This post kicks off a series of tips and techniques from Digitizing Your Photos. These posts will focus on a particular technique from the multimedia eBook, and include one of the videos from the book.
It’s common for vintage prints to exhibit Silver Mirroring (or Silvering). The reflections caused by residual silver can obscure the shadow detail in the print. Fortunately, it’s easy to remove the mirroring in the copy photo through the use of simple cross-polarization. This video shows how to cross-polarize and what the effect looks like.
This video appears on page 48 of Digitizing Your Photos with Your Camera and Lightroom.
The book is written for professional photographers, family historians, corporate collection managers, and cultural heritage institutions. We know that great collections of slides, prints and negatives are everywhere, and we want to help preserve and make use of them.
The book runs for 248 pages, and includes 90 workflow videos for a total of 9 hours of comprehensive instruction.
Here’s the first video from the book, which outlines the entire process.
Once again it was a great festival: fun, exhausting, and thought-provoking.
Our talk, Adding Meaning and Context to Visual Media was a packed house, turning people away at the door. As with previous years, one of the main values to me was the time spent refining the presentation, and distilling the ideas to a logical sequence in digestible form. I’ll do a blog post hitting the main points, and I’m hoping to give the talk again with my fellow panelists, Anna Dickson and Ramesh Jain. Sell-out crowd, with line out the door at our SXSW talk this year.
This year, I spent a lot of time learning about Artificial Intelligence, and came away with a lot more clarity about what AI is, how it is being developed, and how to take advantage of it. I also saw some of the ways AI-based assistants are shaking up the world of computing. I believe that Google home, Amazon Echo, Siri, and Facebook Messenger are actually racing to become the new dominant operating system. Natural Language Processing and Conversational UI will be the way we interact with computers in the future. The way this shakes out will be really important. I’ll have a post on that as well.
Photography (in all its many forms) continued to be a major component of what I saw at SXSW. This ranged from “traditional” photography, like Cory Richard’s keynote, to photography as advocacy in Aaron Huey’s work, to Casey Niestat’s new network, and on to the VR exhibits. Ron Haviv and Lauren Walsh spoke about the democratization of archives and the Lost Rolls project.
I was inspired talking to Aaron Huey about his advocacy efforts.
The National Geographic made a pretty big splash at the festival, with a 5 day installation in Vulcan Gas Company restaurant on 6th St. They brought in a great set of speaker presentations, and the event was attended by both Declan Moore, the CEO of National Geographic Partners (the media company) and Gary Knell, CEO of the National Geographic Society (the non-profit side of the organization). I believe that this was the first SXSW for both of them, and they seemed to be really energized by the festival. Gary also led a presentation about National Geographic’s Emerging Explorers program.
Gary Knell and Declan Moore address the crowd at NatGeo Further Base Camp.
PhotoShelter sent down an exploratory contingent, including CEO Andrew Fingerman, founder Grover Sanchagrin, and Content Marketing Manager Deborah Block. I hope to see an even greater presence next year, now that they have been able to see the opportunities it presents.
Andrew Fingerman talks with Amy Bailett of Killer Infographics about the changing nature of visual communication.
Of course, there was also great music, and again this year I got a small taste of it on my way out the door. One year, I’d love to stick around for the last 5 days of the festival and take advantage of that platinum badge. But, honestly, I’m just so exhausted from the Interactive festival that it’s hard to imagine spending even more time fighting crowds.
Some jazz band I stumbled across at 2am, that was just amazing…
I’ll make some further posts that outline some of my findings, starting with one about AI.
As I tell all my photo and tech people, I continue to think that SXSW is one of the most important events that anyone in media can attend. Media is inherently driven by the technology that enables it. Even more important, I believe it’s really beneficial to understand how technology, content, and business models intersect. I think SXSW is one of the best places on earth to see what’s coming down the road.
I have the pleasure of interviewing photographer Aaron Huey at the as part of the NatGeo Further base camp at SXSW tomorrow (Saturday March 11, 2017). Aaron is known for his passionate photography, and his ability to leverage his work to raise awareness and funds for causes he believes in. We’ll discuss how he walks the line between non-partisan journalism and advocacy.
Aaron worked with Shepard Fairey to create the We the People campaign.
