Author: Tim Grey

Today’s Question: How many photos do you recommend capturing when bracketing for HDR [high dynamic range]? And how many stops should each photo be separated by?

Tim’s Quick Answer: How many frames you’ll need in a bracketed sequence will vary by the specific photographic situation. I recommend bracketing in two-stop increments and making sure that you have enough photos in that sequence to cover the full tonal range of the scene. That can require around five (or more) captures in extreme cases, such as when including the sun in the frame.

More Detail: There’s no need to bracket exposures for HDR by less than two stops between each exposure, so I recommend starting there.

If you’re going to use a manual process for bracketing by just adjusting the shutter speed for each exposure, for example, you can start with an exposure that is dark enough to retain the brightest highlight detail, and capture exposures in two-stop increments until you’ve brightened to the point that full shadow detail is revealed.

If you’re using automatic exposure bracketing, you need to make sure you’re bracketing enough to cover the full range of tonality in the scene. Some cameras only offer three exposures for automatic bracketing, so in some cases you may need to use a manual approach. But many cameras offer five, seven, or even nine frames for automatic bracketing.

Obviously, you could test to determine how many bracketed exposures you need, but especially if time is of the essence, you may find it is easier to just bracket at the maximum number of exposures available for automatic bracketing on your camera, and then delete any unnecessary frames later.

Today’s Question: If you are visiting multiple locations as part of one trip do you label the folder with multiple names: London and Paris 2009, or create individual folders for London 2009 and Paris 2009?

Tim’s Quick Answer: To me the answer here depends on how you think about the trip, which in turn will determine what assumptions you’re going to make later about where the photos are stored.

More Detail: My approach to defining a folder structure is to create folders based on the way I think about a group of photos. In other words, if I’m looking for a particular photo, what is the context I’ll think about for that photo, and therefore what might be a logical name for the folder in which I will find the photo.

For me personally, the context for my photos tends to be location. But for other photographers there may be other considerations, such as the date of capture, the people who appear in the photos, or other possibilities.

You then need to consider how many folders would be appropriate for a given set of photos. The example cited in today’s question is a great example, in that it gets to the core of the way I recommend thinking about folder structure.

For example, I had a trip that included stops in Iceland, Paris, and Prague. While it was one big trip, to me it felt like individual photo adventures. So, I have individual folders for each of those locations.

On another trip I spent time with a good friend traveling around Spain, including time crisscrossing the Pyrenees Mountains between France and Spain. While a good number of my photos were captured in France, to me that trip was focused on Spain. So, all of the photos from the trip are in a “Spain Road Trip” folder, rather than individual folders for Spain and France.

These are just a couple of examples, of course, but the point is that I recommend grouping photos into folders based on your sense of how (or whether) those photos belong together. The folders can then be named based on how you think of the images, so that when you’re looking for a particular photo, you’ll already have a sense of what the name of the appropriate folder might be. That, in turn, will help you locate photos more easily in the context of navigating to a particular folder.

Today’s Question: Is original filename preserved anywhere when renaming is used [in Lightroom Classic], especially when exporting?

Tim’s Quick Answer: If you rename photos within Lightroom Classic, the original filename is preserved in metadata so you can review that filename or revert the filename as needed. However, when you rename upon export that “new” filename is not preserved along with the original photo in your catalog.

More Detail: You can, of course, rename photos from within Lightroom Classic. For example, you can simply change the File Name field in the Metadata section of the right panel in the Library module. You can also batch-rename multiple selected photos using the Library > Rename Photos command on the menu.

When you rename photos in Lightroom Classic, the original filename is preserved in the “Original Filename” field that will then appear in the Metadata section of the right panel in the Library module. You can obviously review that original filename there, or use the original filename within the batch renaming feature to revert photos to their original filenames.

However, when you rename photos during export, the original filename is not preserved as part of that process. That is because you’re not actually renaming the photo being managed in your Lightroom Classic catalog, but rather are creating a new file with a new name.

Today’s Question: When performing image cleanup work in Photoshop why do you use an empty image layer instead of a duplicate layer?

Tim’s Quick Answer: The primary benefits of performing image cleanup work on a new empty image layer rather than a copy of the Background image layer are reduced file size and a more streamlined workflow.

More Detail: In Adobe Photoshop the primary reason to use layers is to provide a non-destructive workflow. For example, by performing image cleanup on a separate layer you are not altering the underlying Background image layer directly. This makes it very easy to then correct or eliminate any changes that ended up not working out well.

When it comes to image cleanup, you can either create a copy of a complete image layer (such as the Background image layer) or create a new empty image layer. The option for working with an empty image layer for this purpose is possible because most of the image-cleanup tools in Photoshop enable you to work across multiple image layers. For example, you can cleanup blemishes that exist on the Background image layer by painting on a new empty image layer, and the Background image layer can be used as the basis of the pixels created on the cleanup layer.

If you duplicate the Background image layer, you are effectively doubling the base file size. So, one of the key benefits of using an empty image layer for image cleanup is that the file size won’t increase significantly at all.

