Backup for Photographers

I am back from Ladakh and in the meantime will post technical articles I have already published for the Canberra Photographic Society Blog :

  • Computers for Photography
  • Why Print?
  • What do you need for Printing?
  • How to Print
  • Getting Lightroom to Fly
  • New Auto Changes in Lightroom
  • Backup for Photographers

Next, I will start posting on the trip to Ladakh, then the Atacama (2015), then the Caribbean (2016).

 

Backup for Photographers

 

  • Why backup
    • Hard disks will fail
    • System files can become corrupted
    • Working files can be deleted or corrupted
    • Viruses can hit (worst case: Ransomware)
  • What to backup
    • Create boot disk (or USB)
    • Create system image
    • Three levels of backup
      • Local backup
      • Backup to Disk
      • Remote backup
  • How to backup
    • Create boot disk
    • Create system image
    • Create local backups
    • Create remote backups to disk or Cloud
  • Backup while travelling
    • Laptop plus external drives
    • Portable storage device
    • Cards

Analogue backup: Warehouses in Otaru, Hokkaido, Japan, during the Otaru Lantern Festival (and in heavy snow)

 

Why Backup

Often people only become convinced of the necessity for backup when they lose their hard drive and their computer stops working. They may have lost all their data. All hard drives fail. Some may last for a long time, some may not.

Apart from the hard disk dying, system files may become corrupted so your PC doesn’t work any more and images or working files can become corrupted or be accidentally deleted.

Your computer might get a virus that could render it inoperable. A good anti-virus program safeguards against that but it won’t catch everything. In the worst case it might be a ransomware Trojan that encrypts all your files and demands money to recover them which then may still not happen. Potentially, this could include connected backup files and other computers on your home network.

Macs are less susceptible to viruses than Windows PCs but can still get them so anti-virus software may be appropriate there too.

What to Backup

If you have not already done so, you should create a boot disk for your computer on a CD, DVD or USB stick. Then if your operating system dies, you can most probably still start your computer by booting up from the boot disk.

You should save a system image for your PC. This includes all the programs on your computer and all the hidden system files. Then if you get a virus, your operating system becomes corrupt or you need a new C Drive, you can restore everything the way it was.

Of course, you should also backup your data files. For a photographer that will include all your images, RAW, TIFF, PSD or jpeg. In fact you should have three backup copies of your files because the hard disks you backup on may fail too.

  • Your first level backup might be directly attached to your computer as a hard disk or as a bunch of disks in a box that operate together (called a DAS or a NAS depending on direct or network access).
  • Your second level backup might be to hard drives not usually connected to your computer.
  • Your third level backup might be to hard drives stored at work or at a friend or relation’s house, or it might be to the cloud. If your house burns down you still have your images.

How to Backup

  • How to create a boot disk (or recovery drive):
  • How to save a system image
    • For Windows
    • For Mac
    • Note: At least for Windows, you can’t restore the system image to upgrade your system to different hardware (i.e. to a different kind of hard disk or from a hard disk to an SSD). For that you need Acronis or another backup utility with this capability.
    • Another option is to clone your system disk to a spare one. Then, if you get a virus, you swap the spare disk in. You can do it on the fly with Acronis; with other programs you would need to start your computer off a boot disk first.
  • How to create local backups
    • From inside Windows
      • This should work but will only allow you to back up files to a schedule of a minimum once a day.
    • Using a free program
    • If you are using a Norton antivirus product such as Norton 360 or Norton Security Premium, that will include a backup utility that is better than the one that comes with Windows.
    • Acronis provides a full-featured backup option with many other useful tools. The stand-alone version is likely to be better value than the subscription. It is the market leader but there are also many other alternatives.
    • For Mac

