uses and allow time for these processes.
Scanning stations
In a large scanning room there can be 20 or more scanning stations. Each station is configured slightly different depending on when equipment was last replaced. Obviously, it's best to use the most powerful computer with the biggest screen and the fastest CD writer. However, other issues ultimately determine which stations different PJs prefer.
Equipment
Most digital scanning stations have the same core elements: a computer (normally a Mac), a large-screen monitor, one or more card readers (internal or external), a CD writer, a negative scanner, a small articulated desk lamp, a phone, an adjustable desk, an adjustable chair and normally a dictionary within reach. Often phone and style books are located in one central location for the entire scanning room.
The station is normally connected to the local area network (LAN) for access to the central server, the Internet and printers. Some scanning rooms and LANs may be wireless and require PJs to transmit from office desks via laptop Airport connections.
Personal preferences
Sometimes the combination of equipment isn't calibrated exactly to the press or has some strange quirk which might slow the PJ down. Over time, PJs adjust to a set of stations they find acceptable to their shooting style, work patterns and eyesight (color balance and brightness). Each PJ gravitates toward certain machines as a result and the scanning room has a certain chaotic calmness.
Honestly, it's better to work on a slightly slower computer PJs know than a new computer with new problems to overcome. By all means learn the new computer when there's time, but don't blow deadline because the Wiz-Bang 10,000 is available and you always wanted to try it. Knock out the work first and then tinker.
As an example, the most powerful computer in the newsroom at my university required the user to occasionally remove the case and bang on the hard drive with a metal scissors handle. This isn't something someone needs to learn with 10 minutes until deadline.
Check supplies
Depending on the scanning room and how close to major deadlines PJs arrive, station time is limited. Before PJs start into the workflow, they need to verify they have all image cards, assignment forms and cutline information. If something is missing, get it before starting.
Often, it's a matter of going to the car to get what the PJ forgot to bring into the office. Sometimes, it requires a call to verify information. It's best to make calls before starting the process so everything is resolved simultaneously rather than waiting for a call back as deadline approaches.
Ingest
In all cases, the point of the first step is to back-up the images from the flashcard onto a second (hopefully stable) platform. As long as two copies of the images exist, PJs can begin to breathe easier.
Place the card into a reader (an adapter may be required). Many organizations use Photo Mechanic, for the initial sequences. Smaller organizations may immediately cut CDs or even copy images directly onto the hard drive of a single computer.
With Photo Mechanic, PJs are required to complete a template of information before the images are ingested and stored onto the hard drive. PJs write a generic cutline which applies to all images on the card. They also fill out fields for locations, assignment numbers, slug lines, PJ's name, assigning departments and so forth. Double check all information for accuracy before ingesting. If something is wrong, it takes twice as long to fix it later.
Specifically notate any changes from the assignment at the bottom of the cutline field with a triple-asterisk lead (***). This is normally considered notes to the editor for review and confirmation. For example: *** Subject's name is Marri with two "r"s and an "i." She's from Detroit not Seattle.
Upon the command to ingest, all information is imbedded (copied into) the file for each image as the images are copied and stored on the hard drive of the ingesting computer.
The ingestion process takes a few minutes. Once complete, remove the flashcard and place it in a safe location (card wallet).
Cut CD
Many large systems don't require CDs anymore due to more efficient, redundant backup measures elsewhere in the workflow. For smaller organizations, the CD becomes the de facto archive. For freelancers, it's always important to cut a CD for personal archives.
Common CD burning programs are Toast (Mac) and Easy Media Creator (PC), both by Roxio.
This step can be moved further down the workflow for tight deadline assignments. However, it's best to have the CD at this point in the workflow. Something could happen to the network, computer or electrical system and CDs are the singular multi-platform copy of the images.
Remove the burned CD, use a bold permanent marker and label it with assignment number, date, PJ's name and content keywords (i.e. East vs. West boys soccer, tanker explosion, etc...). Place the CD in a protective sleeve or case and set aside.
Transfer
In this step, images are transferred from the computer hard drive to a central server of a high-capacity archive system. Unless the organization routinely deals with thousands of images each day, this step may not be incorporated into the workflow.
On really high-tech systems, a copy of the actual photo assignment is automatically imbedded into the file via the assignment number (as noted above).
Once the images are successfully transferred, they can be accessed in real time by anyone on the appropriate LAN (typically via SCC MediaGrid) by assignment number or any key word(s) within the cutline or photo assignment.
This process takes several minutes and may take even longer depending on image traffic. It's best to have this process work in the background while the next workflow step is completed using images on the local hard drive.
Polling software
Particularly busy systems may have polling software on the server. Polling software programs evenly distribute images into multiple folders from multiple users. The purpose is to avoid informational blockages and log jams.
PJs drag-and-drop or select images from one folder and place it into the polling software. The software then distributes it to 30 or more subfolders. The server thenemploys a well-trained chicken selects images to copy onto the main server from these sub-folders. If one image has a fatal error, only one folder blocks up rather than all. The main advantage of this system is the speed at which PJs can begin to see their images on the main system rather than being trapped behind every PJ in order of transfer.
Smart Copy
A common server polling software is Smart Copy. Personally, I don't like Smart Copy and bypass it every time. Instead, I drop images directly into the distributing folder of the program.
Depending on how the Smart Copy preferences are set on each scanning station, the program may completely delete all images if it's allowed control. This isn't as big a problem to Canon shooters as it is to Nikon shooters. The way Smart Copy dumps and deletes sub-folders can eliminate a Nikon shoot if the flatten folders box is left unchecked. The images vanish forever.
Pre-Edit
While images are copying to the server in the background, switch back to Photo Mechanic and open the folder as a contact sheet. If pre-editing in MediaGrid, skip the next sub-section, but understand it takes several minutes to load images into the grid and images caught in the system won't be visible.
Photo Mechanic
Here's another personal preference point. If you're a low-volume shooter (less than 100) and not on deadline, select all and view each image at a higher resolution in preview mode to select the absolute best images. If you're a high-volume shooter (300+) on deadline, you'll need to hold down the shift key and select potential images from the contact sheet view. Then view the selected images at the higher resolution.
Go through the selected images and checkmark those worth a second pass. Go back to contact sheet view. Hit Apple & "T" and Photo Mechanic highlights the checked frames.
Get a pen and, on the back of the assignment, write down each frame number along with a quality code as you make the second pass in preview mode. My quality code is blank for "meets the basic requirements," I use a "+" to set a crop mark, "++" to set a crop mark and frame marker, "+++" as best (crop and mark).
If one jumps out as amazing, I'll only use a "++" on the first pass, otherwise the frames are blank or "+." Then I do a quick second pass of the "+" images to see which are worth publication. I add one plus to the outstanding images and select the "best" image from this pass.
MediaGrid
Open the appropriate MediaGrid folder where unedited images are stored. Most should be loaded by this point.
If PJs don't use Photo Mechanic, they can perform similar initial steps as above in MediaGrid. However, image resolution won't be as good in the preview screen and might lead to a soft image for the final selection. Additionally, PJs often won't know if images are missing (caught in the system).
If PJs used Photo Mechanic, open MediaGrid and locate the specific assignment (via verity search). Using the list on the back of the assignment, crop and mark images as noted on the back of the assignment.