Join us on 6th St. at the Vulcan Gas Company from 6:00 to 7:00 pm. Oh, open bar and free food too.
Inquiring readers are asking, “What’s up with The DAM Book 3?” Wasn’t that supposed to be published by the end of 2016? As John Lennon famously sang (borrowing a phrase), Life is what happens to you while you’re busy making other plans. In the case of 2016, family obligations once again took me in an unexpected direction. We had some significant health challenges (that seem to be successfully met) as well as some other significant family milestones.
One of those milestones has reprioritized my writing schedule. We moved my dad out of his house of 55 years, and this has left me in possession of a massive family photo archive to manage. There are tens of thousands of photos in all formats – from daguerreotypes to glass plates, to vintage and modern prints, many thousands of slides, negatives, framed prints, scrapbooks and more. There are more than 10,000 images sitting on this cart, and that’s just a part of the archive.
There is some real urgency here. First, I need to get this stuff sorted and put away so I get my studio back. But more importantly, I need to get my dad to help me tag these images. He’s the only one left who can identify a large percentage of the people shown. Here is a small selection of the framed prints we copied.
A new DAM Book Guide
Working with my daughter Josie, we’ve been able to sort, triage, digitize, annotate and curate a growing share of this collection. And we’re making a book from the experience, Digitizing your Photos. It’s a multimedia volume that will give you a step-by-step cookbook for managing this entire process, using a digital camera to scan and Lightroom to control the optimization and management.
We expect to be shipping digital versions in April. The manuscript is essentially complete and I’m currently shooting photos and videos. I’m really pleased with the results of our scanning and with the comprehensiveness and clarity of the book. Stay tuned for more info as release nears.
Okay, so what about The DAM Book 3?
Our plan is to make 2017 the year of the book. I’m fully committed to getting TDB3 out the door this year (along with one other book as well). The DAM Book is a lynchpin to our entire publishing effort, and I feel a deep commitment to modernizing it. So, yes, barring some other curveball, I’m looking forward to pick it back up well before the solstice.
For the 5th year, I’m headed down to SXSW Interactive. Since my first visit, I’ve been convinced that the future of visual media can be seen here, as it is making its way from idea, through doomed startup, successful startup, into the marketplace, and on to reiteration.
There’s no doubt that visual communication – journalism or entertainment – is highly dependent on the new platforms, business models, and distribution channels that are technology-driven. SXSW is the speed-dating phantasmagoria of media tech. If you want to see where media will be in 2, 5 or 10 years, there’s no better place to see it than at SXSW.
And it’s becoming obvious that tech companies are increasingly dependent on visual imagery for core capability. Photographic communication, writ large, is perfectly suited to the mobile era, with onboard cameras, beautiful screens, and a premium placed on jamming lots of attention-grabbing information into a 2×4 inch space. In recent years, visual storytelling and visual media have been a constant thread through much of the programming.
This year, we see some real love given directly to photography at SXSW. National Geographic photographer Cory Richards is a keynote speaker, and graces the cover of the SXSW magazine. NatGeo will have a Further Base Camp at the Vulcan Gas Company on 6th St.
I’ll be interviewing the amazing Aaron Huey at Further on Saturday at 6pm, discussing how he balances authenticity and passion vs. risk and vulnerability in his life and work. I’m so impressed with the way he has leveraged great photojournalism into awareness, advocacy, fundraising and cultural impact. Seriously, this guy is a poster child for visual creators owning their media stack and putting it in service for the things they believe in.
(Technically, being on stage at the NatGeo venue means I’m sharing the bill with Ron Howard, Brian Grazer, Ridley Scott, Neil deGrasse Tyson, Jason Silva, Cory Richards, Steven Kolter, David Guttenfelder and Aaron Huey.)
In a little more than a week, I’ll be headed to SXSW for the fifth year in a row. I’ll be speaking again this year, discussing how to programmatically add meaning to photos and other visual media (more on that later). I will have the pleasure of sharing the stage with Anna Dickson from Google and Ramesh Jain, professor of Information and Computer Science at UC Irvine. 2016 SXSW presentation with Dennis Keeley
Anna and I have been talking about these issues for years, ever since we met at the Palm Springs Photo Festival in 2013. We’v been on stage together a number of times, and it’s always an entertaining and enlightening discussion with her. Anna’s current work at Google is centered on deriving a deeper level of context about photographs through computer vision, linked data and more.
