I’ve used their Kiboko 30L bag for some time (my review here), and while this bag is great when I need to carry everything but the kitchen sink, there are times where it is not the ideal bag. One of these instances is when I need to fly on regional jets, carry a basic camera kit, laptop, and also desire to carry my clothes on the plane in my carry-on. With the Kiboko, I am either forced to put my laptop in a sleeve in my carry-on, which is less than ideal, or carry a separate laptop bag and check my clothes.

The Gura Gear Chobe 19-24L deals with this situation nicely, especially when I don’t need to carry my entire camera kit on the plane.

The Gura Gear folks sent me out a bag for review right around the time that I was covering an event, which required me to travel on a regional jet. This was the perfect opportunity to see how the bag faired as a travel companion.

My conclusions about this bag are nothing but positive, and I will save you the re-posting of specs about the bag because you can read them easily on Gura Gear’s excellent website. In this review, I want to focus my time on specific reasons why this bag should be on your shoulder, rather than a simple rewriting of specifications and metrics about the bag itself.

But before we begin, I should give you a brief introduction to the bag. The Chobe is a shoulder bag about the size of a laptop briefcase. There is a nice rear compartment that is padded and will fit up to a 15” MacBook Pro.  There is a center section that holds a removable padded camera insert. If the camera insert is not used, the bag can be compressed using a zipper. When the bag is compressed, the internal volume is 19L. When it is expanded, the volume is 24L. This is where the 19-24L comes from in the title.

In addition to the laptop and camera sections, there are two pouches on the front that have lots of pockets, and some depth to hold chargers, memory cards etc. The bag is very lightweight, thanks to the fabric that is used in its construction.

So, after arriving back from my trip using the bag, I can safely say that this is the best shoulder bag I have ever used (camera or otherwise), and would highly recommend picking one up.  As a general reaction, here are 10 reasons why this bag deserves A+ marks in my book.

10. The Chobe is a tool for multiple tasks
Because this bag has both a removable divider and can be compressed, it can take the place of two bags in your closet: A dedicated photo/laptop bag, and an everyday laptop bag. Anytime I can replace two items with one, I am happy.

9. It is small enough to utilize as a “personal item” when traveling by plane
Airline regulations are getting ever more strict, and photographers everyway have nightmares about the dreaded “gate check” when traveling on small planes. The Chobe is small enough that it will fit underneath the seat of the smallest plane (see picture below). You gear will never be far away from you, which is a good thing.

8. It has a padded laptop sleeve doesn’t require a separate sleeve
Simplicity is good. I like that I can slide my laptop in the Chobe without needing to use or purchase a separate sleeve. Extra sleeves and fabric means more weight, and my bag is heavy enough when I am carrying my full camera kit and laptop.

7. The iPad can fit in the back pouch
The Chobe has a back pouch that allows you to slip the bag over rolling luggage. It also conveniently fits an iPad. This allows me to have quick access to my iPad without having to dig around in the bag. This is especially useful on a plane.

6. A Water Bottle pouch is found on the outside of the bag
This is a nice touch. I am already carrying my carry-on and this bag, having to carry around a water bottle or soda in my hands makes it difficult to navigate getting things in and out of my bag, or dealing with my tickets. Being able to slip my water into a pouch on the side of the bag and have both of my hands free is a very good thing.

5. It is lightweight
Camera and computer gear is heavy, especially when you try to load it all up in one bag. The Chobe weights 3 lbs, or 4 lbs with the insert. This is 2-3 lbs lighter than most other offerings. Every pound of savings is worth its weight in gold when you are running around the airport.

4. It holds 70-200mm lens with hood reversed
The camera divider will accept my 70-200mm telephoto lens positioned straight up and down. Many other bags like this have a difficult time dealing with this particular lens. Since this lens always comes with me to events, I am happy that the Chobe can accommodate this lens easily.

3. It’s easy to work out of
The zipper that allows access to the photo divider is easy to grab thanks to its grippy rubberized pulls. Once the bag is open, it is easy to grab lenses out, or place them back in. This is true even when the bag is on my shoulder.  It is a rare treat that a bag made for transport can also pull double duty as a shooting bag (try that with a backpack!).

2. It holds a TON of stuff
On my test trip, I carried way too much in this bag: 2x D700 camera bodies, 24-70mm, 70-200mm, 20 and 50mm lenses, a SB-900 flash, extra AA batteries, CF cards, an iPad, MacBook Pro 15”, chargers, cords and tons of accessories. Everything fits inside the Chobe. I could make the bag too heavy before I could max out the capacity.

