BACKUP 341 appropriate tools, such as the GretagMacbeth Eye-One (www.gretagmacbeth.com), the MonacoOptix (www.monacosys.com), or the Spyder Colorimeter and PhotoCAL soft- ware from ColorVision (www.colorvision.com). These tools allow you to calibrate your monitor to known standards and then generate an accurate profile that describes the color behavior of the monitor. For a more detailed look at the calibration process and the full color-managed workflow, see Chapter 12, "From Capture to Monitor to Print." BACKUP With film photography, your images are relatively safe. Provided you could protect them from high humidity, fire, and other threats, your images would last for decades. With film, you don't really have a viable option for backing up, because film duplicates don't retain the quality of the original. You could scan the images to produce digital images, but then you have the same issues to contend with as images that were digital in the first place. With digital photography, you have to guard against harm to your images in a number of ways. Besides keeping your computer and media safe from physical harm, you run the risk of periodic hardware failures that can cost you a heavy price in lost images. Fortunately, unlike with film, you can back up digital images with no loss of image quality. You can produce an exact duplicate that's identical in every way to the original image file. In fact, digital redundancy can be an advantage--not a burden--if well managed. Backing up images is like paying for health insurance. We often would rather not bother, but it sure is nice to have it there when you need it. To paraphrase Murphy's Law, the only time you'll ever need a backup is when you don't have one. We recommend taking the safe approach: Always back up your work. For in-depth information on hardware, software, and developing a backup strategy see Chapter 14, "Archive, Catalog, and Backup."