Pages

2017/12/01

Backup (It is not the same as going in reverse)


I heard a long time ago that there are two types of photographers.  Those who have lost thousands of images when a hard drive fails, and those who are going to lose thousands of images when their hard drive fails.  Hard drives fail. They have moving parts. Even Solid state drives fail eventually.  Your photos are your legacy. Don't throw them away.

In 2000 the newspaper I worked for made the switch to digital. That meant hundreds or even thousands of photos a week being placed on electronic media. I kept copies of my images for my portfolio and just to have a backup. The newspaper did not have an archiving system in place at that time to handle the volume of images we shot, so I kept a copy myself.  That went from floppy disks to CDs to 100 and 250MB Zip disks to DVDs and then to large capacity external Hard drives.  Over the years I have accumulated a library of more than 750,000 images.  And it was chaos.

I bought a 5TB Seagate external hard drive and spent a considerable amount of time transferring everything from other media onto that large drive.  I also was putting new images onto it. I would occasionally get time to sort a few weeks worth of images, deleting a lot of old mug shorts and car ad photos, bad sports images and more.  The plan was to clean up the entire drive, delete the duplicates (because of the move from small media to larger I had lots of duplicate images to get rid of) and when I had the catalog cleaned up copy the cleaned archive to another 2TB drive I have.

It was taking me a long time.  But still I stuck with that idea. Clean up the catalog, then make the copy.

The week before Thanksgiving I had the drive on my desk in my classroom so I could find some file photos on it to show to students during class.  The drive was on a stack of papers.  You already know where this is going....  A students asked for an old assignment sheet, which was in that stack.  I dug through the stack and in the middle of digging the drive slid off the back of my desk and onto the floor.  I still had not made the cleaned up copy.

I unplugged the drive, placed it inside the desk and let it sit for a few hours. I finally got the courage to plug it back in.  There was power, and Windows saw the drive - but as an unformatted local drive. All of my approximately 750k images were now missing.  I tried to run data recovery software. No luck. I tried chkdsk.exe and the computer saw the partition and format, but couldn't restore it.  I tried to reformat the drive so I could then do a photo recovery. The reformat wouldn't work.

I have a lot of the old images still on the smaller drives and even on DVDs.  But from mid-2014 to early 2017 the only place I had the original files was on that drive.  Some images are stored on Flickr, but they are smaller sized. Some are on my web site for clients to order and view, but they are also generally under 2400 pixels.  The missing originals included two weddings and three years of graduation ceremonies for my high school.  I could live without some of the personal images, landscapes and so on, but the wedding photos I need back.

I did some hunting and decided to send the drive to Seagate for data recovery.  For $50 they were willing to analyze the drive (part of that cost included prepaid shipping from them - so not horribly expensive).  If they could not retrieve data from the drive there was no further cost.

If they can recover the data they have flat fees. Plug in the drive information, serial number and they generate a no-haggle price.  My drive was 5TB so the fee was pretty high: $600 for the data to be made available for cloud download, or $700 to have the data transferred onto a new drive and shipped back.  

The email I got on Tuesday was bittersweet.  They recovered my data (though there is probably some loss due to physical damage to the drive, so I am not sure how much I will get back). They also are billing me for the remainder of the fee. Ouch.

I have been cheap about my images. I'll admit it.  Not being a full time shooter and being a high school teacher I have limited funds and did not want to cough up money for redundant drives and cloud storage.  I use OneDrive for 1TB of cloud storage, I use Flickr for my iPhone images, and I put medium resolution images of some of my sports images up on my personal website.  It is piecemeal and not even close to a system.

Over Thanksgiving break I bought a 6TB desktop drive and a 4TB portable drive.  Regardless of the success of the data retrieval I am going to have a minimum of two copies of my archives.  Then the new drive coming back from Seagate will be a third copy.  My cloud storage services have now been expanded to include 200gb of storage on iCloud, and I see that Shutterfly labs allows customers virtually unlimited uploads and storage.  I also am gong to be taking advantage of the Amazon Prime feature of cloud storage.  

Take the time to create a D.A.M. plan. (Digital Asset Management).