Desk Edit
Take the assignment form to the photo desk and retrieve the assignment. Select your "best" first, then marked images and finally cropped (unmarked) and pull them up in preview mode (4x4 is good for comparison).
A photo editor looks at the assignment instructions and asks about the assignment. This is when PJs can present quick suggestions about which image is best for the story and why.
The editor then looks through the selected images and notes some images for approval. If the editor is satisfied, s/he copies some into the selected folder. If not, or if the editor has time, s/he looks through the raw take to see if any nice images were overlooked.
Occasionally, the editor gives some feedback about technique, composition or subject matter for future use. Remember, this is only a critique on the images presented.Otherwise, assume you’re worthless and hang your head in shame... or weep uncontrollably. Both have the same results. ;-)
Image preparation
Go back to the scanning room (hopefully nobody took your station or changed the stereo) prepare the images and write cutlines using Photoshop and the SpellTools plug-in. Export the images into the main MediaGrid folder.
Print and check
Make a format print of each image (image with cutline). Take it to the light and look at the image for image problems (color balance, hot spots, etc...) if any. Carefully read the cutline for any errors in each data field. Double-check spellings of each proper noun. Make changes and reprint if necessary.
Desk verification and delivery
Take the absolutely correct prints (about one to four per assignment) to the photo desk. Give the prints to the photo editor. The editor looks at the print with a pen in hand. This is your signal to read out the spellings of each proper noun (in order) on the print in hand. We'll skip what happens if there is an error at this point (hint: it's really bad).
As each print is approved, the photo editor signs their initials on the print. Then, depending on the images' sections, the editor either keeps or hands the prints back to the PJ. Those handed back need to be filed in the local section drawer or elsewhere the building (Lifestyles, Business, Sports, etc...).
Archive
Once prints are delivered, go back to the scanning room and fold (trifold, then in half) the assignment and all cutline information. Place this information in the sleeve with the CD.
At very large papers, this step is skipped by staffers because all the cutline information was shot by the PJ at the end of the shoot, and all images are streamed onto a digital platter jukebox in one or more other locations.
At smaller publications, file the CD in the archive drawers by assignment or archive number.
Depending on the contract, freelancers keep the CD and cutline information for their own files or make an additional copy of the CD and cutline info for the archive.
Breaking news
When PJs arrive "hot," most of the steps above may be completely skipped. If it's really hot, the PJ shows the raw take to the photo editor directly from the flashcard. The editor pulls up one or two images in Photoshop, the PJ corrects and writes cutlines on the spot. Format print the images. The editor verifies, and it's sent to layout.
Total time allowed: less than five minutes.
Then, follow most of the steps above to include all images properly in the archive.
Conclusion
Since it's contest season, the speed at which contest judges make decisions is appropriate after we understand the speed at which digital workflow of images takes place in the newsroom.
Typically everything listed above transpires in less than 30 minutes for a single assignment (about two to four images) or less than an hour for about three assignments (about eight to 12 images).
It also begins to show how busy the desk can become when there are more than 30 PJs reporting to a single location while editors from all other sections of the newspaper and outside sources (wires, etc.) are requesting images from the desk.
Enough for now,
Please also see Create a personal digital workflow
This is a long post because all of these steps are required for each assignment. Consequently, there's no way to break it down to reasonable bites. The example below uses one assignment. For non-immediate deadline assignments, repeat each step for each assignment before moving to the next step while processing multiple assignments.
I doubt any two scanning rooms around the world are exactly alike. Different organizations use different software and hardware. It's important for freelancers to rapidly adjust to whatever situation they face at different locations. It's also important to know what steps each organization uses and allow time for these processes.
Scanning stations
In a large scanning room there can be 20 or more scanning stations. Each station is configured slightly different depending on when equipment was last replaced. Obviously, it's best to use the most powerful computer with the biggest screen and the fastest CD writer. However, other issues ultimately determine which stations different PJs prefer.
Equipment
Most digital scanning stations have the same core elements: a computer (normally a Mac), a large-screen monitor, one or more card readers (internal or external), a CD writer, a negative scanner, a small articulated desk lamp, a phone, an adjustable desk, an adjustable chair and normally a dictionary within reach. Often phone and style books are located in one central location for the entire scanning room.
The station is normally connected to the local area network (LAN) for access to the central server, the Internet and printers. Some scanning rooms and LANs may be wireless and require PJs to transmit from office desks via laptop Airport connections.
Personal preferences
Sometimes the combination of equipment isn't calibrated exactly to the press or has some strange quirk which might slow the PJ down. Over time, PJs adjust to a set of stations they find acceptable to their shooting style, work patterns and eyesight (color balance and brightness). Each PJ gravitates toward certain machines as a result and the scanning room has a certain chaotic calmness.
Honestly, it's better to work on a slightly slower computer PJs know than a new computer with new problems to overcome. By all means learn the new computer when there's time, but don't blow deadline because the Wiz-Bang 10,000 is available and you always wanted to try it. Knock out the work first and then tinker.
As an example, the most powerful computer in the newsroom at my university required the user to occasionally remove the case and bang on the hard drive with a metal scissors handle. This isn't something someone needs to learn with 10 minutes until deadline.
Check supplies
Depending on the scanning room and how close to major deadlines PJs arrive, station time is limited. Before PJs start into the workflow, they need to verify they have all image cards, assignment forms and cutline information. If something is missing, get it before starting.
Often, it's a matter of going to the car to get what the PJ forgot to bring into the office. Sometimes, it requires a call to verify information. It's best to make calls before starting the process so everything is resolved simultaneously rather than waiting for a call back as deadline approaches.
Ingest
In all cases, the point of the first step is to back-up the images from the flashcard onto a second (hopefully stable) platform. As long as two copies of the images exist, PJs can begin to breathe easier.
Place the card into a reader (an adapter may be required). Many organizations use Photo Mechanic, for the initial sequences. Smaller organizations may immediately cut CDs or even copy images directly onto the hard drive of a single computer.
With Photo Mechanic, PJs are required to complete a template of information before the images are ingested and stored onto the hard drive. PJs write a generic cutline which applies to all images on the card. They also fill out fields for locations, assignment numbers, slug lines, PJ's name, assigning departments and so forth. Double check all information for accuracy before ingesting. If something is wrong, it takes twice as long to fix it later.
Specifically notate any changes from the assignment at the bottom of the cutline field with a triple-asterisk lead (***). This is normally considered notes to the editor for review and confirmation. For example: *** Subject's name is Marri with two "r"s and an "i." She's from Detroit not Seattle.
Upon the command to ingest, all information is imbedded (copied into) the file for each image as the images are copied and stored on the hard drive of the ingesting computer.
The ingestion process takes a few minutes. Once complete, remove the flashcard and place it in a safe location (card wallet).
Cut CD
Many large systems don't require CDs anymore due to more efficient, redundant backup measures elsewhere in the workflow. For smaller organizations, the CD becomes the de facto archive. For freelancers, it's always important to cut a CD for personal archives.
Common CD burning programs are Toast (Mac) and Easy Media Creator (PC), both by Roxio.
This step can be moved further down the workflow for tight deadline assignments. However, it's best to have the CD at this point in the workflow. Something could happen to the network, computer or electrical system and CDs are the singular multi-platform copy of the images.