I met Ramesh at the LDV Vision Summit last year, and we immediately hit is off with a shared interest in pushing computer vision beyond simple recognition of objects and into the complex realm of meaning. He’s working with his grad students on the creation of a data model describing an Internet of Events which can describe and link geotemporal events. He’s a brilliant guy, and coincidentally was Thomas Knoll‘s professor at the University of Michigan when he wrote the first version of Photoshop. What goes around, comes around.
In our presentation, we’ll be examining how to think beyond what can simply be added by computer vision and analysis. How does the intent of the user get factored in? How can you use external data to understand visual media objects, and how can visual media – as the carrier of rich data – help to better build out an understanding of real world events.
Thanks to Photoshelter for helping to make this possible. I’m really excited that our CEO Andrew Fingerman will be attending.
I’m headed out to Austin for SXSW again (now, with more Obama.) This year, I’ll be presenting with Dennis Keeley, the Photography chair at Art Center in Pasadena. I first met Dennis at the Palm Springs Photo Festival faculty dinner, and we quickly found out we have a lot of common interests.
The Faculty dinner at PSPF – I met 2 people I’ve brought to SXSW here.
Dennis is intensely interested in the future of imaging and visual communication. We found that we see these opportunities in some very similar ways. The conversation that started 4 years ago has continued as each of us has pursued this future in different ways. I’m delighted that we can take this time to make this conversation public.
Here is a description of our program. I’ll work on expanding on some of these topics, and we’re hoping to have a recording of the program available.
If you’re going to be in Austin, and can come by the Hilton Friday at 3:45, I’d love to say hello. If you’re in town but can’t make the program, I’ll be around until Tuesday evening.
As the need to visually communicate explodes, organizations of all shapes and sizes face the need for a new kind of staff, new tools and more nimble mindsets. This goes far beyond an Instagram account manager, or a person who works in IT. It looks into the heart of an organization’s mission, brand, legacy and value. But in most cases, the approach to visual narrative is ad hoc, at best.
Solving this problem will require an integrated approach that is grounded in education, technology, business needs, and an understanding of visual semiotics. Dennis Keeley has been addressing this from the education side, while Peter Krogh has been working on technical development. They will discuss the new role of the professional visual strategist and the opportunities it presents… as well as what education, skills and experience will be needed.
I’m headed out again to the wonderful Palm Springs Photo Festival. This is my sixth year as a seminar teacher. And each year, I find it one of the best places to connect with people in the photographic industry. And even more important, it’s a great place to connect with photography itself.
Festival diretor Jeff Dunas manages to bring an amazing line-up of photographers, picture editors, and thought leaders together. (Check the list out below!) It’s both laid back, and really engaging. A place to recharge and get inspired.
I’ll be doing two seminars. In my Wednesday Lightroom program, I’ll be showing some of the great new features from Lightroom CC. On Thursday and Friday I’ll be presenting a more general DAM program that includes a lot of new material. I’ll be talking about what’s new, and in particular, how to integrate cloud services into your workflow.
Here’s the faculty list for 2015. This includes people running workshops and Seminars, participating in Symposia, or doing portfolio reviews. It’s a very impressive list
The PSPF 2015 FACULTY
William Allard, Photographer, Author
Daniela Agnelli, Telegraph Magazine, UK
Genaro Arroyo, Market Specialist
Gordon Baldwin, Independent Curator
Anthony Bannon, Executive Director & Research Professor, Burchfield Penny Art Center
Susan Baraz, International Director of Photography, At Edge
Suzee Barrabee, Director of Art and Print Production, Goodby, Silverstein & Partners
Ron Beinner, Senior Photography Producer, Vanity Fair
Sherrie Berger, Photography Consultant, Sherrie Berger Consultancy
Kraige Block, Gallery Director, Throckmorton Fine Art Gallery
Peter Bohler, Photographer
Victoria Brynner, Director, Stardust Visions
Dana Buhl, Curatorial Coordinator, Scottsdale Museum of Contemporary Art
Bonnie Butler Brown, Producer/Sr Art Buyer
Marianne Campbell, Director, Marianne Campbell Associates
Keith Carter, Photographer, Author
Jerry Courvoisier, Photographer / Author
Anna Dickson, Photography Editor
Crista Dix, Director, Wall Space Gallery
McNair Evans, Photographer
David Fahey, Gallery Director, Fahey Klein Gallery, Los Angeles
Deborah Fleming Caffery, Photographer
Mary Fletcher, Photo Editor, Teen Vogue
Taj Forer, Editor, Daylight Magazine
Jeff Frost, Photographer
Susan Getzendanner, Photo Editor, Dwell Magazine
Sonja Gill, Senior Associate Photo Editor, US Weekly
Valerie-Anne Giscard d Estaing, Director, Creative & Editorial, Fine Photographs LLC
Tim Griffith, Photographer
Marta Hallett, President & CEO, Glitterati, Inc.