If a drive ever crashes to the floor again I want to simply be out the cost of the drive, not several hundred dollars for data recovery that may or may not be able to retrieve everything.


2017/05/10

Learning Patience like Garry Winogrand

"You make better choices if you approach your contact sheets cold, separating the editing from the picture taking as much as possible."  -- Garry Winogrand

Photo: Garry Winogrand


Back in my undergraduate days at the University of Minnesota I heard about Garry Winogrand and for some reason never really paid attention to his work. I just knew of him as the eccentric guy who shot thousands of rolls of film and never developed them.  This was of course before the internet and before ease of access to information and photographs by and about people.  I was more interested in learning about Walter Iooss Jr. and Eddie Adams. After all I was a journalism major and art was only my minor.

Things have changed and as I have moved further away from the journalism world my focus has shifted to personal work and more artistic styles. Recently I came across an article by street photographer Eric Kim, titled "10 Things Garry Winogrand Can Teach You About Street Photography". In this lengthy article I found that I had missed something important by dismissing Winogrand's work.  

So what did I miss?  After all, wasn't he merely some eccentric with millions of photos and wild ideas about never looking at his own work? He died with more than 2,500 rolls of undeveloped film and another 6,500 rolls developed but never proofed. Why would anybody shoot pictures and never look at them?

He was waiting for the right moment. His ideas about waiting to review your work make sense. He was trying as best he could to remove his personal emotional attachment from an image before he decided if it was good or bad.  If you go to a concert and you have a lot of fun with your friends and you grab a quick snapshot with your phone and rush to share it, are you sharing it with everybody because it is a great photo, or just because it is a moment that you are enjoying and that happiness of the moment makes you feel the photo is good and worth sharing?  Winogrand understood this idea. He would wait months to look at his film, trying to let as much time pass as he could so that the specific events of that day and how he was feeling were not an issue when he edited through his work.

He was from the film age. You did not have the instant gratification of a digital screen to immediately view the images back then. It was a chore to get the images from potential nothings on a chemical coated strip of plastic to a realized photograph.  Would he work the same way today in the age of Snapchat and Instagram?  Would he use thick strips of gaffer's tape across the back of his LCD screen on his digital camera? Would he wait months or even years to share an image?  What would his Instagram feed look like?  

Regardless of his tools I would say he would still be waiting, trying to discern the right time to look at a photograph before deciding if it was good enough.

We have so much instant gratification in our frenzied lives today. Movies on demand, next day (and even same day) delivery, 24-hour news. When was the last time you slowed down though?  When did you live with an image you shot and digested it fully before deciding it was the one you really wanted to be out in the world telling the story you wanted to tell?  

Personally, I got sucked into the trap of editing in a hurry when I worked for the newspaper world. Soup the film, dry it in the film can with a blow drier so it could be done fast, rip through the rolls with a lupe on the light table, then scan the selected frame, type the caption and go on to the next thing. When we went to digital cameras in 2000 it got even faster. I never made contact prints for the newspapers after I left The Minnesota Daily. Just learned to edit from the negatives.  

Now it is years later and I ave overfull external hard-drives with more than 200,000 images. Images I know I will never need.  Images of used cars for car ads, out of focus sports images, fifteen similar shots of a large group, trying to get one good frame where nobody blinked.  I do not want to simply hit the delete button on everything.  Some of the images are interesting to me still.  Some are worth keeping.  So I have been picking away in spurts at these folders full of photo, sorted by month and year.  What Winogrand was doing makes sense. Not in a sense that works economically - to get paid for the photos the printers needed them that day - but his idea makes sense that time weakens that emotional attachment to the image.  I pull up a folder of images onto my screen and instantly I start seeing good and bad images.  At the same time there are often questions in my head: Where did I shoot that? What was the story? And the big one - is this worth keeping? 

Sometimes as I sort through these images I find things I have absolutely no recollection of having taken.  a few times it turns out I did not.  Working with other staff photographers I on a few occasions ended up with other people's images in my archives. It is interesting to go through the work and find myself that neutral about the image.  I am no longer excited about the image because the person was nice or rude, I am no longer looking at the images with the viewpoint of having had a fight with a editor that day or feeling good from a great bike ride.  

Sometimes it is a good thing to walk away from your work and let it sit. 