In addition, working with a separate image layer provides more flexibility in your workflow. You can easily erase pixels on the image cleanup layer if some of the cleanup steps didn’t work out as well as you would have liked, for example.

In general, I don’t recommend creating a copy of the full Background image layer unless the task you’re performing requires that step. This might be the case for certain filters or creative effects, for example. However, it is not necessary to duplicate the Background image layer for most image-cleanup tasks.

Today’s Question: I have my [Lightroom Classic] catalog and images on an external hard drive. I think there are advantages to have the catalog on the internal hard drive. Can I move it without causing problems?

Tim’s Quick Answer: Yes, you can indeed move your Lightroom Classic catalog to a different storage location. Having the catalog on an internal hard drive will often provide improved performance compared to using an external hard drive. You just need to be sure to quit Lightroom Classic first, and then transfer the entire folder containing the catalog file to the new storage location.

More Detail: Lightroom Classic revolves around a catalog that contains the information about the photos you have imported into Lightroom Classic. Performance can be improved by having the catalog on the fastest hard drive available, which often means an internal hard drive rather than an external hard drive.

Of course, some photographers prefer to have their catalog on an external hard drive along with their photos so that they can move the drive between more than one computer, and work with their catalog and photos on different computers.

Moving the catalog is relatively straightforward. First, you’ll want to know where the catalog is actually stored. You can get this information in the Catalog Settings dialog, which can be accessed from the Edit menu on Windows or the Lightroom Classic menu on Macintosh. On the General tab of the Catalog Settings dialog you can click the Show button to open a window in your operating system showing the folder that contains your catalog, with the folder selected.

Before moving that folder, you need to quit Lightroom Classic. You can then drag-and-drop the folder to the preferred storage location. As a precautionary step, it is a good idea to back up the catalog before moving it. In addition, I recommend copying the folder that contains your catalog files, rather than moving it. You can then rename the original folder to indicate it is a backup copy, so you don’t accidentally use that version of the catalog moving forward.

Once you’ve copied the catalog files to the new location, you can open the catalog in Lightroom Classic by double-clicking on the catalog file with the “lrcat” (as in Lightroom Catalog) filename extension. That will launch Lightroom Classic and open the catalog in the new location, and everything within Lightroom Classic will be just as it was before you moved the catalog.

Today’s Question: If you were going to project images on a TV mounted to a wall, what kind of resolution would you suggest?

Tim’s Quick Answer: For photos you’ll project on a TV (or digital projector or computer monitor) I recommend resizing the images based on the actual pixel dimensions of the display.

More Detail: When sharing photos digitally, they can be resized to pixel dimensions that match the pixel dimensions of the display or projector that will be used to present the images. The pixel-per-inch (ppi) resolution is not a factor in this context.

Before you can resize the images, you need to know the pixel dimensions of the display. Keep in mind that in most cases it is possible to set a number of different resolution settings for the display, so you’ll want to confirm which setting will actually be set on the display.

Some displays may use a relatively low resolution, at least by today’s standards. For example, you may find some displays use 720p HD resolution, which translates to 1280×720 pixels. Other displays might make use of 1080p HD resolution, which has pixel dimensions of 1920×1080.

Newer television displays often have higher resolutions, such as 4K or even 8K. A display with 4K resolution will generally have pixel dimensions of somewhere in the vicinity of 4,000 pixels on the long side. That might be something like 4096×2160 pixels, for example. Displays with 8K resolution will offer pixel dimensions of around 8,000 pixels on the long side. For many photographers, these large pixel dimensions may actually represent a higher resolution than their camera captures in the first place.

And again, keep in mind that the resolution promoted for a given display is not the only resolution the display will be capable of projecting in most cases. So be sure to prepare your images based on the display resolution setting that will actually be used.

Today’s Question: How do you handle permissions and model releases when you take someone’s photo?

Tim’s Quick Answer: I use a mobile app called Easy Release (https://applicationgap.com) to create digital model releases using a smartphone.

More Detail: Depending on how a photo is used, you may need a model (or property) release in order to publish the photo. For example, if a recognizable person appears in a photo that will be used in an advertisement, a model release is generally required.

I have found that the Easy Release app for both iOS and Android mobile devices makes the process of creating a release fast and easy. Among other things, this can help improve the chances that someone you want to photograph will sign the release, since the process is so straightforward.

With the Easy Release app you can enter contact information and other details about the model, capture a reference photo of the person that becomes part of the release, and have the model sign the release directly on your mobile device. You can then generate a PDF document that includes the full release details.

If you photograph people or private property, it is a good idea to get a release from the model or property owner. The Easy Release app is in my opinion an excellent way to create a signed release.

Today’s Question: Does XMP include edits in the Development module [in Lightroom Classic or via Adobe Camera Raw]?

Tim’s Quick Answer: Yes, when XMP files are saved for raw captures edited with Adobe Camera Raw or Adobe Lightroom Classic, along with standard metadata values the adjustments themselves are preserved.