Remove the burned CD, use a bold permanent marker and label it with assignment number, date, PJ's name and content keywords (i.e. East vs. West boys soccer, tanker explosion, etc...). Place the CD in a protective sleeve or case and set aside.
Transfer
In this step, images are transferred from the computer hard drive to a central server of a high-capacity archive system. Unless the organization routinely deals with thousands of images each day, this step may not be incorporated into the workflow.
On really high-tech systems, a copy of the actual photo assignment is automatically imbedded into the file via the assignment number (as noted above).
Once the images are successfully transferred, they can be accessed in real time by anyone on the appropriate LAN (typically via SCC MediaGrid) by assignment number or any key word(s) within the cutline or photo assignment.
This process takes several minutes and may take even longer depending on image traffic. It's best to have this process work in the background while the next workflow step is completed using images on the local hard drive.
Polling software
Particularly busy systems may have polling software on the server. Polling software programs evenly distribute images into multiple folders from multiple users. The purpose is to avoid informational blockages and log jams.
PJs drag-and-drop or select images from one folder and place it into the polling software. The software then distributes it to 30 or more subfolders. The server then
Smart Copy
A common server polling software is Smart Copy. Personally, I don't like Smart Copy and bypass it every time. Instead, I drop images directly into the distributing folder of the program.
Depending on how the Smart Copy preferences are set on each scanning station, the program may completely delete all images if it's allowed control. This isn't as big a problem to Canon shooters as it is to Nikon shooters. The way Smart Copy dumps and deletes sub-folders can eliminate a Nikon shoot if the flatten folders box is left unchecked. The images vanish forever.
Pre-Edit
While images are copying to the server in the background, switch back to Photo Mechanic and open the folder as a contact sheet. If pre-editing in MediaGrid, skip the next sub-section, but understand it takes several minutes to load images into the grid and images caught in the system won't be visible.
Photo Mechanic
Here's another personal preference point. If you're a low-volume shooter (less than 100) and not on deadline, select all and view each image at a higher resolution in preview mode to select the absolute best images. If you're a high-volume shooter (300+) on deadline, you'll need to hold down the shift key and select potential images from the contact sheet view. Then view the selected images at the higher resolution.
Go through the selected images and checkmark those worth a second pass. Go back to contact sheet view. Hit Apple & "T" and Photo Mechanic highlights the checked frames.
Get a pen and, on the back of the assignment, write down each frame number along with a quality code as you make the second pass in preview mode. My quality code is blank for "meets the basic requirements," I use a "+" to set a crop mark, "++" to set a crop mark and frame marker, "+++" as best (crop and mark).
If one jumps out as amazing, I'll only use a "++" on the first pass, otherwise the frames are blank or "+." Then I do a quick second pass of the "+" images to see which are worth publication. I add one plus to the outstanding images and select the "best" image from this pass.
MediaGrid
Open the appropriate MediaGrid folder where unedited images are stored. Most should be loaded by this point.
If PJs don't use Photo Mechanic, they can perform similar initial steps as above in MediaGrid. However, image resolution won't be as good in the preview screen and might lead to a soft image for the final selection. Additionally, PJs often won't know if images are missing (caught in the system).
If PJs used Photo Mechanic, open MediaGrid and locate the specific assignment (via verity search). Using the list on the back of the assignment, crop and mark images as noted on the back of the assignment.
Desk Edit
Take the assignment form to the photo desk and retrieve the assignment. Select your "best" first, then marked images and finally cropped (unmarked) and pull them up in preview mode (4x4 is good for comparison).
A photo editor looks at the assignment instructions and asks about the assignment. This is when PJs can present quick suggestions about which image is best for the story and why.
The editor then looks through the selected images and notes some images for approval. If the editor is satisfied, s/he copies some into the selected folder. If not, or if the editor has time, s/he looks through the raw take to see if any nice images were overlooked.
Occasionally, the editor gives some feedback about technique, composition or subject matter for future use. Remember, this is only a critique on the images presented.
Image preparation
Go back to the scanning room (hopefully nobody took your station or changed the stereo) prepare the images and write cutlines using Photoshop and the SpellTools plug-in. Export the images into the main MediaGrid folder.
Print and check
Make a format print of each image (image with cutline). Take it to the light and look at the image for image problems (color balance, hot spots, etc...) if any. Carefully read the cutline for any errors in each data field. Double-check spellings of each proper noun. Make changes and reprint if necessary.
Desk verification and delivery
Take the absolutely correct prints (about one to four per assignment) to the photo desk. Give the prints to the photo editor. The editor looks at the print with a pen in hand. This is your signal to read out the spellings of each proper noun (in order) on the print in hand. We'll skip what happens if there is an error at this point (hint: it's really bad).
As each print is approved, the photo editor signs their initials on the print. Then, depending on the images' sections, the editor either keeps or hands the prints back to the PJ. Those handed back need to be filed in the local section drawer or elsewhere the building (Lifestyles, Business, Sports, etc...).
Archive
Once prints are delivered, go back to the scanning room and fold (trifold, then in half) the assignment and all cutline information. Place this information in the sleeve with the CD.
At very large papers, this step is skipped by staffers because all the cutline information was shot by the PJ at the end of the shoot, and all images are streamed onto a digital platter jukebox in one or more other locations.
At smaller publications, file the CD in the archive drawers by assignment or archive number.
Depending on the contract, freelancers keep the CD and cutline information for their own files or make an additional copy of the CD and cutline info for the archive.
Breaking news
When PJs arrive "hot," most of the steps above may be completely skipped. If it's really hot, the PJ shows the raw take to the photo editor directly from the flashcard. The editor pulls up one or two images in Photoshop, the PJ corrects and writes cutlines on the spot. Format print the images. The editor verifies, and it's sent to layout.
Total time allowed: less than five minutes.
Then, follow most of the steps above to include all images properly in the archive.
Conclusion
Since it's contest season, the speed at which contest judges make decisions is appropriate after we understand the speed at which digital workflow of images takes place in the newsroom.
Typically everything listed above transpires in less than 30 minutes for a single assignment (about two to four images) or less than an hour for about three assignments (about eight to 12 images).
It also begins to show how busy the desk can become when there are more than 30 PJs reporting to a single location while editors from all other sections of the newspaper and outside sources (wires, etc.) are requesting images from the desk.
Enough for now,
Please also see Create a personal digital workflow
Friday, October 08, 2004
Make the archive useful
I've been asked to describe the common workflow at a large newspaper. I will in time, but it won't apply to most PJs. Consider the Olympics as an example. In two weeks, two photographers and a photo editor shot and transmitted about 120,000 images. This isn't going to happen at a standard newspaper. It certainly won't happen to any single PJ.
The sheer volume of images moving through any system dictates the workflow. Huge companies move a large volume of images and have a different workflow than an individual freelance PJ. However one issue is common to both: specific images must be located quickly.
Organizing digitally
Organizing an image archive doesn't complete the puzzle. PJs must know where to find specific images quickly for clients. Otherwise PJs will lose sales or waste hours flipping through pages of negatives (or sorting through digital images).
Consumer database software is relatively inexpensive, easy to use and can be customized to handle individual PJ needs. The tutorials on most of these packages are good enough to get PJs started within a day.