How to create remote backups

  • You can create local backups to disk as above and take the disk to another location. The problem with this is that your backups are likely to be out of date.
  • Backing up to the cloud has become affordable and viable. Since photographers have lots of images, a cloud backup that allows unlimited backup is best. You also need an ISP such as iiNet that allows unlimited uploads and downloads. Initial upload is slow (months if you have many terabytes of data) but after that it works unnoticed. Downloads are faster but may still take considerable time for large amounts of data. So you still need local backups due to speed of recovery and because no backup is 100% secure. There are two main options:
    • BackBlaze for $US50 per year or about $A70
      • Carbonite is another option but it costs more and I don’t see any reason to prefer it to BackBlaze.
    • CrashPlan for Business for $US120 per year or about $A160.
      • BackBlaze only stores deleted files and previous versions of files for 30 days whereas CrashPlan stores them indefinitely.
    • For more information see the updated Blog article Cloud Backup for Photographers.

Backup while travelling

You should really have three copies of your images while travelling. At least one should be stored separately, in a coat pocket for example, just in case.

  • A laptop and portable hard drives are an obvious option. Samsung T3 SSDs are very small, pocketable portable hard drives. If using a tablet, it will need to have sufficient USB ports for importing and saving or backing up images.
  • A more compact option is a portable storage device. Some of the more expensive ones you may be able to synch wirelessly with a hard drive for backup.
    • Another cheap option is the RAVPower FileHub Plus where you can use your phone to backup an SD card to a portable hard drive.
  • If you are going for an extended walk in the wilderness where there is no electricity, you may have no alternative but to take multiple CF or SD cards for storage and backup. However, if you’re not travelling too light there may be additional options such as Anker solar panels and batteries.

What do you need for Printing?

I am back from Ladakh but not yet ready to start posting on the trip.  In the meantime, I will post technical articles I have already published for the Canberra Photographic Society Blog:

  • Computers for Photography
  • Why Print?
  • What do you need for Printing?
  • How to Print
  • Lightroom Previews and Getting Lightroom to Fly
  • New Auto Changes in Lightroom
  • Backup for Photographers

Following this, I will start posting on the trip to Ladakh, then the Atacama (2015), then the Caribbean (2016).

 

What do you need for Printing?

In this post we will cover the following topics:

  • Fume Room
  • Camera
  • Computer
  • Monitor and colorimeter
  • Software
  • Lighting
  • Printer
  • Ink
  • Paper
  • Cost of printing
  • Matting
  • What to do with the prints

 

Fume Room

The chemical darkroom is essentially out of scope for this series, though you could potentially pick up say a second hand Mamiya RB67, compatible enlarger and accessories quite cheaply.  Printing from film in a darkroom is likely to actually work out much cheaper than a digital workflow, even with film costs, but also much more difficult and much more time-consuming.

 

Camera

Printing requires you have an image.  Creating an image usually requires that you have a camera.  So how good a camera do you need?  Do you need say a Nikon D850 with a professional lens for example?  Well, let me answer this at first by example.  The following image is of Selfoss in Iceland and it won a 5 (out of 5) in a monthly competition last year.  It was taken with a good camera – Nikon D3s and a good lens (85mm f1.4) but I discovered later there had been a problem.  I had been grappling with the settings of the camera while it was inside a raincover a week or two earlier in Greenland and hadn’t realised that instead of the usual 16MP RAW files, I had it set to save 2.8MP TIFF files.  After cropping the size of the file was 2.2MP.

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_13S5354 .

Admittedly, my choice of paper helped.  I printed it on a matte paper which has a texture and less resolution.  I don’t think a glossy paper would have worked.   But what this shows if you can have sufficient inspiration and skill and get to the right place at the right time,  the camera doesn’t matter very much, at least as long as you understand the limitations of the camera and operate within them.

 

Computer

I’m not going to say much about computers because I just wrote an article about purchasing one.  You need something with enough RAM to process your files and enough disk space to store them.  It helps if it does something when you turn it on.