Jolene Hanson, Director, G2 Gallery
Jillian Harris, Associate Creative Director, Fly Communications Inc.
Ron Haviv, Photographer
Stephanie Heimann, Photo Editor, Fovea Exhibitions
Charlie Hess, Creative Director, Chess Design
Maiza Hixson, Chief Curator, Delaware Center for the Contemporary Arts
Mac Holbert, Co-Founder, Image Collective
Charlie Holland, Consultant
Holly Hughes, Editor, Editor, Photo District News
Peter Hurley, Photographer
Michael Itkoff, Founder, Daylight Magazine
Rupert Jenkins, Executive Director, Colorado Photographic Art Center
Dennis Keeley, Chair of Photography & Imaging, Acuity Press
John Kenney, Owner, JK AND Artist Management
Jennifer Kilberg, Creative Consultant, Fluidvision, Inc.
George Kinghorn, Director & Curator, University of Maine Museum of Art
Laurie Kratochvil, Consultant, Nomad Editions
Peter Krogh, Photographer, Digital Asset Management Guru
Vincent Laforet, Photographer, Filmmaker
Sarah Laird, Agent/Owner, Sarah Laird, Inc.
Jennifer Lamping, Art Producer, Saatchi & Saatchi LA
Patricia Lanza, Director of Talent & Content, The Annenberg Space for Photography
Carol LeFlufy, President, Eye Forward
Emily Leonardo, Senior Agent, Stockland Martel
Leah Levine, Commercial Photography Rep, L2 Agency
Gina Liberto, Photo Editor, New York Times
Karmen Lizzul, Creative Director, Family Circle
Ben Lowy, Photographer
Mary Ellen Mark, Photographer, Author
Karen Marks, Director, Howard Greenberg Gallery
Lisa Matthews, Director of Art Production, Team One Advertising
Michelle Dunn Marsh, Executive Director, Photographic Center NW, Minor Matters Books
Rana Matar, Photographer / Author
Laura McClintock, Assistant Photo Editor, Marie Claire
Shannon McMillan, Senior Art Producer, GSD&M
Karen Meenaghan, Senior Art Producer, Digitas Inc.
Kevin R. Miller, Director, Southeast Museum of Photography
Andrea Modica, Photographer, Author
Robert Morton, President, Robert Morton Books
Janice Moses, Founder / Agent, Janice Moses Represents
David Muench, Photographer / Author
Mark Murrmann, Photo Editor, Mother Jones Magazine
Frank W. Ockenfels 3, Photographer / Educator / Author
Lisa Oropallo, VP/Director of Art Production, 76
Chris Pichler, Publisher, Nazraeli Press
Alex Ramos, Leica Gallery SF
Jodi Rappaport, Director, The Rappaport Agency
Chris Reed, Copyright Lawyer
Renee Rhyner, Owner, Renee Rhyner & Co.