More Detail: When you edit a raw capture using Adobe Camera Raw, or with Lightroom Classic if you have enabled the option to automatically write metadata updates to the source image files, standard metadata values are saved to XMP “sidecar” files alongside the original raw captures. That metadata includes standard fields such as keywords and star ratings, for example.

In the context of Lightroom Classic, that saved metadata does not include features that are specific to Lightroom Classic. Metadata based on those features, such as pick/reject flags, collections, and virtual copies, are not included in the metadata saved to the source images. Instead, that information is only contained within the Lightroom Classic catalog.

Interestingly, however, the adjustments you have applied in the Develop module in Lightroom Classic (or using Adobe Camera Raw) are saved in the metadata for the source image. That means that, for example, if you had lost your Lightroom Classic catalog, the standard metadata and Develop adjustments would still be available simply by importing the original photos into a new catalog.

In Lightroom Classic the option to automatically save metadata to the source image files is turned off by default. However, you can enable this option by turning on the “Automatically write changes into XMP” checkbox on the Metadata tab of the Catalog Settings dialog in Lightroom Classic. That dialog can be found by choosing “Catalog Settings” from the Edit menu on Windows or the Lightroom Classic menu on Macintosh.

Today’s Question: In the Catalog section [on the left panel in the Library module of Lightroom Classic] there is a caption marked “All Synced Photographs.” Can you explain this feature?

Tim’s Quick Answer: The “All Synced Photographs” collection in Lightroom Classic automatically includes all photos you have synchronized to the Creative Cloud online storage. These are the photos contained within collections that have synchronization enabled.

More Detail: In Lightroom Classic you manage the storage of your photos locally, such as on hard drives connected to your computer and with a folder structure that you define. This differs from the cloud-based version of Lightroom, where online “cloud” storage is the primary method of managing photos.

However, you can still make use of synchronization of photos to online storage for selected photos in Lightroom Classic. That enables you to access those synchronized photos from virtually anywhere by using the Lightroom app for mobile devices or accessing Lightroom through a web browser by signing in to your Creative Cloud account at https://lightroom.adobe.com.

To synchronize photos to the cloud using Lightroom Classic, you can simply turn on synchronization for a collection. First, make sure synchronization is enabled within Lightroom Classic by clicking the cloud icon that appears at the top-right of the Lightroom Classic interface.

You can then enable synchronization for a collection. If you hover your mouse over the name of a collection in the Collections section of the left panel, you’ll see an icon appear to the left of the collection name. An empty checkmark indicates that synchronization is not enabled for the collection. A double-headed arrow icon indicates that synchronization is enabled. You can click on the icon to toggle synchronization of the collection on or off.

Of course, before synchronization a collection you need to create a collection and add photos to it. To create a collection, click the plus (+) button to the right of the Collections heading on the left panel in the Library module, and choose “Create Collection” from the popup menu.

In the dialog that appears you can enter a meaningful name for the collection and turn on the “Sync with Lightroom mobile” checkbox so synchronization will be enabled for the collection. Click the Create button to create the collection, and then drag-and-drop photos into the collection to add them to the collection and initiate cloud synchronization for those photos.

Today’s Question: Given the catalog flexibility [in Lightroom Classic], do you do much deleting?

Tim’s Quick Answer: I generally do very little deleting of photos, but I’ll admit that at times I do think about going back and getting rid of some of the photos that I don’t feel I need to keep for any reason.

More Detail: Every photographer will of course capture photos that end up not being favorites and possibly not really being needed at all. These photos are often referred to as “outtakes”, and different photographers deal with outtakes in different ways.

Some photographers are very quick to delete photos they consider outtakes. Others, including myself, are slow to delete outtakes. In fact, I generally haven’t bothered deleting outtakes at all.

There are several reasons for this approach to outtakes in my workflow. The first is a concern that I may later regret deleting a photo. Even a photo that wasn’t of the best quality, for example, may still have sentimental value. In addition, I’ve generally not felt that it was worthwhile to delete outtakes. It is very easy to filter images based on metadata so that you’re only seeing your favorites at any given time, for example.

Over time, however, as my Lightroom Classic catalog has grown to more than 400,000 images, I’ve started to think about deleting outtakes, especially for older photos. This is partially motivated by storage capacity. While storage is relatively cheap, I’ve run into an issue where my photo storage needs exceed the capacity of my preferred hard drives.

My preferred hard drives are LaCie Rugged drives (https://timgrey.me/4tbrugged), which in addition to being ruggedized are bus-powered, meaning a power adapter is not required because the drive gets its power from the data connection. However, the largest capacity for the LaCie Rugged drives is 5 terabytes, and my current photo storage requires about 7 terabytes.

So, I either need to opt for different hard drives to provide higher capacity, store my photos across more than one drive (which is what I’m doing currently), or start deleting outtakes. I’m considering going through the process of deleting outtakes but haven’t started on that project as of yet.