Olympic National Park, Washington June 24–30, 2006

Growing up in a tidy household under the loving direction of my German mother still has an effect on the organization of my daily life. Being a highly visual person, I have to believe some of it has also rubbed off on my preferences for clean, graphic compositions free of random clutter and distracting elements (same goes for my living and working spaces). As long as it still has feeling, texture and warmth, and as long as I don’t drive anyone else crazy, being a neat freak has its advantages.

After recently getting a new photo backpack to replace one that finally earned its retirement, I was reminded once again of the importance of good organization as an effective photography skill. In almost every aspect, whether logistic, creative or business, having solid organizational skills will improve your rate of success in any situation.

I was also reminded that the process of setting up a new photo bag, no matter how similar to your old one, takes time and effort to get just right. But the time invested in getting (and staying) organized will only yield rewards of efficiency in the field. On more occasions than I can remember, I have been photographing such fleeting conditions that even a miniscule delay in choosing and applying particular equipment would have cost me the shot—or at least some important aspect of it. Along with the many skills required for creating high-quality work, organization has become second nature to successful photographers.

Like choosing the type of clothing you wear for various occasions, choosing the right bag for your type of photography is just as important. My enduring favorites for participatory sports and more journalistic work are my weathered Photoflex chest pouch and shoulder bag designed by Galen Rowell in the early 90s. These (and similar bags) are perfect for traveling light on trails or in crowded streets. The flip-away lid of the shoulder bag allows quick access to its contents without having to set it down in a risky location. But having all the weight on one shoulder for an extended period of time takes its toll both physically and mentally.

For most nature and outdoor photographers, backpacks have proven to be the best choice for the majority of the work they do. The logic is sound. Nature photography generally requires you to carry your equipment over various types of rugged terrain for long distances. Also, when you do set up a shot, you’re generally in one spot for a period of time when you can take the load off and relax a little. But the advantage of carrying a fair amount of gear in relative comfort requires that the load be organized and adjusted properly.

Most of the reputable photo backpack brands have carefully designed harnesses that distribute more than half of the weight to your hips, making the load feel lighter and relieving stress off the shoulders and spine. The best packs incorporate noticeable lumbar support pads, adjustable harness spacing to fit different body proportions, and padded belts and contoured shoulder straps. On the outside, a good pack should have several attachment points for accessory pouches, durable, weather-resistant fabric and zippers built to withstand rugged use. On the inside, adjustable, padded dividers keep equipment nested and safe from shock and vibration.

The first step to realizing comfort with 30 or more pounds on your back is in proper adjustment of the backpack harness. With all the straps loose, place the pack on your back and secure the waist belt around your hips. Make the belt fit snug but not binding. Next, if you have this option on your pack, adjust the height of the shoulder strap connecting points so that they rest just below shoulder level. Pull on the shoulder strap length adjustment in the front until the straps hug your shoulders comfortably. Finally, tighten the upper shoulder strap adjustments and waist belt connection straps to draw the pack close to your body.

It normally takes several tries to get it right, and it usually helps to have a close friend on hand to assist. When adjusting your pack for the first time, remember to wear clothing similar to that which you wear in the field. After a break-in period, you may have to tighten or re-adjust accordingly. The goal is to have the majority of weight carried comfortably on your hips rather than on your shoulders.

Certain brands, models and sizes will fit certain people well and others poorly. A common case of poor fit occurs when a person tries to fit a pack that is either too small or too tall for their torso. No matter how much you try, the physical size and vertical spacing of the harness will never fit well. If you’re a taller person, for example, you’re better off getting a larger pack that fits the length of your back properly and then leave some of it empty if you don’t have a lot of equipment to carry. The voids can always be filled with extra clothing, a gourmet picnic for your tour leader, or new equipment you might get for Christmas.

Next, lay out all the equipment you plan to regularly carry in your pack. Open the pack and remove all the Velcro padded dividers. Start building the interior around the equipment you have, placing heavier items such as telephoto lenses near the bottom and center, and lighter, smaller items near the top and sides. Use the actual items as templates to place the Velcro dividers around each piece. While you have all of your dividers strewn about and the pack empty, take the opportunity to vacuum out all the sand you acquired on your last trip to the coast.

There are several schools of thought in regards to leaving lenses attached to camera bodies or separating them in the pack. If you choose to leave a lens on, build a nest for the body/lens combination that will accommodate a different combination as well. For example, if your most common lens is a standard zoom, and you also own a telephoto, build the space to accommodate the long lens attached to the body as well.

On the other hand, separating lenses and camera bodies might provide some extra space in the pack. When I attach a lens, I take the body cap off the camera and the rear cap off the lens and mate them together in order to keep the inner surfaces clean while not in use. This helps to reduce the amount of dust that can work its way inside the camera and onto the image sensor.

In regards to original manufacturer packaging, I suggest getting rid of almost everything—boxes, plastic wrapping, etc. This is especially important for accessories. After only a few days of always picking the wrong filter out of my bag, I devised a system that has since streamlined my work considerably. With each screw-in type filter in an individual Tiffen Series 9 Velcro Cordura pouch, and labeled clearly, I can choose just the one filter I need and leave the others still safely tucked away. Multiple filter wallets work fairly well, but I find it quicker to deal with just one at a time. I can also stash one in a pocket if needed and not expose any other filter to the existing conditions.

My Singh-Ray Galen Rowell series of graduated neutral density filters remain in their manufacturer soft vinyl pouches, sans plastic and tissue, with one modification. With all the filters stacked on end in my bag, I can’t tell one from another without pulling it out and reading the side of the pouch. Instead, I simply cut small strips of white plastic tape and attach them to the top edge of the pouch to denote which filter is enclosed. In this manner, I can glance at the whole group and quickly identify the one I need for any quickly developing situation.

All other accessories are likewise broken down to minimize clutter and maximize space. Batteries are taken out of blister packs, film is taken out of boxes (but left in plastic drums for dirt and water protection), cable release, flash accessories and cleaning supplies are all taken out of as much packaging as possible and placed in logical partitions or pouches.

For keeping fresh film and memory cards separate from spent ones, there are a few reliable practices. For spent film, a separate pouch or “film depository” works very well for keeping those rolls secure. For spent memory cards, try using removable dot labels to mark used cards individually. I find the Avery brand removable dot labels found at office supply stores to be well worth the few seconds it takes to apply them.

Getting organized, though, means nothing if you don’t stay that way. I try hard to put everything back before moving on to the next unique location. At the very least, your pack should be cleaned up and reorganized at the end of each day in preparation for the next breaking event. Whenever I break this rule I find myself wasting valuable time looking for something that isn’t where its supposed to be—all while the light is fading or my subject is turning to show its back end.

Finally, when you have decided on a location to shoot, look carefully for a good place to put your pack down. Even if it’s a few meters away, it's better to have a place free of mud, anthills and that rare plant species that could be crushed into extinction by your 40-pound pack. It's also a good practice to flip the lid shut to help prevent debris and dust from getting inside, and if you’re in a potentially risky location, zip it shut all the way. This saved me one day when I was unexpectedly clipped by a ski model below a blind drop. When the dust settled, I watched my zippered backpack tumble and roll 200 feet down the powdery slope. If it had been open, I would have had to wait until summer to take inventory.

To some degree, good organization fosters a state of mind geared for deliberate action and attention to detail. Creative photography benefits from an approach where every action is measured and when the ritual of preparation is as important as the actual execution. Putting away your toys goes a long way toward both making better images and, more importantly, pleasing your mother.

All images copyright © 2005 Todd Pierce