Sari Rowe, Art Buying Supervisor, Rubin Postaer & Associates (RPA)
Alice Sachs Zimet, President, Arts + Business Partners LLC
Dana Salvo, Director, Clark Gallery
Deborah Sandidge, Photographer, Author
Barry Schwartz, Photographer
Sarah Silberg, Wired Magazine
Mark Seliger, Photographer, Author
Karen Sinsheimer, Curator of Photography, Santa Barbara Museum of Art
Monica Siwiec, Photo Editor, Real Simple
Michelle Stark, Photo Editor, The Hollywood Reporter
Amanda Sosa Stone, Creative Consultant, Agency Access
Art Streiber, Photographer
Jock Sturges, Photographer, Author
Elisabeth Sunday, Photographer / Author
Mary Virginia Swanson, Consultant/Educator/Author
Lena Tabori, Founder, Welcome Enterprises
Barbara Tannenbaum, Curator, Cleveland Museum of Art
Lisa Volpe, Curator Wichita Art Museum
Judy Walgren, Director of Photography, San Francisco Chronicle
Rex Weiner, Market Specailist, A&I Photographic And Digital Services
Colin Westerbeck, Curator, Independent Curator
Ross Whitaker, President, RW Studio Inc.
Matika Wilbur, Photographer
Dan Winters, Photographer / Author
Tracey Woods, Associate Photo Editor, Essence Magazine
Kenneth Zane, Senior Art Producer, Leo Burnett Agency
Once again, it’s World Backup Day! While it’s not as fun as Talk Like a Pirate Day, it’s arguably more important. All of us have important digital stuff that we’d hate to lose. So if the lack of a solid backup plan is something that’s bothering you (even a little), take the opportunity to do something about it. Here are some suggestions.
Send in the Clones
If all your stuff can fit on one single hard drive, then you’re in luck. You can make a clone of your drive. A clone is simply a copy of the drive, written out to another hard drive. It’s really useful if your hard drive crashes. And a clone that lives in a separate place from your laptop will give you protection in the event of loss, damage or theft of the computer.
Clones are easy to make, and offer a high level of protection (as long as you update them regularly). I think of a clone as a disaster-recovery backup. As someone who really values my data, I like to keep an extra clone stored offsite, in case there is a fire or theft that destroys both my laptop and my main clone.
I’ve been using this nice little WD My Passport Air for my clone, it’s small, light and durable. It also has built-in encryption so your stuff is protected even if the drive is lost.
While I think everyone needs a clone for fast recovery, I’m also a big fan of Backblaze for continuous off-site backup. It’s a real set-it-and-forget-it system. It costs $50/year per computer to make a duplicate of your entire computer up to the cloud. This protects against the threat of total loss of onsite data, as well as any files that have not been backed up to offsite storage.
Backblaze is particularly valuable for family members or other who are not vigilant about backing up their stuff. I set up both my daughters before they went off to college, and, wouldn’t you know it, one of them dumped a pitcher of water on the keyboard of her laptop during freshman year.
Note that Backblaze is not really designed for large image libraries that many photographers have.
PhotoShelter or other web service
You can also use a photo-oriented service for backup. If you are a PhotoShelter customer and you use Lightroom, you can automatically publish images to the cloud. I have mine set to publish high quality JPEGs from all 4 and 5 star photos.
Lightroom’s Publish Services can be used to backup images to the cloud mostly automatically. This can provide a current JPEG (or original file) backup that is updated as new files are added to the catalog.
If you have a lot of data like photos and videos, you might want to get some big drives for backup. WD is now shipping 6 TB drives that are about $250. That’s a heck of a lot of data in a small package at a reasonable price. There’s no excuse not to keep those photos backed up.
(Back them up twice if possible – once on-site, and once off-site, for a total of 3 copies.
Here’s a really economical way to backup files. Get a bare drive and a “toaster”. You don’t want to use the toaster for everyday use, but they are great for backup.
Don’t let Perfect be the enemy of Good
It’s easy to be overwhelmed by all the considerations that go into a perfect backup system. So don’t try to be perfect, try to be better. If you don’t have a clone, get one. If you travel a lot, then online backup may be a good addition. And if you have only onsite backup, consider adding an off-site.
Each time you make an improvement to the system, you add more protection, and reduce the chance that you’ll lose important data.
I’ve recently been working a bit with the folks at WD. They have sent me some equipment to evaluate, and they sponsored my last talk at PhotoPlus Expo. And a few weeks ago I went to a Product Summit in Laguna Beach. I still have to buy most of my own hard drives, and I’ll typically buy WD when I’m spending my own money.
I have also been working with PhotoShelter to create a new service for people who buy photographs. Again, I’m working with a company I really believe in, because I really believe in them.