Creating databases is a daunting task for seasoned PJs. There may be thousands of rolls to file. It may take weeks or even months to simply add standard information to a database. For new PJs, it'’s good to start a process and build upon it. A 15-minute daily time investment toward a useful database will more than pay for itself within five years.
PJs need to set up initial databases and save them to computer hard drives. Because databases change as images are added, it's impractical to keep them on CDs other than as a backup. However, backup CDs are strongly encouraged.
The advantages of consumer databases over pro databases are the start-up costs and learning time. A new PJ with limited funds can afford a personal computer (PC) with a simple database and word processor. It's enough to get a business started. With time, the PJ can build up to a powerful Mac system with serious random access memory (RAM) and storage.
But before we dream too big, let's crunch some information.
What's a database
A database is an electronic storehouse of information. Its design is flexible enough to handle many business needs. Individual databases can be designed to store and find client information, images, sales or pricing information.
Newer databases have incorporated mathematical functions and can operate as a spreadsheet. As computers have become more powerful, they can now store images and other large files electronically within databases. Again, each higher level of software includes a higher price, longer educational period and more computing muscle.
A standard database is arranged in rows (horizontally) and columns (vertically). The columns are fixed and labeled across the top of the screen. PJs can label and arrange the columns with categories to be as simple or comprehensive as they wish.
Each new entry becomes a row. Each row (entry) will contain the same number of columns (categories) as all other rows. The entry can be seen by itself in "form view" or as a grid with all entries in "list view."
Individual packets of information contained within the intersections of columns and rows are called cells. The cells contain the actual information within the database. Frequently, this information can't be completely seen in list view. However, the search will still bring these files and the PJ can select the individual entry to see more information. In all searches, the PJ typically looks for a specific image or selection of a few images.
As an analogy, consider an office file cabinet (database). Within the cabinet are file folders (files / rows). In each folder are separate pieces of information (cells). In this example, the goal is for the PJ to walk up to the cabinet and get a specific sheet of information without wasting time or looking through 250,000 folders.
Customizing the database
To start, the columns should be labeled with date, subject and location (binder number or other locator). Once the initial phase is complete for the PJ's backlog, additional columns can be added to make searches more meaningful.
It's best to list the year, month and then date to sort the images in a logical order. Otherwise all images shot during the month of September for the last 20 years will be grouped together. Unlike standard American date notation (9/5/2004), computer notation (20040905) automatically sorts the files. The sorting software requires a "0" as a place marker for single-digit numerical information.
After the database is prepared, additional categories can be added or refined. Common additions include keywords, client(s), releases on file, cutline information, sales, markets, recording medium (film type or digital), awards won, etc.
Only add truly useful information to a database. If it becomes too complicated, it becomes less useful. For example, there's no need to add a "film type" column to every file if all files are shot on color negative film or digitally.
Each entry must be made manually on a personal database. However, the PJ can select cells in a column and "fill down" (add the exact same data to all selected cells). This is helpful while setting up the initial database where lots of repetition is required. Although it's good to have complete information in each file, be careful not to water down specific information.
When PJs need a specific image of a specific football player, they don't need to look at every football game ever played. Instead, include team names and locations to help narrow the search at a later date.
On big digital systems, each image is embedded (infused) with all assignment information as well as generic cutlines. The completed (press-ready) images have specific cutlines. This allows anyone to recover any image from the take and use it at a later date.
This requires humongous storage capacity and the computer power to search for multiple keywords quickly. Since a staff PJ might be in an African jungle at the time an image is needed, this is important.
It may also be important for PJs to explain their personal coding system to a spouse or other relatives. The images may be the best legacy a PJ leaves behind. If the family doesn't understand the archive's value or how to access images, the images become useless and may end up in the local landfill.
Electronic stock images
When stock photography involved prints, it was too expensive for PJs to have every good image printed and ready to ship to multiple clients. Digital imaging has changed the cost involved as well as the turnaround time.
PJs can prepare images for publication (color corrections and cutlines) between assignments and during other "down time." Once an image is ready digitally, it's forever ready. It can be sent as an unsolicited image to several image buyers, or it can wait as ready stock (the client calls, and 10 minutes later they have the image they need).
For single or small-group PJ activities, create a separate database for completed images. The point of this database is to locate and sell specific marketable images. The PJ has already edited and invested preparation time in these images. They should be the best images and should be published and profitable.
As these images are completed, store them in one folder on the hard drive. When the folder size nears the storage capacity of a CD, burn the CD and label it with the burn date. This date becomes the de facto file number in the archive. The images on the CD will always be the same and the date (file number) will not change. File these CDs separate from the general archive for easy retrieval.
Unlike the master database, this database only addresses completed images. The entries should be comprehensive and include specific cutlines. It should also contain terms from previous sale agreements (the exact date it's available for resale in a market), where it was sent as an unsolicited image and other exact information pertaining to each specific image.
Enough for now,
The sheer volume of images moving through any system dictates the workflow. Huge companies move a large volume of images and have a different workflow than an individual freelance PJ. However one issue is common to both: specific images must be located quickly.
Organizing digitally
Organizing an image archive doesn't complete the puzzle. PJs must know where to find specific images quickly for clients. Otherwise PJs will lose sales or waste hours flipping through pages of negatives (or sorting through digital images).
Consumer database software is relatively inexpensive, easy to use and can be customized to handle individual PJ needs. The tutorials on most of these packages are good enough to get PJs started within a day.
Creating databases is a daunting task for seasoned PJs. There may be thousands of rolls to file. It may take weeks or even months to simply add standard information to a database. For new PJs, it'’s good to start a process and build upon it. A 15-minute daily time investment toward a useful database will more than pay for itself within five years.
PJs need to set up initial databases and save them to computer hard drives. Because databases change as images are added, it's impractical to keep them on CDs other than as a backup. However, backup CDs are strongly encouraged.
The advantages of consumer databases over pro databases are the start-up costs and learning time. A new PJ with limited funds can afford a personal computer (PC) with a simple database and word processor. It's enough to get a business started. With time, the PJ can build up to a powerful Mac system with serious random access memory (RAM) and storage.
But before we dream too big, let's crunch some information.
What's a database
A database is an electronic storehouse of information. Its design is flexible enough to handle many business needs. Individual databases can be designed to store and find client information, images, sales or pricing information.
Newer databases have incorporated mathematical functions and can operate as a spreadsheet. As computers have become more powerful, they can now store images and other large files electronically within databases. Again, each higher level of software includes a higher price, longer educational period and more computing muscle.
A standard database is arranged in rows (horizontally) and columns (vertically). The columns are fixed and labeled across the top of the screen. PJs can label and arrange the columns with categories to be as simple or comprehensive as they wish.
Each new entry becomes a row. Each row (entry) will contain the same number of columns (categories) as all other rows. The entry can be seen by itself in "form view" or as a grid with all entries in "list view."
Individual packets of information contained within the intersections of columns and rows are called cells. The cells contain the actual information within the database. Frequently, this information can't be completely seen in list view. However, the search will still bring these files and the PJ can select the individual entry to see more information. In all searches, the PJ typically looks for a specific image or selection of a few images.
As an analogy, consider an office file cabinet (database). Within the cabinet are file folders (files / rows). In each folder are separate pieces of information (cells). In this example, the goal is for the PJ to walk up to the cabinet and get a specific sheet of information without wasting time or looking through 250,000 folders.