 

Monitor and Colorimeter

Having a good monitor makes a big difference and having it well profiled is almost essential for printing.  You can get away without that but you are likely to lose a lot of time in testing, you may find it difficult to achieve accurate colour and it may end up costing you more.  I’m not going to say much about monitors because I covered that in the Computers post.   NEC and Eizo make the best monitors; anything else is a compromise though no doubt a necessary compromise for many.  It is an advantage to have a monitor with an aRBG gamut (Adobe RGB) rather than an sRGB gamut because you will be able to more accurately see the colours of an image for printing.

Profiling the monitor is important because if we are not seeing accurate colour, we will find it difficult to print accurate colour.  Whether a monitor looks good anyway is besides the point.  Our eyes are very good at making lighting sources as different as daylight and tungsten light (old-style lightbulbs) appear normal.  Consequently, we can’t expect our eyes alone to adjust monitors.

To profile your minotaur monitor you need a colorimeter and the best one is the XRite Display Pro (at around $300).  Be wary of cheap options or old colorimeters as they may not be accurate, they may not allow important adjustments and they may not work well if you have a wide gamut monitor.  Some may wish to generate their own paper profiles with say an X-Rite ColorMunki Photo but this is optional; it probably won’t make much difference and profiling your monitor is the really important thing here.

 

Software

There are many software choices for editing images and printing them.  If you have a profiled monitor though, what makes a big difference in printing is using a program you can soft proof with.  That means you can simulate how your print wil appear, on your screen.  It’s not perfect but it can be very helpful.  Photoshop is an option but these days most people use Lightroom which is a very powerful program that is also very easy to use.

These days, you can pay $14 per month for perpetually up-to-date versions of both Lightroom and Photoshop.  This is very good value compared to what prices used to be though if you stop paying you can no longer use the programs to modify your images (though you can still access the images).    There are many instructional videos for Lightroom and Photoshop on the web, such as those of Julianne Kost.  There are also comprehensive sets of videos on Luminous Landscape for both Lightroom and printing if you are willing to pay their subscription of $US12 per year.

 

Lighting

Ideally, the room you process your images in should have dim consistent lighting and be neutral in colour.  If you are in a room with bright purple walls, it will affect your colour perceptions of your images on screen (as well as possibly your state of mind).  Preferably, you should also wear neutral clothing for the same reason.

Once you have generated a print, you need a neutral light source to assess it.  This can be sunlight, although its colour temperature changes throughout the day and may differ between direct sunlight and shadow.  Ordinary lightbulbs of whatever type are problematic, even if they are labelled “daylight”, unless you are printing for that specific light source.

The best light source for proofing is Solux bulbs, which are very accurate, and most people prefer a colour temperature around 5,000°K.  The problem is that they are MR16 bulbs – in other words they have two little round prongs like the small round lights that may be in your kitchen ceiling and they take low voltage direct current rather than 240V DC.  Fine if you can get them installed like your kitchen lights.  Alternatively, you could use a Graflite fluorescent desk light which is almost as good though the larger one, more suitable for A3+ prints, costs $300 (at Imagescience).

There is a way around this, if you’re adventurous enough.  From a local store such as Southside Lighting, you get an ordinary lamp and also a small inline transformer that converts from 240volt DC to a small direct current suitable for MR16 bulbs.  You get an electrician to insert the transformer in the lamp’s electrical line before the switch.  Now it’s no good for ordinary bulbs anymore.  Next, you order online a B22 (large bayonet) to MR16 converter or a E27 (large screw) to MR16 converter depending on your lamp fitting.  These are not available in a shop because they don’t meet Australian safety standards since someone might use them with an MR16 bulb without a transformer and effectively cause a short circuit.  When this arrives, you put the Solux bulb on it, insert it in the lamp and you now have a colour accurate light source for printing.

 

Printer

The choice for a photographic printer is likely to come down to different models of Epson inkjet printers.

It’s possible to print a photograph with a laser printer but it won’t handle the range of media that inkjet printers can, the colours and densities won’t be at all accurate unless you profile it yourself and even then it’s not likely to produce the quality of an inkjet printer.