1. It doesn’t look like I am carrying thousands of dollars of camera equipment
I believe this is probably one of the biggest reasons to check this bag out. It looks like an ordinary business bag from the outside. That is a good thing. It is stylish enough to wear or carry while wearing a suit, and casual enough for a pair of jeans. It will blend into your surroundings and not draw too much attention. And just because it looks conservative on the outside, doesn’t mean it isn’t protective either. At no point in my trip did I every worry about the safety of my gear.

So there you are: Ten reasons that you are going to want to get this bag. I highly recommend you read more about the Chobe and consider picking one up. It is one of the few bags I’ve used that I basically have no complaints about. Well done, Gura Gear.

I’ve been luke-warm about canned presets or actions in the past. The often do not work well, require too much manual tweaking after the fact and really don’t give me the ‘look’ that I am after. Also the whole process of editing a file in Lightroom, exporting to JPEG, opening up in Photoshop and then running extra processing really eats up the time when you have to deal with an entire wedding.

Enter VSCO Film. This is something completely different. These film emulators are DNG profiles which actually alter the way that a camera’s RAW file is processed – no longer are you processing the file with a default profile or camera-specific profile and then applying color tweaks on top of that. This actually is altering the way by the RAW information is processed from the start.

I wouldn’t consider my processing style to be ‘film-emulation’ or ‘vintage’ but a high-quality, natural skin tone is a bit of an elusive, and labor-intensive task with the Nikon D700′s raw file using the standard RAW profiles.

When I saw the demonstration on VSCO’s website about ‘one-click’ post-processing I was understandably skeptical, but I went for it – and I am SO glad I did.

The relatively simple set of film emulations is stored in Lightroom’s presets and allows you to change the way that your RAW files are ‘baked’ with a simple click. After you pick the overall look that you want, you can tweak the exposure, color, contrast, etc. with a number of editing shortcuts that actually work and are smartly organized. You can tell that these guys really took the effort to put together a complete set of tools. This all means that I can get to the look I desire quickly without a lot of manual tweaking after the fact. This is really cool. At the same time, this is no a panacea, for these profiles to work you need to start off with a well-lit, properly exposed subject in favorable light.

The fact that the emulations are specifically designed for how my camera deals with colors, exposure, contrast and light is what makes all the difference in the world though. It’s efficient and skin tones look awesome. It’s totally easy to use and FAST.

This really made my week and is well worth the small investment. I dare say it is the best software-based investment for getting photos processed in a timely and high-quality fashion since I purchased Lightroom. Very well done, Visual Supply Co.

Here are some examples and recipes:

Fuji 400 H, Grain +, Fill Light ++

Fuji 800Z, Auto Black, Orange Skin Fix +, Grain + Fuji 800Z, Grain +, Auto Black Levels, LR Lens CorrectionFor a more faded B&W look: Kodak TRI-X 400 ++, Faded +, Auto Black Levels, Grain +Fuji 400 H, Grain +, Auto Black LevelsPortra 800, Grain +, Auto Black LevelsKodak TRI-X 400, Auto Black Levels, Grain ++

Fuji 400H, Auto Black Levels, Fill Light ++, Orange Skin Fix +

Kodak TRI-X 400, Auto Black Levels, Grain +It’s just amazing how great these images look (especially the skin), and how efficiently I am able to process these without having to leave Lightroom to get the look that I want.

The only thing that I have to do to manual tweak the profiles is to turn down the grain on most images, run the auto black levels for exposure, and tweak the white balance/fill light parameters. But the fact that I have these all set up as quick presets, means in only 3-4 clicks, I have the image where I want and don’t have to fiddle around with the sliders.

Low-light portrait with the Mamiya ZD digital back, 80mm f/2.8 AF Lens and some off-camera flash.

Introduction

This week, I did something crazy. I purchased a digital medium format camera, specifically a Mamiya 645 AFD (Older version of the linked camera) camera with a 80mm f/2.8 AF lens and a Mamiya ZD Digital Back (No longer available new). The digital back was the more crazy part, I suppose. At any rate, this is going to prove to be a fun, frustrating, and amazing camera that will allow me to do something that is new and different. And first and foremost, it’s exciting.