Customizing the database
To start, the columns should be labeled with date, subject and location (binder number or other locator). Once the initial phase is complete for the PJ's backlog, additional columns can be added to make searches more meaningful.
It's best to list the year, month and then date to sort the images in a logical order. Otherwise all images shot during the month of September for the last 20 years will be grouped together. Unlike standard American date notation (9/5/2004), computer notation (20040905) automatically sorts the files. The sorting software requires a "0" as a place marker for single-digit numerical information.
After the database is prepared, additional categories can be added or refined. Common additions include keywords, client(s), releases on file, cutline information, sales, markets, recording medium (film type or digital), awards won, etc.
Only add truly useful information to a database. If it becomes too complicated, it becomes less useful. For example, there's no need to add a "film type" column to every file if all files are shot on color negative film or digitally.
Each entry must be made manually on a personal database. However, the PJ can select cells in a column and "fill down" (add the exact same data to all selected cells). This is helpful while setting up the initial database where lots of repetition is required. Although it's good to have complete information in each file, be careful not to water down specific information.
When PJs need a specific image of a specific football player, they don't need to look at every football game ever played. Instead, include team names and locations to help narrow the search at a later date.
On big digital systems, each image is embedded (infused) with all assignment information as well as generic cutlines. The completed (press-ready) images have specific cutlines. This allows anyone to recover any image from the take and use it at a later date.
This requires humongous storage capacity and the computer power to search for multiple keywords quickly. Since a staff PJ might be in an African jungle at the time an image is needed, this is important.
It may also be important for PJs to explain their personal coding system to a spouse or other relatives. The images may be the best legacy a PJ leaves behind. If the family doesn't understand the archive's value or how to access images, the images become useless and may end up in the local landfill.
Electronic stock images
When stock photography involved prints, it was too expensive for PJs to have every good image printed and ready to ship to multiple clients. Digital imaging has changed the cost involved as well as the turnaround time.
PJs can prepare images for publication (color corrections and cutlines) between assignments and during other "down time." Once an image is ready digitally, it's forever ready. It can be sent as an unsolicited image to several image buyers, or it can wait as ready stock (the client calls, and 10 minutes later they have the image they need).
For single or small-group PJ activities, create a separate database for completed images. The point of this database is to locate and sell specific marketable images. The PJ has already edited and invested preparation time in these images. They should be the best images and should be published and profitable.
As these images are completed, store them in one folder on the hard drive. When the folder size nears the storage capacity of a CD, burn the CD and label it with the burn date. This date becomes the de facto file number in the archive. The images on the CD will always be the same and the date (file number) will not change. File these CDs separate from the general archive for easy retrieval.
Unlike the master database, this database only addresses completed images. The entries should be comprehensive and include specific cutlines. It should also contain terms from previous sale agreements (the exact date it's available for resale in a market), where it was sent as an unsolicited image and other exact information pertaining to each specific image.
Enough for now,
Wednesday, October 06, 2004
Organizing an archive
I’m sure people at camera stores hate to see me walk in. I’m not exactly a demanding customer, but I know precisely what I want. First, I want 36-frame rolls of film. I also want my film developed, cut into 6-frame sections and placed into negative sleeves. I frequently do not want any prints. I want my negatives this way because I already have an archival system for my images.
Negative sleeves
If a PJ is serious about pulling an archival system together, they need to protect and organize their film. For 35mm shooters, I suggest using Print File 35-6HBs.
I like Print File because they are designed for archival use. There are several hard plastic negative sleeve products, but I’ve found many of those will stick to the film if they are not stored in perfect humidity. I also have a hard time fitting the negs into and removing the negs from the hard plastic sleeves. For the one or two cents difference, give the negatives a break and get them decent sleeves.
I also prefer the 6HBs over the 7B. The 7B (5 frames x 7 rows) is preferred by photo instructors because it’s convenient to make 8x10 contact sheets. However, the 7B only holds 35 frames. The PJ must choose which frame to eliminate forever while the film is still in one piece or leave one frame hanging out to be destroyed. I don’t want any of my frames to become dust magnets or get scratches. Furthermore, I don’t need a contact sheet.
Most PJs shoot 36-frame rolls of film. The 6HB file holds 36 frames (6 frames x 6 rows). It’s a logical answer. If I squeeze my film and get 37 frames, it’s my choice, and I must live with the consequence.
Commercial processors will automatically cut film into four-frame segments. This is more convenient for them to fit into a standard envelope. This makes the PJ’s archive rather difficult to manage. I suppose a PJ could designate a special drawer or box for the envelopes, but I can’t see it working too well as an archive.
Instead, I keep a package of 100 sleeves I bought at the camera store. When I drop off film, I also drop off the same number of negative sleeves and explain exactly what I want. I haven’t had any shop refuse my request.
Label the sleeves
When the PJ picks up the sleeves, use an ultra fine point Sharpie permanent marker and immediately label the sleeve with the shooting date and subject. The Sharpie ink won’t smear or fade with time like other inks. Don’t wait a week because dates and places become fuzzy and require extra investigation. This information should be accurate enough to understand in a few years.
Although it’s best to shoot one general subject per roll, sometimes multiple assignments may appear on the same roll. As shorthand, I place a forward slash “/” between subjects shot on the same day and a double slash “//” between subjects shot on different days. I will also date the sleeve with a shooting range (10/1-3/2004) or separate the dates (10/1 & 10/3/2004).
If time allows, immediately edit with a regular Sharpie (bold-tip). Go though the negatives on a light table or box with a lupe and mark only the best frames with a single underline. Then, go through those frames again and draw a box around the absolute best frame or two on the roll. Additional crop lines can be drawn on the neg sleeve with a grease pencil or soft-tipped marker (a fine-tip could damage then neg).
In the old days, this was called the initial edit. It was done with a grease pencil. The neg sleeves were taken to the desk for a photo editor to select. The editor would put her/his initials on the frames to be scanned. Now it’s all part of the digital workflow, but this process is still helpful for personal archives.
If there’s one portfolio-quality or particularly valuable image on a roll, make a special notation on the top of the file and possibly put a star or some other mark near the frame. This will help during contest season when the PJ is frantically looking for great images on thousands of rolls of film.
Put it in a binder
Place the negative sleeves into a standard three-ring binder by shooting order. This adds an extra layer of organization and protection to the negatives. Use a huge, broad-tip marker and label the spine of the binder with a date range and possibly content separation (ie. Sports 7/2004 - 11/2004, Family 2/2004 – 11/2004). Leave the ending date open until the book is full. This will help locate the negatives at a later date. It will also let the PJ know the quality level of the images (everyone improves dramatically during the first few years and then makes subtle refinements over time).
If PJs are shooting several types of film or formats, they might separate these by binder colors. Personally, I use gray for B&W film, red for color film, blue for slides (chrome), and black for family. If I shot medium format film, I would probably use green binders (those images are worth more money). I keep 8x10 prints in archive sleeves inside white binders.
The same binder separations can be done with photo CDs, or they could have a color unto themselves. I personally use large CD binders with a zipper closure and four slots per page (8 including back of page). They allow enough room to securely keep the CD and additional cutline information in the same sleve.
