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We will repeat the same Export steps for JPGs (or whatever type of
le you may need for the job).
EXPORTING JPEGs: The following specs are for jpg les for the
copyright o ce. We send small jpg and not high-resolution les
because there have been cases of theft at the copyright o ce
since it is a public place.
1. All the images are selected in the Library Grid Mode.
2. Choose Export. The Export dialog box will pop up.
3. Change the subfolder name to 20080616_indiancreek_jpg.
4. Under File Naming Template, keep Filename.
5. Under File Settings: Format will be JPG. Quality is 80. Color
Space sRGB.
6. Under Image Sizing: Check Resize to Fit and drop down to
Width and Height. Width is 600 and height is 600 pixels.
Resolution is 72 pixels per inch.
7. Output Sharpening: Check Sharpen For Screen. Amount
Standard. Sharpening is not critical for the copyright o ce, but
if we are going to the extent to produce these les, we might
as well sharpen them for screen use.
8. Metadata: Choose Write Keywords as Lightroom Hierarchy.
9. Post-Processing: After Export, click on Do nothing.
10. Click on Export. Your RAW les will be converted to JPGs and
wind up in a JPG subfolder of the job folder in your job folder
hard drive ( Figure 13.29 ).
EXPORTING TIFs FOR THE CLIENT: We are delivering these TIFFs
in ColorMatch RGB. Ideally we would deliver in CMYK for print use,
but we only deliver in CMYK if we get complete cooperation from
the client. When we deliver in RGB, we like to deliver in ColorMatch
RGB because it is very close to CMYK. Delivering in Adobe98 is like
saying ‘ See all of this color, well you can’t have it. ’ When delivering
in ColorMatch, the client can see and have all of the color.
1. We select the four images our client chose in the Library Grid
Mode.
2. Click on Export.
3. The Export dialog box will pop up. Change the subfolder name
to 20080616_indiancreek_cf.
4. Under File Naming Template, keep Filename.
5. Under File Settings
Format: TIFF
Compression: None
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FIG 13.29 JPG options for Export to Job Folder
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FIG 13.30 Color Pro les for Ti le Export
Color Space: Choose Other. The Choose Pro les dialog box will
appear, check Include Display Pro les at the bottom left. Then
check ColorMatch RGB. Choose OK ( Figure 13.30 ).
6. Under Image Sizing: Do not check Resize to Fit. We are sending
full-size les to the client. Resolution is 266 ppi, which is two
times the line screen of 133 for the press the client is using.
7. Output Sharpening: Lightroom’s Output Sharpening is for
Screen and InkJet Printing. For web press printing, we would
opt for the third-party plug-in Pixel Genius Photokit Sharpener,
or leave output sharpening up to the client.
8. Metadata: Choose Write Keywords as Lightroom Hierarchy.
9. Post-Processing: After Export, click on Do nothing.
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FIG 13.31 Ti options for Export to job Folder
10. Click on Export. The four RAW les that the client selected will
be converted to TIFFs and wind up in a TIFF subfolder of the
job folder in your job folder hard drive.
11. Click on Export ( Figure 13.31 ).
The beauty of this is that you can export all of these at the same
time. You do not have to wait until one group is done to xport
another group. It is being done in the background. On the top left
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This is an example of a job folder
after the images have been
exported into the three different
subfolders. The job folder will be
archived on at least two external
‘job folder’ hard drives.
FIG 13.32 Job Folder with DNG, JPG and Ti les
of the Library, Lightroom will show you that three operations are in
progress. If you wanted to cancel one of the operations, just click
on the X key. In Figure 13.32 below shows Job Folder with DNG, JPG
and Ti les.
UPRESING ON EXPORT
Lightroom does an excellent job with upresing as well. The upres
is done with a proprietary algorithm similar to bi-cubic smoother.
We demonstrated going down in size to create smaller jpg les for
the copyright o ce, but you can also create larger les very easily.
Follow the same steps as above, and then under Image Sizing, put
in the width and height either in inches, pixels or centimeters as
per your le requirements. If you wanted to make a 13 ϫ 19 print,
put in those numbers. It’s that easy
THE WORKFLOW CONTINUES DEPENDING UPON YOUR NEEDS.
Your and your client’s needs for export may be quite di erent,
but can be accomplished exactly the same way, using job
folders for organization .
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CHAPTER 14
Archiving
B
ackup is important, but backup is not preservation. The goal
of D-65 is to have an EXACT DUPLICATE of our catalog and all
of our image les on multiple media in multiple locations.
An archive should be made regularly because computers are not
100% reliable. Hard disks malfunction, viruses and worms corrupt
data, and people can make simple mistakes like deleting when
they didn’t mean to. Having an archive means you can recover
from such things, with little if any data lost.