2017/01/21

Shooting High School Basketbll is always an Adventure

Being a photographer is not always easy or glamorous. There are many challenges, especially at events like high school sports.  The cameras have gotten automated and can do a lot of the work, but there is still a lot of problem solving to do.

Poor lighting is common. Schools have limited budgets and they don't have a way to put in TV quality lighting. They often use mercury vapor lights for their venues.  To overcome that I used to set up remote flash units off to the sides of the gym.  Some venues are restricting the use of flash (even though the National High School Federation and the New Mexico Activities Association (p.9, section D) say that remote flash is allowed). To combat that photographers are having to buy very expensive cameras and lenses that can shoot at 6400 ISO or higher. Last night I was at ISO 10,000.

The next issue with lighting is that these mercury vapor lights are not daylight color balanced.  They give off a very warm (yellow) light that does not look good.  Auto white balance usually does not go far enough. To handle the color issues it is best to manually set your white balance, either shooting RAW and using a grey card, then setting white balance in Lightroom, or by trying different manual settings and getting close.  The Miyamura gym color balance looks acceptable around around 2400 degrees Kelvin.

Another issue with the poor lighting is that it can adversely affect your camera's ability to auto-focus.  AF systems work by looking for contrast.  When the light is low it is harder for the system to tell where edges are and lock in the focus.  This means missed shots. It happens. Cameras have come a long way in recent years, but like Mr. Scott, the camera makers cannot change the laws of physics.

Now that the technicals are out of the way it is time to find a place to shoot the pictures from.  The best photos come from getting as close to the action as you can.  Robert Capa is famous for his quote "If your pictures aren't good enough, you're not close enough."

The best photos for basketball usually come from the floor. You want to see player's faces, so the baselines are the best options, where you can see the players coming at you.  The baseline comes with issues though.  If the players get too close to the baseline they are often not in the light anymore and their faces are in shadow.

Of course there is always the roving referee who happens to get between you and the action at just the right moment.  If they have a three-person crew you can watch and see where the ref on the baseline likes to stand, to the left or to the right of the basket, then you can sit on the other side and reduce the number of times it happens.

The baseline can be a very crowded place.
Now things got even harder.  This season the NMAA has apparently instituted a new rule that photographers are no longer allowed to be under the basket - even if not using flash. (I am still trying to locate where this new rule is - if you know where it is posted please let me know) It is a safety thing as a player might run into them and get hurt.   However they have not done anything to keep the players safe from collisions with cheerleaders.

The cheerleaders have a tendency to stand right up at the baseline, leaving no place for fast running players to go if the action goes out of bounds. It also leaves no place for working media to be able to do their jobs.

When it comes to basketball games, smaller gyms and big crowds can be noisy. Do yourself a favor and bring some earplugs.  Yelling fans, blowing whistles, cheering cheerleaders, warm-up music over the PA-system and the school's pep bands all mix together to make for some pretty awful conditions for your hearing.

Try to work around the limitations and get the best images possible in the situation.  Schools aren't going to suddenly drop a heap of money on new lights just for a few photographers, referees are still going to run in the way at just the precise moment, and cheerleaders will keep standing on the sidelines trying to get the fans pumped up and excited.

There are always challenges when photographing events - there are always variables that the photographer can't control. If it was easy everybody would do it.









2017/01/20

Miyamura defeats Gallup - for the first time ever

It was an unusual day. Snow and icy roads had officials close school today. They still decided that the girls basketball game could still go on, since both teams are in town.  Because more snow is expected and because students were not in school they moved the start times up an hour and the varsity game started a few minutes after 6 p.m.


#34 - Tonya Tolino

Both teams got off to a slow start, with the first points not coming until Tonya Tolino (34) made this basket (below) with the clock showing 4:44 remaining in the first quarter.  (Seethe scoreboard in the background).


The game was tied several times, but in the fourth quarter the Lady Patriots pulled ahead and won 62-47.  IT is the first time Miyamura's girls have ever defeated the Gallup Bengals.

#23 - Dana Barber

#14 - Lauryn Thomas
#32 - Katianna Toledo


#12 - Phrankie Pawlowski

#5 - Hannah Murphy (C)