All of these binders are on bookshelves in one specific place organized by binder color and date. It quickly eliminates options if the PJ isn't sure where an image is located.
Enough for now,
Negative sleeves
If a PJ is serious about pulling an archival system together, they need to protect and organize their film. For 35mm shooters, I suggest using Print File 35-6HBs.
I like Print File because they are designed for archival use. There are several hard plastic negative sleeve products, but I’ve found many of those will stick to the film if they are not stored in perfect humidity. I also have a hard time fitting the negs into and removing the negs from the hard plastic sleeves. For the one or two cents difference, give the negatives a break and get them decent sleeves.
I also prefer the 6HBs over the 7B. The 7B (5 frames x 7 rows) is preferred by photo instructors because it’s convenient to make 8x10 contact sheets. However, the 7B only holds 35 frames. The PJ must choose which frame to eliminate forever while the film is still in one piece or leave one frame hanging out to be destroyed. I don’t want any of my frames to become dust magnets or get scratches. Furthermore, I don’t need a contact sheet.
Most PJs shoot 36-frame rolls of film. The 6HB file holds 36 frames (6 frames x 6 rows). It’s a logical answer. If I squeeze my film and get 37 frames, it’s my choice, and I must live with the consequence.
Commercial processors will automatically cut film into four-frame segments. This is more convenient for them to fit into a standard envelope. This makes the PJ’s archive rather difficult to manage. I suppose a PJ could designate a special drawer or box for the envelopes, but I can’t see it working too well as an archive.
Instead, I keep a package of 100 sleeves I bought at the camera store. When I drop off film, I also drop off the same number of negative sleeves and explain exactly what I want. I haven’t had any shop refuse my request.
Label the sleeves
When the PJ picks up the sleeves, use an ultra fine point Sharpie permanent marker and immediately label the sleeve with the shooting date and subject. The Sharpie ink won’t smear or fade with time like other inks. Don’t wait a week because dates and places become fuzzy and require extra investigation. This information should be accurate enough to understand in a few years.
Although it’s best to shoot one general subject per roll, sometimes multiple assignments may appear on the same roll. As shorthand, I place a forward slash “/” between subjects shot on the same day and a double slash “//” between subjects shot on different days. I will also date the sleeve with a shooting range (10/1-3/2004) or separate the dates (10/1 & 10/3/2004).
If time allows, immediately edit with a regular Sharpie (bold-tip). Go though the negatives on a light table or box with a lupe and mark only the best frames with a single underline. Then, go through those frames again and draw a box around the absolute best frame or two on the roll. Additional crop lines can be drawn on the neg sleeve with a grease pencil or soft-tipped marker (a fine-tip could damage then neg).
In the old days, this was called the initial edit. It was done with a grease pencil. The neg sleeves were taken to the desk for a photo editor to select. The editor would put her/his initials on the frames to be scanned. Now it’s all part of the digital workflow, but this process is still helpful for personal archives.
If there’s one portfolio-quality or particularly valuable image on a roll, make a special notation on the top of the file and possibly put a star or some other mark near the frame. This will help during contest season when the PJ is frantically looking for great images on thousands of rolls of film.
Put it in a binder
Place the negative sleeves into a standard three-ring binder by shooting order. This adds an extra layer of organization and protection to the negatives. Use a huge, broad-tip marker and label the spine of the binder with a date range and possibly content separation (ie. Sports 7/2004 - 11/2004, Family 2/2004 – 11/2004). Leave the ending date open until the book is full. This will help locate the negatives at a later date. It will also let the PJ know the quality level of the images (everyone improves dramatically during the first few years and then makes subtle refinements over time).
If PJs are shooting several types of film or formats, they might separate these by binder colors. Personally, I use gray for B&W film, red for color film, blue for slides (chrome), and black for family. If I shot medium format film, I would probably use green binders (those images are worth more money). I keep 8x10 prints in archive sleeves inside white binders.
The same binder separations can be done with photo CDs, or they could have a color unto themselves. I personally use large CD binders with a zipper closure and four slots per page (8 including back of page). They allow enough room to securely keep the CD and additional cutline information in the same sleve.
All of these binders are on bookshelves in one specific place organized by binder color and date. It quickly eliminates options if the PJ isn't sure where an image is located.
Enough for now,
Tuesday, February 24, 2004
How photo requests work
This entry is written for PJ students more than the general public. Unlike most other entries, this post sounds more like an instruction manual than a casual explanation of how stuff works. The changes from third person to first person are unavoidable due to subject matter.
An "assignment" comes from the photo desk. A reporter turns in a "photo request" (see "common photo request entry fields" below). This is a request to get a photo to accompany a story. The photo editor evaluates the request and places it with the most appropriate PJ or rejects the request. It becomes a "photo assignment" after the assignment editor places it on the schedule.
The subtle terminology difference is because the assignment editor has the option to reject the "photo request." This happens daily. A PJ calls both the shoot and the paper an "assignment."
If the PJ is extremely lucky, the information on the assignment is correct. Since the reporters aren't held particularly responsible for bad assignment information, some reporters aren't as diligent as most about accuracy.
When I get an assignment, I preview it for obvious problems. If I spot something wrong, I'll resolve it immediately or the following morning (because I shoot nights and – although it would be fun to call some reporters at 4 a.m. – I understand the reporters don't work my shift).
Items to immediately check on the assignment are logistical: is the assignment distant (out of town)? When is the deadline? Do assignments overlap? Are assignment times flexible or finite? Is there enough travel time between assignments? If not, where can I cut time? Will I need special tools for the shoot (hard hat, ladder, radio remotes, micro lenses, 600 mm lens, waterproof camera, etc…)?
Although times, dates, addresses and a number of other problems can make an assignment fail from the start, I'll gloss over these problems for now. We'll assume the basic info is correct to get a PJ to the right place at the right time.
Immediately upon arrival at the location, try to check the spellings of all proper nouns (names, buildings, events, etc.) and other assignment information. This is frequently an embarrassment to young reporters who are sometimes on location because they think we are double-checking their photo request accuracy rather than covering everyone's rumps. It typically furthers the embarrassment if names are indeed misspelled.
After we have the correct spellings, identify the main subjects. Find ways to identify each subject with certainty while avoiding ethnic labels. This is sometimes impossible, but we'll go out of our way to avoid it.
The male with black hair, brown eyes and blue jeans is distinctly different than the female with blonde hair, green eyes with glasses, and a pink skirt. Race is simply not a required identifier as long as clothes are not uniform. Therefore, there isn't reason to use it.
* Note: Get the first and last names of all people and domestic animals photographed. Get the age of all people who appear 18-or-younger and 60-or-older (if they agree) as well as any domestic animals with names. Ask relationships of people or domestic animals (people with different last names may be married or parents, siblings, etc. ...). Get the breed of any domestic animals and the most accurate name of any non-domestic plants or animals.
If you can't verify it's a bald eagle, then it's a "bird."
Because lab techs may later pull a file, include all details in the notes to prevent an early-morning phone call. Make certain the lab techs can identify the subjects without questions.
Yes, I have been called while camping in another state to verify information on a file photo. I walked the tech through my notes, and we were both certain of the identification. I'll do another blog one day about documenting signs, rosters and scoreboards to save future problems.