I’m going to be blogging about my experience with this camera, assembling a set of articles that review the positive and negative aspects of the system, and of course, provide a number a sample shots along the way. My goal is to integrate the medium format system into my professional wedding photography work, while at the same time add to the body of knowledge about this camera system, as there really is only limited information on the web.

So let’s start with the basics. When you get into a medium format system, you are buying into exactly that: A system. The system consists of four basic parts: A back (either film or digital), a body, a lens, and a viewfinder. For example, in a system like the Mamiya RB or RZ camera (which use a 6×7 cm negative if shooting film), you have the option of multiple viewfinders like the pop-up finder, a prism finder (similar to what you’d find you every day DSLR camera), or even a chimney finder.

With the Mamiya 645 AF system, the body consists of a prism finder permanently attached. I have no problem with this. The back, whether it is film or digital, is removable, which is perhaps the biggest difference between this camera, and say, a Nikon D3s. If I wanted to switch from digital capture to B&W film mid-shoot I could just by switching the back out for a film magazine. Pretty cool.

The camera body that I got to work with the ZD Digital Back was the Mamiya 645 AFD. The ‘AF’ meaning that is an auto-focus body to work with the newsiest Mamiya auto-focus lenses and ‘D’ meaning that it has been designed to provide the necessary communication provisions to work with Digital Backs. I currently have a single lens – the 80mm f/2.8 AF. The field of view of this lens corresponds to approximately 50mm on the 35mm format – so a nice, normal lens.

Shooting the Mamiya 645 with ZD Back into the sun in the late afternoon.

The Mamiya ZD Digital Back

Now, on to the back. The Mamiya ZD digital back is a 22 megapixel digital back with approximately a 1.1x crop factor (vs. the ‘full-frame’ 645 format). 

Basic specs:

• 22 MP Dalsa Sensor
• 14-bit image pipeline with 12-bit downsampling when the image is recorded to memory
• 35 MB RAW file recorded in Mamiya’s RAW file format
• JPEGs also available in 9 different sizes/compression ratios
• ISO 50-400 in 1/3 stops
• 1.8″ LCD
• Dedicated buttons for setting ISO, Quality, Image Review, Zoom, Info, Image Protect, Navigation Buttons, Menu, and White Balance.
• Monochrome LCD for seeing shooting settings
• Rechargeable Lithium-Ion Battery
• CF and SD card slots
• IEEE Firewire out for shooting tethered
• User-changable IR-cut or low-pass (AA) filter (Although the AA filter is an extra purchase)

At the time of introduction, the ZD digital back was priced at $6999. On the used market, when you can find one, you can get one  for about $3k. Considering that, understanding and working with the limitations of the system and workflow, it will stack-up with a d3x or 1ds Mk III, it represents a good value for getting into medium format digital photography (at least that is what I convinced myself).

I also believe the back will hold its value for the next few years – there just isn’t the quick product turnover that the DSLR products have.  For example, the 1dx that just came out will likely make the prices of the 1d Mk IV and 1ds Mk III fall by quite a bit (not to mention that with every iteration of consumer level products, pro features trickle down to a camera that is only a few hundred dollars – for example the Nikon d7000 makes the several-year-old D2xs quite obsolete). In the medium format world, to get a new back, you are still looking at a minimum of a 8k investment (for a Mamiya DM22/28) or a 15k+ investment for the new Phase One backs. There is also no “consumer” digital medium format back, which will keep prices relatively constant, in my opinion.

A small flash in a shoot-through umbrella helped light the subject in this low-light situation.

Quirks or rather ‘features’…

The Mamiya 645 system and ZD Digital back is not without it’s quirks and I think it’s good to know what this camera system is not right off the bat. It is first and foremost NOT a 35mm DSLR. It will not shoot at ISO 3200+, there are not f/1.4 or f/1.2 lens in the system, it will not rattle off shots at 12 FPS, it does not have 51 AF points, or 100 menu settings for autofocus.

It is a system that forces you to slow down and think, plan, are maybe even scheme to get what you want out of it. You have a single auto-focus point. The auto-focus motor on the 645 AFD is slow, hunts a lot, is most certainly not a ‘silent wave’ anything. The back shoots at about 1 fps and has a buffer for about 11 shots before it needs to clear (which takes about 10-seconds a shot). The 1.8″ LCD is sort of a joke, the menu system is very basic, and slow to navigate. Image review is slow, and not something you really want to do if you are standing in front of client.