Canon and HP still produce ranges of very large printers for the professional market, but HP has dropped out of the consumer market and Canon has a fairly low profile.  In any case, I’m not familiar with Canon printers and will confine my comments to Epson.

Here are some likely choices:

  • P800 (A2 printer): $1,900+: Excellent quality colour and monochrome images.
  • P600 (A3+ printer): $1,300+: Excellent quality colour and monochrome images.
  • P405 (A3+ printer): $900+:  Excellent quality colour but not as good for monochrome due to smaller ink set.
  • Artisan 1430 (A3+): $350+: Uses dye-based inks rather than pigment-based inks.  Probably excellent quality for colour images on glossy and semigloss paper.  May not be so good on matte and may not be very suitable for monochrome.  Will have higher ink cost due to small cartridges.

 

Ink

If you have an Epson printer, you should definitely use Epson ink.  You can get very cheap third party ink but that doesn’t mean it’s good value.  Such inks can kill your printer.  Also, you may need to get custom paper profiles which otherwise are not really necessary.

 

Paper

These days there is a bewildering variety of papers available.  At least initially, just have one or two and get to understand them.  If two, perhaps a semigloss paper and a matte.  Maybe try a few test packs to help decide.  Glossy and semigloss papers show brighter colours and deeper blacks than matte papers so they are suitable for different kinds of images.  Matte papers can give a subtler effect for lower contrast images.

If you want a first paper to start with on a new printer, perhaps Ilford Smooth Pearl is a good and relatively economical place to start.  It is suitable for both printers that use dye-based and pigment-based inks.  You need to be careful if you have a dye-based printer that you purchase suitable papers, not ones for pigment ink printers only.

 

Cost of Printing

You can of course print A4 prints but for purposes of a cost comparison, let’s say you decide to print for yourself and enter A3+ prints in CPS competitions for a year.  That’s sixteen A3+ prints in monthly competitions, two in Image of the Year, say four for Out There exhibition and five A4 prints for the Hedda Morrison portfolio competition.   That’s 22 A3+ prints and 5 A4, equivalent to around 24.5 A3+ prints.  We will not consider here what other prints you may generate.

An article by Mark Segal suggests ink costs of around $2 for an A3+ print from an Epson 3800 printer.  This should be about the same for a P800 or a P600 (the current models).  Say you’re printing Ilford Gold Fibre Silk, that will cost about $3.30 per A3+ sheet.  Assuming 25% for testing and wastage, that makes about $7.50 per A3+ print. That’s about $180 for printing costs for a competition year.

Getting Harvey Norman to make the same prints would cost $410 but they would have to be on a cheaper paper and lower quality and the paper sizes are slightly smaller.  Next step up, getting Bica to print them would cost $588 for “Premium Prints” and $1,031 for “Custom Prints” (and for A3 rather than A3+).  Next step up, getting Stephen Best to print them will cost $1,005 plus postage, or picking up from PhotoAccess on a Thursday or Friday, or trips to Braidwood.

I recently sold my Epson 3880 printer for $550 (to upgrade to a P800).  I had bought it six years ago for $1900.  My overall printing cost for that period was equivalent to getting prints made by Harvey Norman at much lesser quality and much less convenience.  I saved 60% (or $3,700) over getting custom prints made by Bica or Stephen Best.   So, buying a printer can pay off as long as you’re going to use it.

 

Matting

Prints in CPS competitions are usually matted.  It helps if you print in standard sizes because then you can reuse the matte for other prints.  Unlike prints, there is no particular reason to produce your own mattes; it’s a question of convenience and cost. There are three approaches you can take:

  • You can get some cut. Last time I did this it cost $15 each, but that’s a few years ago and it may be more now.
  • You can take the cheap option and use a Stanley knife for straight edges and a Dexter matte cutter for bevelled edges. Entirely possible but slow and painstaking.
  • If you will be cutting a fair few mattes, you may consider a “proper” matte cutter such as those from FrameCo.

