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Print ArticleDIGITAL FOCUS
Why Archive Your Digital Files?
It's the Profitable, Speedy, Efficient Way
to Deliver Images at the Click of a Mouse
TEXT AND IMAGES BY JIM JORDAN, JIM JORDAN PHOTOGRAPHY
Originally shot by Jim Jordan for Marie Claire Europe, the same image of model Carre Otis was later chosen for the cover of Germany's Petra magazine and for a Mamiya 645AF ad that ran in the U.S.For years, I've faced a formidable challenge: how to deliver
over 40,000 images to clients and stock agencies at the click of a
mouse. After extensive investigation into the markets, and
trial-and-error attempts with various combinations of digital
equipment, we've come up with a workflow that streamlines our
in-house production, increases our studio revenue and
profitability, and increases the safety of our images.
In sharp contrast to our previous turnaround process, which used to
take approximately four days, our new digital workflow lets us
retrieve and deliver images at lightning speed. It also speeds up
the selection process when I want to customize a portfolio. I can
select specific images that reflect a potential client's needs in
about an hour. So now, instead of our images collecting dust, they
collect revenue.
THE WINNING WORKFLOW
Our new workflow begins with editing the film and choosing select
images to be scanned. Our scanner operator uses a Macintosh G4 and
an Imacon Flextight III scanner for 35mm, medium-, and large-format
images. The Flextight III scanner has the optimum quality,
flexibility, and user-friendliness of any on the market. The detail
in the scans, especially in the shadows, is incredible.
The Flextight III is a drum scan, yet it's compact in size, smaller
than most desktop printers. Similar drum scans would cost $25-$50
each if outsourced. With our extensive library of images, the
savings to scan these images in-house is immense. This scanner is
definitely ahead of its time.
We store my works-in-progress in-studio on two Smartdisk VST 80GB
FireWire drives, which allow us to organize the scans and easily
work with hundreds of high-res scans at the same time. These
external hard drives are extremely compact and are known for their
accuracy and portability. After the images have been scanned, we
use Adobe Photoshop 6.0 to create customized contact sheets, with
individual ID numbers for each image.
Assigning an ID number to each image lets us retrieve images
quickly and efficiently. We print contact sheets and promotional
pieces using an Epson Photo Stylus 1280 printer. Then we transfer
archived scans to our in-studio DVD library. Contact sheets are
arranged by client or model and are stored in labeled
notebooks.
When we're all finished, we move the originals to an offsite
temperature-controlled, fire-proof vault for safety. By digitizing
the images, we're able to retain control of the original work and
avoid the loss in print quality that results when you send out
duplicates. Each month, I select certain images from these contact
sheets and upload them to my website.
I take the same streamlined approach to organizing my gear. Working
on location, I bring three Mamiya 645AF bodies and multiple Mamiya
AF lenses. I organize my equipment in Tamrac camera bags and
accessories. These Tamrac products allow me to roll through
airports and check-in, and clearly lay out my equipment for quick
retrieval in-studio and on-location.
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