If you are patient and understand these quirks, you will be rewarded with the some pretty awesome image quality per dollar spent though.

Stopping down the 80mm f/2.8 lens to 5.6 gives some amazing detail to this late afternoon scene.

How I envision working this system into my portrait and wedding photography.

That’s a very good question. One that I am still working through myself. I can see myself using this camera for portraits a lot. Couple’s portraits are my favorite part of the wedding day and I like to block out 45 minutes to an hour dedicated to taking photos of just the bride and groom. It’s a chance to slow down, take a break from the craziness of the wedding day and just focus on sharing some quality time with your significant other. This is where the MF camera would excel. I love to shoot in backlit situations using just the natural light available to me. This is where having the extra dynamic range afforded to me by the medium format back will be a positive thing.

I can also see using the camera for family pictures where having the extra resolution over my Nikon d700 bodies will be a good thing. As I usually add flash to these portraits, the ISO limitations won’t be an issue.

What I won’t be using this camera for is fast-moving actions situations like the reception or ceremony. I really need the quick autofocus, f/1.4 lenses, higher FPS, and ISO performance available in my 35mm digital cameras.

So for me, what is appealing is the fact that this camera system seems like a ideal compliment to the Nikon d700 bodies that I use. The Mamiya is everything that the Nikon is not, and I feel the two will be highly complimentary.

Summary

I have not had the proper chance to take this camera “through the paces” yet, so this article is aimed to be an introduction to this writing series on my website. I will be adding to this series as much as possible – as I really want to add to the relatively limited information out there on this unique camera system.

The next task is to find a bag that will fit this Mamiya, both of my d700 bodies and lenses and still be small enough to bring on a plane for when I travel. I’m open to suggestions…please help me out.

So leave your thoughts, comments, and suggestions below and stop back often to see how the project is progressing.

Thanks to Chelsea for helping me out modeling for the images in this post. She’s the lovely lady in the portraits. In the next installment we’ll get into actual images of the camera system and back as well as more images taken with the camera.

This is my Mamiya 6, a medium format film camera that takes 120 roll film. It’s a rangefinder which makes it very compact for the size of film (it shoots a 6 x 6 cm negative). My lovely wife, Annie, was nice enough to model for me to test it out before using it for any of my weddings/engagement sessions. The results I feel are superb.

There is something magically about medium format (and larger) film. It’s organic and handles highlights so brilliantly. It also has a more cinematic look than much of the output from digital capture devices. Look for more sessions using film in the future!

Here is the newest camera:

I know this is a departure from the usual wedding photography posts on this website but some times it’s nice to mix things up. I am also currently editing a wedding that I shot yesterday. Look for a preview tomorrow evening and the full blog post in the next week. This one is going to rock so keep a look out!

When I’m traveling I like to force myself to use less equipment – which amounts to often using the equipment that I bring in less-than-ideal circumstances. I feel like this makes myself learn a particular lens’ quirks and character way more than when I have all of my lenses at my disposal.

This week I am traveling with my new lens – a bit of an odd one – but cool non-the-less. It’s a Photex 80mm f/2.8 Tilt/Shift lens. It’s kind of awesome actually – all manual, very retro metal construction, and has both shift and tilt functionality. It’s a medium format Russian 80mm f/2.8 lens bolted onto a tilt and shift mechanism. A little bit of a franken-lens, but sweet non-the-less. It’s nice and low-contrast and has a significantly different character from all of my Nikon lenses.

Anyways here is the product of an afternoon wandering around Seattle after waking up at 3:45 A.M. this morning…

That is all. Back to editing…

It’s huge and really needs to be seen in person! Just for reference when I open it up it’s the size of my 27″ iMac’s screen.

I highly recommend getting an album to remember your wedding day. There is something about seeing and touching real photographic prints and flipping through the images to remember your day that you just can’t get looking at the images on you laptop or desktop computer.

I currently offer two sizes of albums and try to keep things as simple as possible – 12″ x 12″ or 10″ x 10″. The album pages are thick, beautiful photographic prints laminated to a substrate which gives each page substance.

Each set of two pages, or spreads, opens completely flat – there is no cut in the album, so a full 24″ x 12″ image can be printed.

The cover includes a laminated print along with your names and wedding date. There is no better way to remember your day.