Just briefly, if you are matting a print to permanently mount in a frame, you should use archival matte board and archival tape (from a specialist retailer) and hang the print from the top edge only so it can move in the frame.

 

What to do with the prints

A question some people ask is “what do you do with the prints?”.  Well, to some extent, this may not be the right place to start.  If you want to produce some outstanding prints that are truly yours because you printed them, you have to work at it.  The prints you produce after a few years may be greatly improved and you will have needed to produce the earlier ones to get there.

You can of course hang some on your walls and rotate them.  You may be able to give some away as presents.  In this case you need to be sure it really is your best work (probably no point even holding on to seconds) and also that other people really will appreciate them.  The Society competitions help to give you a good feel for that.  Similarly, you might like to send some prints to people you met while travelling.  You might want to hold an exhibition at some stage, when you feel you really understand your craft and have something to say.  You might even try selling some though that’s easier said than done and certainly extremely difficult to generate a significant income flow from fine art prints.

You can store them in the old boxes that the paper came in (or special boxes for the same purpose) or you can get special transparent envelopes to store them in.  I have also found album folios that can store 48 A3+ prints.  This is a very convenient way to show your prints to guests.

 

Why Print?

I am back from Ladakh but not yet ready to start posting on the trip.  In the meantime, I will post technical articles I have already published for the Canberra Photographic Society Blog:

  • Computers for Photography
  • Why Print?
  • What do you need for Printing?
  • How to Print
  • Lightroom Previews and Getting Lightroom to Fly
  • New Auto Changes in Lightroom
  • Backup for Photographers

Following this, I will start posting on the trip to Ladakh, then the Atacama (2015), then the Caribbean (2016).

 

Why Print?

This is Part 1 of a three-part series on printing:

  1. Why Print?
  2. What do you need for Printing?
  3. How to Print

These days when we are deluged with digital images and creating them is so readily available, why even bother to print? The short answer is that printing is an important learning tool that will help you to grow as a photographer and an artist.

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Ansel Adams 1902–1984: “The Tetons and the Snake River”, Grand Teton National Park, Wyoming, 1942. Vintage signed print. National Archives Unrestricted.

(Click for larger image).

There is a sale record for this print on Christie’s auction site. There is also a short article on some of their prints for auction and a brief video about Ansell Adams.

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More often than not, a print will win Image of the Night in our Canberra Photographic Society monthly competitions, even when there are more digital images than prints. This is because a successful print has a special presence. It’s a tangible thing, a finished object, something with texture as well as tonality. In creating it, the process of closely examining an image, fine-tuning it and optimising it for a print will also show you a lot about your work that you might miss in merely preparing digital images.

OK, so you want to enter some prints in Society competitions or just generate some for your own purposes – so the next question is “Should you print them yourself?”. I believe the answer to that question should be Yes!. In short, it’s your best route to quality, it will probably work out cheaper and the final print will be all your own work.

You can of course get your images printed and there are many reasons to do this. It might be more economic if you make few prints, you don’t have a suitable printer, you may want a larger print than your printer can make or your printer may have died. There are many print competitions for which you submit digital images and then if you are a finalist they will print your work. Canberra Photographic Society competitions also allow commercially printed entries.

However, if you make your own prints, you should easily be able to get better results than a cheap commercial printer (such as Big W or Harvey Norman) and after a while you should also be able to get better results than a custom printer. This is because only you can understand your artistic vision and for that matter, making your own prints will help to develop it. While some prints may pop right out from screen through printer to print in completely satisfactory form, others may require considerable time and effort to optimise.

And I think the most compelling reason to do your own printing is that otherwise it’s not really your own work.

