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Have you ever seen an image called IMG_0235? Do you have any idea what’s in that image file? All I know for sure, is that the file before was called IMG_0234. “Why should I care?” you ask “Don’t you know that the icon of the image is right by the file?”
Honestly, when I got into digital photography my files were names IMG_0236. Then I read Peter Krough’s The DAM book (that stands for Digital Asset Management by the way), where he suggests to change that camera given filename to something better. His suggestion is simple: name-date-identifier-image_sequence_number.
Every single one of my filenames look like this: depuhl-150915-15ABC01-0236. The date format is year-month-day, so that when you sort a bunch of images they are in consecutive order when sorted by name. Looking at any filename allows me to know, when I created the photograph it, which year the clients project started, what client I created it for and which job that was for this specific client. [All of the later information is in my job number 15 the year the project started ABC an abbreviation of the clients name and 01 the first job I’ve shot for this client. BTW that job number is in every estimate, invoice, production book, as well as being the reference number my crew puts on their invoices and receipts.]
Sounds like a lot of work? Really it’s not. When I shoot tethered, my RAW image processor Capture One does all the naming for me automatically and when I shoot to a card (photos or video) the first thing after importing the card to the image/video folder is that I run all files through a little app called ‘Name Mangler’ replacing IMG_ with depuhl-150915-15ABC01- automatically (notice I leave the image sequence number after the underscore alone – I do want to keep that). The second thing I do is to back up all those RAW files to my backup server – but that’s another story for another blog post.
Is it changing the name really worth the extra time it takes? Let’s find out.
That’s a great start and many of today’s camera allow you to customize the filename to a certain extent – oh, before I forget, while you are in that menu setting up your filename make sure to add your copyright information in camera as well (If you don’t know how to change your copyright info in camera read this blog post)- however Canon limits you to a 4 alphanumeric characters plus 4 numbers in their newer cameras and your name must be in your naming convention – I just can’t get the 6 letters in depuhl to fit into 4 spaces.
“I know I took that photo, why waste valuable space in the filename and add my name. I mean my client knows it came from me.” you may think. “Isn’t that a waste of time?” You have to think a little more long-term than that. Here’s what happened to me yesterday.
First I notice that someone from a very large multi-national company I worked with a few years ago, viewed my LinkedIn profile. In these large B2B companies art directors come and go, so I was not surprise that I did not recognize the name.
A few minutes later I get a request to connect on LinkedIn. “I’m interested in talking to you about possibly doing some photos for us again at …” (I’m not gonna tell you who the company is, but my abbreviation for them is MSS). “Would you have time to talk today or tomorrow?” This is a Fortune 100 company, which means that the person contacting me today was not working there 2 years ago, when I photographed for them the last time. She definitely wasn’t an employee in 2010 when I photographed the image that led her to my LinkedIn page.
I don’t know how many art directors have worked there between the first one I worked for with for this brand and the one who contacted me yesterday (I know there where at least three), probably more. Do you want to rely on your name getting passed down through multiple art directors – many of them come with their own stable of photographers? And how are you going to keep track of new people working in large companies all the time – that’s not easy either. You think my name got handed down to the new AD? Not a chance, so how does one make sure, that a new employee of an old client finds you? Well, I’m glad you asked …
05:30 am It’s pitch black as I’m pulling into the beach on the day of our shoot. Today is the day when everything comes together. All the planning, scouting, casting and preparation are done. Talent, crew and client are coming together for the first time to create some great photos.
I huddle together with my assistants, as we go over today’s game plan – how we’re lighting this job; what their responsibilities are and what I expect from my crew. Make-up is there working on the first models hair and face, outfits have been decided on and we’re getting ready to get to the beach before sunrise.
06:15 am Everybody is on the beach. 16 minutes to sunrise. Chompin’ at the bit – still to dark.
06:31 am Sunrise. The athletes that are modeling for us do a couple practice runs. Exact spot is picked. Now it’s just waiting for the sun to climb a little bit higher. Tides on it’s way in, working against us – but the sky is crisp and perfect. Perfection happens when everything culminates.
06:42 am Ok, to be precise and according to the camera’s timestamp, 50 seconds after that, this happens:
Everything clicks (well of course the camera does), but so do all the other elements. The sun paints the sky, the tide is just right, the runner flies down the beach, product is facing the camera, in perfect stride and the client is thrilled. Perfection.
Traveling with gear is not only tough on your gear, but can get very expensive–especially when you’re flying. Airlines charge fees for checked bags already and those fees can get very steep even for a regular passenger. They can easily add up to more than your ticket price, once you add a few hundred pounds of gear.
An overweight or oversize bag can cost $600.- per flight and that adds up quickly. I’ll show you how to significantly save a few hundred bucks and cut that cost (by over 90% ) on every flight you take from now on.Continue reading