As Hurricane Wilma passed over Miami Beach, we watched and
took photographs from our 17th- oor apartment, which faces
the Atlantic Ocean on the front side and the intercoastal on the
backside. We live on a very narrow section of Miami Beach, which
is roughly one foot above sea level. Our building ooded, our
docks were destroyed, and as the storm intensi ed we watched
the roof come o of the building next store. As we looked out
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at the raging storm, we realized that our building was actually
swaying a few degrees in this class 3 hurricane. We were lucky, but
countless others weren’t so lucky (
Figures 14.1 and 14.2 ) .
FIG 14.2 Damage from Class 3
hurricane in Miami Beach
FIG 14.1 Damage from Class 3
hurricane in Miami Beach
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293
Hurricanes, typhoons, tornados, res, volcanoes, blizzards and
even tsunamis are a fact of life and they wreck lives and destroy
property. After each of these events you can usually nd a news
clip where a reporter asks someone if they were able to save or
salvage any of their belongings. You know the scenario because you
have seen it hundreds of times. There is a man or woman crying at
the scene of what was once their house devastated, because they
lost everything. When they can salvage items, they typically grab
the memories such as wedding pictures, baby pictures or family
pictures. While having little nancial value, these items contain
tremendous personal value and are irreplaceable. Did you ever stop
and think what would happen to your image collection even if it
were on multiple media, but all stored in only one location?
If you are a digital photographer, your data are the heart of your
business. Not having an archive strategy in place means that a single
malfunction can leave your business without any data, thus placing
the future of the business in jeopardy. We also suggest having a place
that is safe for the computer in the event that one has to evacuate.
We wrap all of drives and computers in hefty garbage bags and put
them in the bathtub at the approach of a hurricane. The bathtub will
hopefully drain if there is water and most bathrooms have doors to
o er extra protection. Ideally, a bathroom on an upper oor would
be a wiser choice than one in the basement.
Duplicate Backups in Multiple Places
While basic computer backups are a good start, a backup is not
necessarily an archive and does little good if your home or o ce is
destroyed. Not only do you need backups, but it is critical to have
multiple backups both o -site and on-site and in the case of an
emergency. Redundancy, redundancy, redundancy … You simply
can’t have too much.
An archive should be made to separate media that you can pick
up and take with you. This way, copies of your data can be kept
o -site, such as in another building. This helps protect against
disasters, which may obliterate the building where your computer
is held.
Backups
Ideally the copies made onto backup media should be performed
with a system that veri es the data. This is fundamental di erence
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between a backup and an archive. Most folks simply perform
a nder copy, better known as drag and drop. These are very
unreliable and permissions, preferences and other needed les
may or may not copy this way. We personally like Retrospect
from Dantz but there are other products as well. These products
perform a bit for bit duplication and then verify that the data has
been duplicated correctly.
The frequency of your ‘ backups ’ should be dictated by how much
data you would like to lose if there is a problem on your machine.
For example, if you enter a signi cant amount of data every day,
you should be backing up every day. If you rarely enter new data,
then backups once per week might be okay.
‘ Backups ’ should be tested. Make sure that you can read the
backup you just wrote. Nothing is worse than having a disaster and
discovering that your backups are unreadable for some reason or
another. If you are burning CDs or DVDs, it is usually su cient to
have the burner program ‘ verify ’ the disk after it is written.
Of course, if you don’t have a computer or power, you won’t
be able to access the data, but just knowing your personal and
business documents are safe is reassuring. A good battery backup
system is always a wise idea, but if power is out for an extended
period of time even this will fail.
Emergency Power
In case of an emergency, you may or may not have access to
power, phone service or the Internet, and the need for power is
the foundation of maintaining communication. Power alternatives
include extra batteries, conversion battery kits, power cords that
hook up to a cigarette lighter, solar packs and manual power
generators.
Preparation is the best defense against nature and other unforeseen
disasters. While a personal bomb shelter might help you rest easily
at night, there are more practical ways to protect your personal
treasures. In the event of a catastrophe, take care of your family,
friends, property and community. Knowing that you’re prepared
will let you do just that. Personal safety is always rst, of course. But
after that, it’s insurance companies and state and federal agencies
that bear the burden of helping families rebuild and replace material
possessions.
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Archiving Lightroom
Archiving is di erent than backing up during processing or in
the eld. An archive is duplicated bit for bit, veri ed for integrity
duplicated for both on-site and o -site storage.
There are several backups available within Lightroom, but it
is important to understand exactly what they do and more
importantly what they don’t do. When we rst import les into
Lightroom, the import dialog box o ers a backup.
Import Backup
This backup causes confusion to many photographers. They assume
that they have a full backup of the imported les, but in fact this
backup only provides a backup of the exact structure of the les on
the memory card with their original camera-generated names. So
if you rename in the import dialog box, apply a metadata preset,
or any develop preset or keywords, none of this will be available in
the backup. This is really just a temporary insurance plan, should
something go wrong with the import ( Figure 14.3 ) .
Backup of images exactly like
they appear on the memory
card.
FIG 14.3
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