This post is mostly geared at other photographers, but it’s available for anyone who wants an insight in some of the backend solutions here.
As all of our clients know, we store digital negatives indefinitely. We can run off prints of images from 2005 (our switchover to digital) and hope to be able to say that for many years go come.
As cameras have gotten more advanced it’s gone from approximately 1GB per shooting hour to 4-8GB per hour currently. This means that I abandoned DVDs and DVD-DLs some time ago as a back up solution except in specific circumstances. All storage is currently done using magnetic hard drives. (I don’t feel that flash-based SSDs are, as of early 2010, ready for general use).
The current workflow is as follows:
- CF cards out of the camera are stored during a portrait session, or backed up on site to an Epson Photo Viewer with a 100GB hard drive.
- After the shoot CF cards are read into the photo processing workstation (currently a 15″ Macbook Pro for portability).
- All CR2 (Canon RAW) files are backed up to a network share and stored indefinitely.
- CR2 files are converted to Adobe DNG (Digital NeGative). DNG is an open format suitable for long-term archiving and suggested by the library of congress.
- DNG files are imported into an Apple Aperture library where shoot metadata is added, shoot metadata is added and basic editing is done.
- The workstation is backed up hourly using Time Machine and Aperture libraries are regularly backed up to the network share.
- Photo delivery to clients is done by uploading shoot picks to Photoshelter for the client’s web gallery. I upload full-resolution jpeg images so that even in a worst case scenario printable images are stored on by Photoshelter on both the east and west coasts.
- After delivery the digital negatives are exported out of the Aperture library as referenced masters on the network share. I keep the thumbnail (1024px) images so that I can look images up as needed and I can work on the images any time I am on the network.
- The network store is backed up to the off-site storage using rsync on a regular basis. For very large updates the specific new files are transported by hand on other media. (Hard drives, DVDs, etc).
Why is my backup workflow this complex? I worked in computers for years while photography was a hobby. In that time I saw a lot of hard drives and other media fail. It is not a question of IF it will fail, but when. While doing photography and other tasks I’ve had hard drives fail all around the world and I feel that the current system lets me keep as much data intact as possible. I also believe that the structure I have set up makes for a simple and relatively inexpensive upgrade path where my data follows along.
Why am I posting this now? Well… hit the part after the break to find out the trials and tribulations of last week’s series, yes, series, of hard drive failures and the specific pieces of hardware I am using right now. Read the rest of this entry »


Photo Packages
May 10th, 2010First off, I’d like to thank everyone who has called before and said how much they enjoy our a la carte pricing. I get warm fuzzy feelings every time as I have made it a personal goal of mine to work out the pricing schedule. Right now, it isn’t going anywhere.
But, there are some issues with the current pricing plan. A couple of these are obvious, but several of them are less apparent. In no specific order, the following are the big issues.
To touch quickly on weddings, wedding packages have been in the works for a while now and will be rolled out next year after the exciting changes here have died down. Our schedule is allowing for very few weddings this summer so it made more sense to turn that into a long-term project that will be rolled out this fall. This may remove the a la carte pricing option for all weddings booked next year.
There’s simply no way to get around that a la carte pricing always looks higher per print than the packages. The economy is down right now, we can all see it, we all know it, and we are all looking for the best deal. When I developed our a la carte pricing setup, and yeah, I will take all credit and blame for that one, my feeling was that it would appeal to budget minded people like myself. It was last night when I was ordering some minor products and was almost ready to get 500 for 50 cents each instead of the 4 for $6 that I really needed. That was the wake-up call I needed to look again at bulk package pricing. The issue is one of perceived value, and I had forgotten that there is real value to perceived value.
So, the changes. Right now a la carte pricing is not going away, it may never go away. In the next few weeks we have a print run of marketing materials coming out and these will be updated to include some initial packages and pricing. At the same time the website will be refreshed in the same way. Feedback is welcomed.
The packages are as yet unnamed, I may put my nerd hat on and name them after the periodic table, or I may make names up, or go with silver, gold, marsupial, platinum, or even just I, II, III. At first these are simply going to be based on requests I have gotten on the phone or via e-mail and so have already worked up estimated pricing for. For instance an in-home session with 1 11×14 and 1 8×10 is already $100 since the print credit covers both of those. Yesterday I worked out that a 1 hour newborn session with 1 11×14, 3 8×10, 2 5×7, and 6 4×6 was about $150. I have to differentiate between the in-home pricing and the studio pricing. Right now both are the same, but that is changing soon there may be two separate price lists or there may be package price + surcharge.
All in all I am somewhat saddened that in some ways I see this as an end to my a la carte pricing experiment, but I look forward to working with our clients to bring forth high quality photography at reasonable package prices.
Tags: packages, photography, pricing
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