The butterfly bakery in lincoln, ne is one of those creative vendors I’d highly recommend checking it if you are in the market for a wedding cake.

Linda, from the butterfly bakery, brought an absolutely amazing cake to the last wedding I shot – Erica and Nathan. It was detailed, classy, and worked with their reception’s decor perfectly. Check out Linda’s website if you are currently planning your wedding.

I’d highly recommend you talk to her and schedule a cake tasting!

Oh man. Where to start? My workflow kind of sucked up until recently. I thought I had a good storage and photo workflow but then I realized it was taking me way too long to post-process my images, my image catalog was getting out of control and my backup solution was not at all what it should be. So I’m starting over, slimming and streamlining the process and saving time, and as they say: “time is money”. The inspiration for this change is reading a thread on the Fred Miranda Wedding Forum, where a very high-end photographer outlined how he ingested, culled, edited, and designed an album for delivery in about 4 hr. That’s crazy. It usually takes me 4-6 hours to edit and deliver a short senior or engagement session.

So based on the forum thread, a blog post on his site, a one-hour workflow video from Zack Arias, I think I’ve developed something that works for me. So here goes.

The key, and I mean absolute key to this workflow is Photo Mechanic. You have no idea how you got along without this program for ingesting and culling images. When you capture the typical wedding you have between 1800-2500 shots. Not all of these shots are good, wanted, or deliverable to the client. No one is that good. Also for the sake of covering my butt, I often take multiple group shots to make sure no one has their eyes closed or a strange face. I am only going to delivery one shot per ‘look’ to the client; they do not want to see 3-4 images of the same thing. I can make those decisions very quickly because of Photo Mechanic. With PM, you can INSTANTLY zip through your RAW files without having to wait to render previews even as you are ingesting your card. I’ve adopted a simple staring system, even simpler than I previously used. Here it is. Four stars gets promoted to the next step, 5 stars are blog images. Period.

So back-tracking a little bit. After I return home from an event, I create a folder on my ‘live work’ hard drive (currently a 1 TB drive in my JBOD hot-swap enclosure, I’ll get to that). This folder is in the name structure:

2010-MM-DD Client [Wedding, Senior, eShoot]

In that folder I’m going to create other folders: RAW (for all my RAW images, these are the ones that get culled in PM), 2010-MM-DD Client EDITS (These are the to-be-imported into Lightroom, the 2500 images is now 600). After I’ve 4 and 5-starred the images in PM, I simply drag the RAW files over to this folder. The next folder in the project is EXPORTS (after getting the editing treatment in Lightroom, I export all the images in the project to JPEG full-res into the edits folder). The final folder is BLOG (These are the blog images that are resized and sharpened for web.

So after I’ve moved the culled images from PM to the Edits folder, I’m going to import them into Lightroom. I’ve adopted different catalogs by year and shoot type. My current catalogs include: 2010_Weddings, 2010_Seniors, 2010_ProductShots, and 2010_Personal. I have these catalogs on my internal hard drive. When I import the images from the edits folder, this is saving my time in two ways. Since I’ve already only promoted 4 and 5-star images from PM, I will have much less images, which makes the editing process easier, makes my LR catalog smaller, and only my highest-quality images are in my catalog from now on when I go back to review them.

I go about my business and edit the images in Lightroom, and then export everything in full-res JPEGs to the EXPORTS folder. At this point I open this folder back up in PM and cull AGAIN. Any images that I don’t think is working or doesn’t add to the story I will delete from the JPEG output (not the raw files, I never delete the raw files). From the EXPORTS folder, I will do any re-touching, cloning or cropping in Photoshop (just a quick ‘e’ in PM opens the file up in Photoshop). After all of my Photoshop edits are done, I will compress down the Blog images, sharpen them in PS, add my logo and save them to the BLOG folder. I am now done (unless I need to design an album).

I’ll burn a DVD with the EXPORTS and BLOG folder and send it out. At this point I have gone from 1800-2500 RAW images to 300-600 JPEG images for client delivery, and I also know where all the files are, I have a slim Lightroom catalog and still have the RAW files untouched in case I need to go back. By only working in Photoshop on the exported JPEG images, I have no fear of destructively editing the RAW files. If I screw up an image, no problem, I just export it again from Lightroom.

This is such a simple workflow. So much simpler than what I was doing before, plus it’s easy to see where all my photos are and back them up, which bring me to part II of this article.

