Back it up. Back it up. I cannot be more forceful about this. I said it earlier, there's nothing more heart wrenching and destructive to your process than losing files. Whether it be losing them on set or losing them later. Being a professional means having your work backed up in a sensible order that you can access on or off site. And is repeatable. Over and over and over again so that five years from now you're looking for an image, you know how to find it. I go into my archive, everything is organized, I knew I shot that in 2015, I knew I shot it for The New York Times, I knew I shot it in November. Click the button, there's the picture. That kind of organization on your files I have copies in three places and the Cloud. So my images live in multiple places because I, which we're gonna talk about in a bit, we're gonna talk about Stock photography, because your files are your assets that could ultimately pay you for years and years to come. For the work that you've done. Even Stock w...

ork, I don't mean Stock work, even spec work, things your doing on your own right now, or things you're doing for your blog. If you're creating good imagery, there's a market for it. And you need to understand that you need to protect those assets because if you make a timeless image, that image could live for many many years online and pay you dividends for a long, long while after that. So it's important to understand that. Stock integration, and we're gonna segue into Stock, is that having an organized system of backed up files, there are certain agencies now where you can actually flip your archive, right into theirs. And it's integrated. So if you're system is organized, and you can access it really easily, and you're represented by a big agency, you may be able to just dump your files right into theirs. Because if they're really organized, and then all of a sudden you have several thousand images in Stock, and it's earning for you. And that's where this comes in. Can you talk a little bit about, are you a Lightroom user, and do you, does your team do you attach like lots of keywords to stuff? Yes, I archive through Lightroom. I know Lightroom does lots of other things and the fact that Adobe Stock represents me, that's one of those integrative dump situations where it's all, you know you can kind of get Stock right out of Lightroom and right into Stock. So yes, I do use Lightroom. I do not capture with Lightroom, I use something else. Because some people use it, completely integrated into their workflow and that hasn't been my workflow. I have a specific need for Lightroom for the archival. That's where the question is, specific to archiving, and keywording and backing up. Yes, all of it. Because all of that keywording which helps when you get it into Stock, because if somebody's looking for vegan, gluten-free, roasted broccoli, if that's not keyworded, it's not gonna show up in their system. Although, Adobe has an AI right now that can look at the image and keyword it for you. (all gasp) Yes. (all laugh) That actually sounded a lot like when I was at the Adobe conference and they announce something really cool, and the whole audience full of geeks just went, ahhhh. And it was great. And I was one of 'em. And then, your work flow during a shoot? How, workflow on images, image protection, from your card where does that travel? You mean tethered? Yeah, sure you're tethered, and then so it's being tethered right to a computer and then do the files go, hard drive, do they go off-site? Well we don't Cloud backup until we're done with the shoot. Because they have to be edited. Because if you tried to Cloud all of your CR2 files, you'd basically spend your whole life doing that. 'Cause they're just too big to transmit like that. Unless you have some kind of a crazy T1 line in your house. Once it's edited it will go up on the Cloud or in the Stock and the Stock essentially is the Cloud. So for me a lot of my work gets uploaded into my Stock account so that it's living there in the Cloud. But once we shoot, we're shooting two cards and tethered, and that is going from, not into my laptop, but into a solid state hard drive. I don't use anything that has any more that spins. Everything is solid state and it's much more stable. So I have a solid state CF Card in the camera, I'm tethered to a computer, which is backing up on a solid state hard drive. So I'm getting two solid state copies with every shutter pull, and then as soon as the job is over, we back it up one more time, on a separate computer, and then send them up to the Cloud. So we're on set with two copies and then we finish and once we have finished files we finish with three backups. Perfect.

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Andrew Scrivani

Andrew is a photographer, director and producer who has worked on editorial, publishing, advertising, content creation, documentary and feature film projects. He is also an internationally recognized workshop instructor and author and columnist on the subject of visuals. 

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topics covered in this class

Commercial Business Food Photography

Ratings and Reviews

SaberShots

I highly recommend this course! Andrew is an engaging and thoroughly knowledgable teacher. This class is less about how to photograph food - although there are some terrific tips - and more about the "nuts and bolts" or rather, "bread and butter" of running a successful business. A lot of the information is relevant to business in general, but the specific tips about food photography are especially exciting to implement! I found the hands-on portion during the morning of day 2 especially helpful in assimilating the general or more abstract ideas covered in day 1, which laid a fantastic foundation. 5 stars!

Amy Vaughn

While I'm not quite ready to focus my business on food photography, this class gave me a much clearer idea of what options and challenges there are in the food photography industry. Andrew covered everything from what jobs might be like when starting out on a tight budget to what options open up as the photographer becomes more experienced and successful. I already did my own internet research about the food photography business before the class, but this was more comprehensive and easy to understand in a short amount of time. Now I feel more confident about setting my business goals, who to look for to collaborate with on projects and eventually the kinds of clients I'd like to work with. He also gave many tips that are immediately applicable in my current photography business that isn't yet focused on food.

Delaney Brown

Andrew is not only a funny, incredibly entertaining person, he's a seriously great teacher. Being in the live studio audience for this class was such a treat. I was able to learn a lot of the nitty gritty lived-in details of what it takes to be a successful food photographer. Things that are hard to come by in books and online! I would highly recommend this class for anyone who wants to take their passion to the next step: making a living.

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File Management and Protection

File Management and Protection

Lesson Info

11. File Management and Protection

Lessons

Class Introduction

How To Get Work As A Food Photographer

Understanding Your Skill Level and Your Market

How To Grow Your Business

Opportunities In Commercial Food Photography

How Do You Market Yourself

The Importance of Attitude and Communication

Understanding Insurance Responsibilities and Liability

Understanding Taxes and Accounting

The Importance of Representation and How To Get It