Next, we must make certain we have the correct story information in mind before acquiring images. A smiling portrait isn't appropriate if the story is about someone losing their job, getting a divorce and becoming homeless.
Likewise, the information on the assignment may be partially or completely wrong. Ensuring the correct information at the beginning of a shoot prevents a re-shoot and secures deadline.
Once this is done, then shoot. If the assignment is a portrait, work with the subject to make the image match the story. If the assignment is about the event or someone doing something, fade into the background and document whatever happens.
Enough for now,
Photo request information:
Assignment information varies at different organizations. As long as Who, What, When, Where, Why, and How (called “5 Ws”) are addressed, most photographers can handle the assignment. Below are the common information fields in a photo request database. Additional information is often presented to the editors to attach to assignments, however photographers often pick up assignments from remote locations.
Common photo request entry fields:
Assignment number ; date of shoot ; start time ; end time ; Is time flexible? ; assigned photographer ; subject/person ; location (include as much detail as possible, i.e. cross streets, directions, city, map locations, etc.) ; contact ; contact phone ; are we expected? ; location contact ; location phone ; reporter ; reporter phone ; travel with photographer? ; story summary (as much detail as possible, what the photos should illustrate, important people and events, etc.) ; story slug (file name of story) ; Credential information (required or not, where are they to be picked up, have they been previously arranged?) ; created by ; approval editor ; photo editor ; due date ; due time ; run date ; deliver to ; department/section ; assignment status (new, in progress, complete).
An "assignment" comes from the photo desk. A reporter turns in a "photo request" (see "common photo request entry fields" below). This is a request to get a photo to accompany a story. The photo editor evaluates the request and places it with the most appropriate PJ or rejects the request. It becomes a "photo assignment" after the assignment editor places it on the schedule.
The subtle terminology difference is because the assignment editor has the option to reject the "photo request." This happens daily. A PJ calls both the shoot and the paper an "assignment."
If the PJ is extremely lucky, the information on the assignment is correct. Since the reporters aren't held particularly responsible for bad assignment information, some reporters aren't as diligent as most about accuracy.
When I get an assignment, I preview it for obvious problems. If I spot something wrong, I'll resolve it immediately or the following morning (because I shoot nights and – although it would be fun to call some reporters at 4 a.m. – I understand the reporters don't work my shift).
Items to immediately check on the assignment are logistical: is the assignment distant (out of town)? When is the deadline? Do assignments overlap? Are assignment times flexible or finite? Is there enough travel time between assignments? If not, where can I cut time? Will I need special tools for the shoot (hard hat, ladder, radio remotes, micro lenses, 600 mm lens, waterproof camera, etc…)?
Although times, dates, addresses and a number of other problems can make an assignment fail from the start, I'll gloss over these problems for now. We'll assume the basic info is correct to get a PJ to the right place at the right time.
Immediately upon arrival at the location, try to check the spellings of all proper nouns (names, buildings, events, etc.) and other assignment information. This is frequently an embarrassment to young reporters who are sometimes on location because they think we are double-checking their photo request accuracy rather than covering everyone's rumps. It typically furthers the embarrassment if names are indeed misspelled.
After we have the correct spellings, identify the main subjects. Find ways to identify each subject with certainty while avoiding ethnic labels. This is sometimes impossible, but we'll go out of our way to avoid it.
The male with black hair, brown eyes and blue jeans is distinctly different than the female with blonde hair, green eyes with glasses, and a pink skirt. Race is simply not a required identifier as long as clothes are not uniform. Therefore, there isn't reason to use it.
* Note: Get the first and last names of all people and domestic animals photographed. Get the age of all people who appear 18-or-younger and 60-or-older (if they agree) as well as any domestic animals with names. Ask relationships of people or domestic animals (people with different last names may be married or parents, siblings, etc. ...). Get the breed of any domestic animals and the most accurate name of any non-domestic plants or animals.
If you can't verify it's a bald eagle, then it's a "bird."
Because lab techs may later pull a file, include all details in the notes to prevent an early-morning phone call. Make certain the lab techs can identify the subjects without questions.
Yes, I have been called while camping in another state to verify information on a file photo. I walked the tech through my notes, and we were both certain of the identification. I'll do another blog one day about documenting signs, rosters and scoreboards to save future problems.
Next, we must make certain we have the correct story information in mind before acquiring images. A smiling portrait isn't appropriate if the story is about someone losing their job, getting a divorce and becoming homeless.
Likewise, the information on the assignment may be partially or completely wrong. Ensuring the correct information at the beginning of a shoot prevents a re-shoot and secures deadline.
Once this is done, then shoot. If the assignment is a portrait, work with the subject to make the image match the story. If the assignment is about the event or someone doing something, fade into the background and document whatever happens.
Enough for now,
Photo request information:
Assignment information varies at different organizations. As long as Who, What, When, Where, Why, and How (called “5 Ws”) are addressed, most photographers can handle the assignment. Below are the common information fields in a photo request database. Additional information is often presented to the editors to attach to assignments, however photographers often pick up assignments from remote locations.
Common photo request entry fields:
Assignment number ; date of shoot ; start time ; end time ; Is time flexible? ; assigned photographer ; subject/person ; location (include as much detail as possible, i.e. cross streets, directions, city, map locations, etc.) ; contact ; contact phone ; are we expected? ; location contact ; location phone ; reporter ; reporter phone ; travel with photographer? ; story summary (as much detail as possible, what the photos should illustrate, important people and events, etc.) ; story slug (file name of story) ; Credential information (required or not, where are they to be picked up, have they been previously arranged?) ; created by ; approval editor ; photo editor ; due date ; due time ; run date ; deliver to ; department/section ; assignment status (new, in progress, complete).
Sunday, November 09, 2003
How the PJ editing process works
Football, pinball and more football for the last two days. You can see one of my shots and shots from all the DMN football shooters in this slide show. We don't get to pick which images go onto the web. I am happy with the image I have this week, but sometimes the selections are questionable if you see the entire take of a game.
I suppose the biggest part of the weeding process of this job is the edit. If you are married to your images when you walk in the door, you will be divorced from them by the time you leave.
I was asked at one of the football games why the DMN didn't post all our images onto the web. I explained that the photographers must prepress each image and in the best of times, it takes about 15 minutes. The man said he thought the camera did all such work. I explained the camera has no idea what it is doing other than looking for the color grey. So, I will elaborate on the painful process we call prepress. This sometimes takes as little as 5 minutes, if someone is breathing down our neck. It can also take quite some time if we need additional cutline information.
Here is how the editing process works. I am only going to write about the office-based system tonight. We all have laptops and can send via Wi-Fi or landline. Some DMN staffers also use satellite and specialized cell phones.
Additionally, please understand our office computers are all beefed-up Macintosh G4 or G5s connected to a server which uses multi-terabyte platters on a jukebox. All of these are on private T-1 lines or satellite uplinks (even in the Arlington, Collin County, and Northeast Tarrant County offices). So, everything is unbelievably fast compared to two years ago.
Let's say a photographer shoots 300 frames at an assignment (not unusual since we are all digital now). S/he (I'll call this "we" for grammatical ease) will take the microdrive to the scanning room with their cutline information. We will input all the information to infuse into each image (who, what, when, where, why, how) and all the codes (news section, story slug, negative envelope, and assignment number). Once this information is inputted, the microdrive is ingested into the Mediagrid system (the grid). Then we cut a CD for the archive.