So here it is workflow in a picture:

Part II: Backing up and storing my images

Let’s face it, it’s quickly easy to have your storage needs spiral out of control. When shooting a wedding in RAW, it’s easy to fill up 32 GB of CF cards during the course of a day, after 20 weddings, you are well north of .5 TB of data. Storing and backing up that data gets complicated. So again, simplicity works out for these types of things. Basically, I must have all the data in 3 places. As that saying goes, “one is none…” when it comes to data. Hard drives WILL fail. Backups will fail. Things happen. You need a system. Here is mine.

I have purchased a 4-bay JBOD (just a bunch of disks) external enclosure that attaches to my iMac. This enclosure allows you install eSATA hard drives without racks or hot-swap bays. No extra hardware, which I like. I’ve settled on 1 TB hard drives because the size is manageable and the cost is the “sweet spot”.  I’ve also found very nifty HD anti-static storage pods, for drives that are not in the enclosure. Here is how it goes, I need a drive for my system (this is the internal drive on my iMac, which also has my Lightroom catalogs), I need a drive for my live work photos, and I need another drive for my media (video, backup, personal stuff). That is 3 TB of data that is online at all times. The internal drive is obviously in my iMac, the live work drive is in Bay 1 of the hot swap, and the Media drive is in Bay 2. These two drives are the Western Digital ‘black’ 7200 RPM eSata drives. In bay 3, my backup drive for my computer is installed. I am no longer using time machine to make my backups. I make incremental backups every night at 1 A.M. of my internal drive using “Super Duper”. Super Duper clones my internal drive to my bay 3 drive. Bay 4 is for rotating backups out. I need other backups of Drives 1-3. In general, since my ‘live work’ drive changes the most, I will have another drive in bay 4 that is incrementally backing up my bay 1 drive. The actual drive that does this task is one of two drives that I rotate in two locations (one on-site, one off-site). Every week I switch up the drive that is in bay 4 backing up back 1. I also have 2 other drives to backup bay 2 and 3. These live off-site as well.

Basically it breaks down to (for drive needs in the external enclosure) – 3 x 1 TB Drives (live work, media, mac backup a), 3 x 1TB Drives for backing up these drives (live work backup a, media backup a, mac backup b) and 2 x 1TB additional switching off-site drives (live work backup b, media backup b). For 3 TB Data, I need a total of 8 TB of drives. This system works better for me than having a larger RAID solution, because If my place burns down or my computer gets stolen, it doesn’t matter that I can have 2 drives fail before I lose data, my data is gone anyway, plus RAID is complicated to manage, and there is no easy way to clone the drives. I know that I have all of my live work backed up both on-site and off-site, so if something happens to a drive, I’ll pop in the backup that is on-site, get a new drive and clone the backup, promote the backup to the main drive, and have a new backup. If for whatever reason I have a failure that takes out my computer, live work drive and backup live work, I know I have the data off-site and at most I’ll lose 1 week worth of productivity.

I also like that my hard drive enclosure was very inexpensive, the 4-bay JBOD enclosure which allows 4 drives to show up on my Mac was $150 dollars. I see no reason to invest 3 times that in a desktop RAID solution that is, as I’ve mentioned earlier, actually harder to keep safe. For my 1 TB drives, I’ve chosen the Western Digital Black series. The drives are under $90 a piece and are easy to keep track of. Basically for 8 TB of capacity, my investment is around $870 including the enclosure. You could easily spend more than that purchasing individual external drives or half of that getting a hardware raid enclosure. If you go the external enclosure route, you have to deal with a rat’s nest of power cables, hubs, and cables. No thanks. My enclosure has 1 power cord, 1 cord to my computer. My backup drives live in pelican cases protected by anti-static drive covers. This makes it easy to swap the B and A cluster of drives, gives you protection from the elements and less overall hassle.

Here again is the flow:

So if you want to adopt my workflow here are the pieces you need:

1. FW800 CF Card Reader
2. 8 x 1 TB Western Digital Black Hard Drives
3. 1 4-Bay JBOD Drive enclosure
4. 6 Anti-Static Drive Enclosures
5. 2 x Pelican Cases for ‘A’ and ‘B’ backup drives
6. Lightroom
7. Photoshop CS
8. Photo Mechanic
9. Super Duper

I’d love to hear comments on my workflow and backup strategy as well as what works and doesn’t work for you.