Hey Reader,
One of the biggest headaches for photographers isn’t taking the photo...
It’s keeping it.
Not the most glamorous part of the process, I know.
But if you’ve ever lost a set of photos or even had that sinking “I think they’re gone” moment, you know how much it hurts.
I’ve been there.
I once thought I’d lost an entire client gallery because my hard drive decided to die on a Tuesday. That little “pop” noise it made still lives rent-free in my head.
Luckily, I had a backup.
p.s. All the photos you'll see today are from an upcoming project I'm really excited to share with you!
And that’s the thing. Backups aren’t just about files.
They’re about trust, your reputation, and making sure you don’t end up in one of those awkward “sorry, they’re gone” conversations.
When clients come back asking for re-edits months later, being able to say “yep, I’ve got those” is a nice little boost to the business.
It keeps you in a good place with clients, shows you’re reliable and means you can help them when they hit a snag.
It’s not glamorous work, but it’s the right thing to do.
So I wanted to share how I back up my work.
I’ve got two systems, one for clients and one for my personal life, and while neither is fancy, they work.
For Professional Work
When it’s client work, I treat the files like gold.
Because in a way, they are.
I’d love to say I give my personal photos the same love, but that’s not true right now.
For my own stuff, I aim for effortless.
For clients, here’s the exact process:
1. Shoot with dual SD cards
My Sony A7IV writes to both cards at once.
That means every single shot has a built-in backup from the second I take it.
If one card fails, I’m covered.
2. Transfer to my MacBook Pro
After the shoot, I copy everything to my MacBook’s 2TB local storage as soon as I can.
This gives me a backup that’s not living on an SD card.
3. Keep one original SD card safe
One is none.
If it’s only in one place, it’s not safe.
I keep at least one of the original cards with the media on it until the project’s done and delivered.
4. Edit from local storage
I work directly from my MacBook so I can edit anywhere without extra cables or drives, and it’s faster.
It also means I can keep things moving on the go.
5. Deliver via the cloud
Photos go to Pixieset.
It gives clients a clean gallery, different download options and a nice viewing experience.
If you want to try it out, this link gives you $20 off when you sign up, and it also helps support the newsletter!
Videos go to Google Drive, which is reliable and doubles up as part of my personal storage flow.
6. Archive to SSDs
Once a project’s approved, I move the files to SSDs.
I keep separate SSDs for clients, YouTube, content and travel photography.
These store all my RAW files.
When they fill up, older work gets moved to big, slow hard drives.
Pixieset works the same way. When space runs out, older galleries move to Google Drive.
It’s not the flashiest system, but it works for the way I travel and work.
A NAS setup has always been the dream, but for now, this is my reality.
7. Add it to the contract
I’ve started including a note in my contracts that I don’t store deliverables forever.
Once the work’s delivered, it’s on the client to keep it safe.
This keeps my storage under control, removes liability and keeps expectations clear.
For Personal Work
This one’s much simpler.
Every photo I take on my phone syncs to Google Photos.
It’s linked to my iPhone camera roll, so it all happens quietly in the background.
I don’t have to think about it; it just works.
The best part is that I can access it from anywhere.
I don’t need my phone with me.
I can be on my computer, a friend’s laptop, or even in an internet café on the other side of the world and still see every photo I’ve ever taken.
It also means I can clear space on my phone without panicking that I’ve deleted something I’ll want in ten years.
It’s not elaborate, it’s effortless.
And that’s the key for me.
If it feels like work, I won’t stick to it.
Why This Matters
Backups aren’t exciting.
They’re not the part of photography you brag about.
But they’re what make all the exciting parts possible.
The price of memories isn’t just in your gear, or the trips you take, or the hours you spend shooting.
It’s in the quiet, unglamorous work of protecting them.
So maybe take a quick look at your backup setup this week.
Even a small change now could save you later.
P.S...
This newsletter grows through word of mouth.
If you’ve been enjoying these emails or found this one helpful, I’d love it if you shared it with someone you think would appreciate it.
Post it, forward it, tag me, whatever works.
I’ll always try to repost and say thanks where I can.