We can then view the images on the grid in ditcam edits. We then select our favorites and put crop marks on the raw images. Of these, we select the best and put an additional notation tag on them.
At this point, we have narrowed the 300 images down to 10 and further down to about four (unless it was something non-visual and we have it down to one). We then go to the photo editing desk area (8 editors' desks, 4 color correctors, 4 stand-up work stations, banks of televisions on all the channels, pagers from all the fire departments, etc... -- not a friendly place with a lot of screaming people), which is next to the Metro department (take all of the above times several fold with more screaming people). You get the idea: get your edit, get out of the way -- NOW.
We pull up our selects in a viewing program on one of the work stations (all are G5s with Mac studio screens because there is no time for a G4 at "the desk"). The next editor with a little time will ask us what the story is. We condense the story to a 15 second explanation. They look at our selects and choose some. Then they look at our total take if they were not fascinated with our selects (remember many of the editors either have Pulitzers or have been finalists -- it's hard to impress them). They may add a different image to the selects or they may concur we picked the best and then they will give them another look.
Then they copy the ones they want into the selects folder and our edit is done.
If we are on tight deadline (less than 5 minutes), we just fix them there. If not, we go back to the scanning room and prep the images so someone else can get an edit.
To prepare an image for publication, we pull up the image on one of the scanning room computers. We will perform various color corrections and other adjustments to the raw images. Here is where I must note that we are not allowed to move pixels. We can only perform the same functions that we can do to any image in a darkroom. I.e. color correction, dodging (making some parts lighter), burning (making some areas darker), brightness, contrast and crops.
Once the image itself is ready, we write a complete cutline. Our initial cutline is deliberately vague to be applicable to all images on the microdrive. A normal ingestion cutline will begin "people attend" to remind us to replace the noun and verb.
Then, we double, triple, quadruple check our cutline information for accuracy. If it appears correct, we print all the images we have prepared. We take the prints back to the editing desk for a spell check. When an editor is available, we give them the prints and the editor reads the spellings of names while we verbally spell out each proper noun (names and locations) from the cutline. If the cutline is factually and grammatically correct, the editor will sign the print and return it to us. We then file the print in the proper section folders at the photo desk (editing area).
We then can place our CD and all supporting cutline information into the archive file drawers near the darkrooms. Then we can pull down the next day's assignments and make any preparations for the following day's shoots.
Note: we are strongly encouraged not to leave for the day unless we have "turned out" (done all of the above) the entire day's work. We could be dead or in the hospital in 30 minutes -- we don't know.
A normal shooting day will be about three assignments -- often in as many Texas counties. Each assignment creates about 100 to 400 images. Of these, we will prepress about two to 10 images from each assignment. As most can see, it is hard enough to accomplish all this during the eight hour shift. It would be impossible and impractical to post 150 to 200 images per person per day onto the website.
I hope this gives everyone a little insight into our workflow.
Enough for now,
I suppose the biggest part of the weeding process of this job is the edit. If you are married to your images when you walk in the door, you will be divorced from them by the time you leave.
I was asked at one of the football games why the DMN didn't post all our images onto the web. I explained that the photographers must prepress each image and in the best of times, it takes about 15 minutes. The man said he thought the camera did all such work. I explained the camera has no idea what it is doing other than looking for the color grey. So, I will elaborate on the painful process we call prepress. This sometimes takes as little as 5 minutes, if someone is breathing down our neck. It can also take quite some time if we need additional cutline information.
Here is how the editing process works. I am only going to write about the office-based system tonight. We all have laptops and can send via Wi-Fi or landline. Some DMN staffers also use satellite and specialized cell phones.
Additionally, please understand our office computers are all beefed-up Macintosh G4 or G5s connected to a server which uses multi-terabyte platters on a jukebox. All of these are on private T-1 lines or satellite uplinks (even in the Arlington, Collin County, and Northeast Tarrant County offices). So, everything is unbelievably fast compared to two years ago.
Let's say a photographer shoots 300 frames at an assignment (not unusual since we are all digital now). S/he (I'll call this "we" for grammatical ease) will take the microdrive to the scanning room with their cutline information. We will input all the information to infuse into each image (who, what, when, where, why, how) and all the codes (news section, story slug, negative envelope, and assignment number). Once this information is inputted, the microdrive is ingested into the Mediagrid system (the grid). Then we cut a CD for the archive.
We can then view the images on the grid in ditcam edits. We then select our favorites and put crop marks on the raw images. Of these, we select the best and put an additional notation tag on them.
At this point, we have narrowed the 300 images down to 10 and further down to about four (unless it was something non-visual and we have it down to one). We then go to the photo editing desk area (8 editors' desks, 4 color correctors, 4 stand-up work stations, banks of televisions on all the channels, pagers from all the fire departments, etc... -- not a friendly place with a lot of screaming people), which is next to the Metro department (take all of the above times several fold with more screaming people). You get the idea: get your edit, get out of the way -- NOW.
We pull up our selects in a viewing program on one of the work stations (all are G5s with Mac studio screens because there is no time for a G4 at "the desk"). The next editor with a little time will ask us what the story is. We condense the story to a 15 second explanation. They look at our selects and choose some. Then they look at our total take if they were not fascinated with our selects (remember many of the editors either have Pulitzers or have been finalists -- it's hard to impress them). They may add a different image to the selects or they may concur we picked the best and then they will give them another look.
Then they copy the ones they want into the selects folder and our edit is done.
If we are on tight deadline (less than 5 minutes), we just fix them there. If not, we go back to the scanning room and prep the images so someone else can get an edit.
To prepare an image for publication, we pull up the image on one of the scanning room computers. We will perform various color corrections and other adjustments to the raw images. Here is where I must note that we are not allowed to move pixels. We can only perform the same functions that we can do to any image in a darkroom. I.e. color correction, dodging (making some parts lighter), burning (making some areas darker), brightness, contrast and crops.
Once the image itself is ready, we write a complete cutline. Our initial cutline is deliberately vague to be applicable to all images on the microdrive. A normal ingestion cutline will begin "people attend" to remind us to replace the noun and verb.
Then, we double, triple, quadruple check our cutline information for accuracy. If it appears correct, we print all the images we have prepared. We take the prints back to the editing desk for a spell check. When an editor is available, we give them the prints and the editor reads the spellings of names while we verbally spell out each proper noun (names and locations) from the cutline. If the cutline is factually and grammatically correct, the editor will sign the print and return it to us. We then file the print in the proper section folders at the photo desk (editing area).
We then can place our CD and all supporting cutline information into the archive file drawers near the darkrooms. Then we can pull down the next day's assignments and make any preparations for the following day's shoots.
Note: we are strongly encouraged not to leave for the day unless we have "turned out" (done all of the above) the entire day's work. We could be dead or in the hospital in 30 minutes -- we don't know.
A normal shooting day will be about three assignments -- often in as many Texas counties. Each assignment creates about 100 to 400 images. Of these, we will prepress about two to 10 images from each assignment. As most can see, it is hard enough to accomplish all this during the eight hour shift. It would be impossible and impractical to post 150 to 200 images per person per day onto the website.
I hope this gives everyone a little insight into our workflow.
Enough for now,
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