Former President Brian Rope told me a story that illustrates this from a more general perspective. Ostensibly, all that is required for an image to be yours (including a print) is that you pressed the shutter button on the camera. Some time ago, a photographic competition in China received a number of identical images from different people. It turns out they had all been to the same workshop. The convenor of the workshop had set up his camera on a tripod, carefully composed the image and made all the required technical settings. The attendees of the workshop all went through, put their cards in the camera and pressed the shutter button. Those entries were all disqualified from the competition of course. They might have pressed the shutter button but apart from that it was not their work.

In the Canberra Photographic Society we believe in freedom of information, assisting anyone who requests it and working cooperatively. Even so, ultimately I believe that everyone has to take responsibility for their own work, specifically the technical and artistic aspects that require an exercise of skill. There’s definitely skill in printing, both technical and artistic, and these skills are definitely worth picking up and exercising.

In summary:

  • Printing is an important part of Photography
  • Learning it and practicing it will help you to grow as a photographer and an artist
  • Printing your own prints should lead to better quality than a commercial print
  • You can probably make prints more cheaply than cheap commercial prints (details next post)
  • If you want it to really be your own work, you should print it yourself.

Any value judgements expressed above are entirely my own. Feel free to discuss any issues or ask any questions in the comments below.

Computers for Photography

I am back from Ladakh but not yet ready to start posting on the trip.  In the meantime, I will post technical articles I have already published for the Canberra Photographic Society Blog:

  • Computers for Photography
  • Why Print?
  • What do you need for Printing?
  • How to Print
  • Lightroom Previews and Getting Lightroom to Fly
  • New Auto Changes in Lightroom
  • Backup for Photographers

Following this, I will start posting on the trip to Ladakh, then the Atacama (2015), then the Caribbean (2016).

Computers for Photography

Unless you are shooting film and printing in a darkroom, you’re likely to need a computer to deal with and process your images. If you’re looking at purchasing one for photography, there are several things to consider:

  • Monitor
    • Colorimeter for profiling
    • Graphics cards
  • Computer
    • RAM
    • Storage
      • SSD or conventional
    • Chip
    • Software
  • Laptops
    • External drives
  • Backup
    • External hard drive or NAS
    • Software

So let’s consider each of these in turn, both from the point of view of a cheaper alternative and what’s the best you can have.

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Study-2

Monitors

It’s better to have at least a reasonable quality monitor. If your monitor is too cheap or too old, it may not be capable of showing accurate colour. The main monitor types are TN and IPS. It is better to go for an IPS rather than a TN monitor because the appearance of TN monitors changes according to viewing angle and therefore may not show you an accurate picture of your image.

Another choice is “normal” gamut (sRGB) or “wide” gamut (aRGB). Wide gamut monitors are especially valuable for printing bceause you can fairly accurately simulate on screen the colours and densities of a printed image.

Another level of choice is resolution. The ultra high resolution 4K monitors have a resolution of something like 3840×2160 instead of 1900×1200. Photographic quality ones can be very expensive. You will also need an expensive graphics card to drive it. You will get amazing resolution and excellent colour but you may have problems with some software. For example, the Nik software suite may not work well on 4K because Google is not maintaining or updating it. You also need good eyesight or the extra resolution may be wasted.

Use them if you have to, but cheap monitors will not give you accurate colour and tonality. The best monitors are NEC and Eizo. NEC is pretty much as good as Eizo at a much lower price. However, NEC monitors are now unfortunately out of contention because NEC Australia has a new policy that it won’t replace monitors with up to 8 dead pixels (2 bright, 6 dark). So this leaves only Eizo for the highest quality monitors.

Fortunately there is a new player on the field -BenQ. While not as good as the Eizos they are still photographic quality at a much lower price.

Prices from Image Science are as followed, wide gamut unless otherwise indicated (you may be able to get a bit cheaper on the web):

  • 24″: $1,400 (Eizo CS2420) or $760 (Eizo EV2455, standard gamut)
  • 27″: $1,900 (Eizo CS2730) or $1,300 (BenQ PV270) or $1,000 (BenQ SW2700PT, previous model, uniformity not as good)
  • 31″ 4K: $7,500 (Eizo CG318) or $2,000 (BenQ SW320) or $1,900 (BenQ PV3200PT, previous model)

Here is an article from ImageScience on buying monitors.

If your budget is more limited, the choices are more complex because it is a question of how much you are willing to pay and how far you are willing to compromise and there is a multitude of choices out there.

Articles from Image Science:

Colorimeters

A good colorimeter is almost essential, especially for printing. Your eyes can adjust to see both daylight and tungsten light as normal so they are not good tools to adjust monitors, so you should use a good colorimeter to calibrate and profile your monitor. The best colorimeter is the X-Rite i1 Display Pro. (Online prices start from just under $300).

Computers

If you have an old computer and it works for you then it works for you. You might get more life out of it with more RAM but then new computers are cheaper than they used to be. If you are considering a new one:

  • Generally you would want at least 16GB RAM though you may get away with less.
  • The CPU is not so critical as long as it’s not too old and slow. You don’t really need a state of the art gaming chip.
  • These days, it’s better (and faster) to boot up off an SSD rather than a spinning drive. (An SSD or Solid State Drive is like a larger version of a flash drive or an SD card). SSDs are getting cheaper and you might even choose to go for a second SSD for your Photoshop scratch file and Lightroom catalogue.
  • Your graphics card can also be relevant as with many graphics cards you can enable GPU processing to speed up the display and transformation of an image on the screen.
  • Your motherboard is relevant as it will determine what generation of chip your system can support and whet you can plug in. For example, the newer M.2 generation of SSDs is much faster provided you have a board that supports them. The current generation of architecture is based on the Kaby Lake chip.

For ultimate performance, you may want a custom PC. You could either build this yourself or get someone to build it for you. In Canberra, this might be MSY (don’t expect salesmanship and demonstration from them; you need to know what you want first).

Here are some guides to a custom PC:

And here is a couple of guides if you are in the market for a Mac:

Another thing to consider is storage. It depends partly on how many images you delete and how large the image files are from your camera, but it is common in the digital age to need lots of space for image storage. SSDs may take over in due course because they are faster and probably more reliable but that’s still some way off so for most storage we still rely on spinning disks.

Larger spinning disks are now available. You would want a 7200rpm drive rather than the 5400rpm ones which are more suited to backup and Western Digital Black drives now go up to 6TB. If that is not enough storage you could combine several drives in a RAID array. This can both speed up operations and give some protection against disk failure. Your motherboard and operating system would need to support the size of drive or type of RAID you might want.

One last thing that may be worth considering is a UPS or Universal Power Supply that will protect your PC against power spikes and enable you to save your work in the event of a loss of power.

(I will consider printers in a separate article).

Laptops

There is a huge variety of laptops available in all sorts of different configurations. For most photographers the main purpose of laptops is for travelling. For some, the sole purpose is storing images in which case RAM and screen resolution are not so important. Others want a machine they can process images on in available time while they travel. RAM and screen resolution then become much more important. In either case, USB 3 inputs will make a big difference in speed of importing images. So will SSD hard drives. It is possible these days to purchase a laptop with a 4K screen, 32GB RAM and a 1TB SSD hard drive though such machines are not yet readily available in Australian retail outlets and will not be cheap.

The alternative to a travel laptop is lots of SD or CF cards but this may not be practical on a longer trip.

This page from Puget Systems shows what might be possible with a very highly specified custom laptop though at 3.4kg this is a desktop replacement unit rather than one for travel. (Click the [Customise] button for specification options).

Backup

It is common for people to be sanguine about backup until the first time their computer goes down and they lose lots of files. Ideally you should have two or three backups and one should be stored offsite in case of fire or other disaster. These could be single external drives or you could use a NAS, which combines multiple hard drives in a RAID array and which you may specify for access from a home network.

If you rely on SD cards or CF cards while travelling, you may not have your images backed up and would therefore be at risk of losing them. If using a laptop while travelling, you should also be backing up to external disks. External SSDs are a much lighter option than conventional drives and can readily fit in a pocket. They are still more expensive but becoming more affordable.

To backup files you need backup software which can be Windows (which I admit I haven’t tried for this purpose), a third party product such as Acronis, or possibly software that comes with your hard drive.

It can also happen that your C Drive crashes or gets a virus. To cover for such an event you should make a system rescue disk so you can still boot up your PC from it, and save a system image so you can quickly get back your C Drive in a functional state.

Computer problems – RAID and backup

I may make very few posts during the next six weeks or so.

One reason is that I’ve been spending a lot of time rebuilding my computer data storage.  First the backup of my travel images became corrupted so I tried to recreate it.  Then one of the backup drives failed.  Then one of my data drives failed.

My main data drive was a RAID 5 array with four 1TB drives.  This means that three of those drives were for storage, with “striping” or writing across drives for speed, and the remaining drive was for backup.  My backup system is a Drobo S, with five 3TB drives, functioning similarly to RAID 5.   I had a lot of spare space there so when the drive failed it just rebuilt to the remaining four drives but that made it unusably slow for backing up for several days in the meanwhile.

Then, when one of the drives in the RAID 5 data drive failed,  I managed to backup Antarctica, Japan and New York and just two TIFF files from the North Atlantic trip before it died completely.   This was good because I had no backup of the images I restored and for the travel files I didn’t manage to restore, I still had all the RAW files on the laptop.

I now have all backups restored.  I lost about 250 TIFF files from the North Atlantic trip where I worked in Photoshop CC, Vivesa, Silver Efex Pro, SNS HDR or AutoPano Pro.  Those I can always regenerate from the RAW files though.  However, it appears I failed to create a backup for Blues Festivals in 2011 and 2012 and I have lost all those images, about 7,000 in all.  The best 1,000 or so are published to the web on JAlbum (in reduced size) but losing the source files is unfortunate and there’s no redress.

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The original file for this image is now lost. This is Darren Jack at Thredbo Blues Festival 2012.

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The conventional wisdom is that you should have three copies of your data, including one in a remote location in case say your house burns down.  I thought I could get away with two because they were both in systems that can usually cope with drive failures.  I almost did get away with that but then the main problem was that I was missing a backup.

I have rebuilt the data drive with four new 2TB drives as a RAID 10 array.  This means that two of those drives store data while the other two are backups (mirroring the data).  The drives are also “striped”, writing between each other for speed.  That can cope with losing up to two drives, provided they are not both drives of a mirrored pair.

I have many spare internal drives and a “disk caddy” to access them.  So I will create a second set of backups on those drives.  Finally, I will backup selected images to the Cloud.  These will probably be those with three stars or more in Lightroom, only essential images to minimise expense.

It’s also important to have a backup of your computer’s image, i.e. your C Drive including all the hidden system files.  You can use that to restore all your functionality and programs if you get a virus or your C Drive crashes and even (with a higher version of Acronis) to a different disk that replaces your C Drive.  This didn’t come to play in this situation but has a couple of times in the past.  I have saved images from both Acronis and Windows.  There’s a link here that shows you how to do it on Windows 8 which also has the benefit that Windows will use this image if you elect to Refresh PC.  Otherwise refreshing the PC just wipes everything.

I lost ten days with all of that.  I had about ten posts prepared in advance but not any more.  I’ve started preparing posts on St Kilda where I took about 400 images and another 420 sailing around the islands.  This will take a while and there’s also a lot to say.  Then this coming weekend I’m off to cover the Thredbo Blues Festival and it will take me at least two weeks to process the images I take there.  After that I’m in India for most of February (more on that soon).  I may not get much opportunity to post from there.  There may be very few posts between now and early March.