Ask Tim Grey

Today’s Question: When a JPEG image having sRGB (or other) embedded profile is opened into Camera Raw, it appears that the image’s profile is automatically converted to Camera Raw’s working space. Is this true, and is there a workaround?

Tim’s Quick Answer: If you process a JPEG image with Camera Raw, the resulting image will indeed have the color space and bit depth modified based on the current settings in Camera Raw. You need to change the Workflow settings in the Camera Raw Preferences dialog to avoid these changes.

More Detail: If you have a JPEG image in the sRGB (or similar) color space profile, I don’t generally recommend converting the profile for the image. I also don’t recommend converting a JPEG image from 8-bit per channel to 16-bit per channel, which Camera Raw will also do by default. If you were to convert to 16-bit per channel, you would need to save the image in a different format, as JPEG only supports 8-bit per channel.

The settings for how or whether these changes are made in Camera Raw are controlled by the Workflow settings in the Camera Raw Preferences dialog. While in Camera Raw, for example, you can click the text summary below the preview image that indicates the current settings for the conversion. That will bring up the Camera Raw Preferences dialog with the Workflow tab selected. In the Color Space section, you can choose the desired color space profile (such as sRGB) and the bit depth (such as 8 Bits/Component).

It is important to keep in mind that the new settings will become the default settings for images that have not previously been processed with Camera Raw. Therefore, if you were to later process a raw capture you would want to be sure to change the bit depth to 16 Bits/Component and the color space to ProPhoto RGB (or your preferred working space profile).

The key thing to keep in mind is that if you choose to make use of the ability to process JPEG, HEIC, and TIFF images with Camera Raw, the output settings for Camera Raw will apply equally to those images, just as when processing raw captures.

Today’s Question: I was hoping I could find a way to back up the Lightroom Classic catalog but to also include the original photo files too. Is that doable?

Tim’s Quick Answer: Yes, you can back up both the Lightroom Classic catalog and all photos by using the “Export as Catalog” command.

More Detail: Lightroom Classic includes an option to back up the catalog that contains the information about your photos but doesn’t include a feature for backing up your actual photos. You will therefore need to use a separate workflow for backing up your photos.

However, there is a way to back up your Lightroom Classic catalog along with all the source photos referenced in that catalog using the “Export as Catalog” command. The caveat of this approach is that there isn’t an incremental option available. In other words, if you wanted to update an existing backup your only option would be to run through the (very) time-consuming process again.

That said, this can be a very effective way of creating a complete backup of all your photos and information contained in the Lightroom Classic catalog.

To get started, navigate to the “All Photographs” collection in the Catalog section of the left panel in the Library module. Make sure the Library Filter bar above the grid view display is set to “None”, so that all images are displayed. Then go to the menu and choose Select > None so that none of the photos are selected. This will ensure that all photos get exported, even though you haven’t selected any.

Next, go to the menu and choose File > Export as Catalog. In the dialog that appears, navigate to a location (such as an external hard drive) that contains enough storage space for your catalog and all photos. Enter a meaningful name in the “Save As” field, and make absolutely sure that the “Export negative files” checkbox is turned on. This will cause the source files to be copied, along with a copy of the catalog. You can also turn on the “Include available previews” checkbox if you want the previews included so they don’t need to be generated later.

With the settings configured, click the Export Catalog button. This will initiate the process of creating a duplicate copy of the current catalog, and copying all photos to the designated location as well. Note that your existing folder structure will be maintained with the backup copy you are exporting.

Note that “Backing Up Your Photos” is the subject of one of the classes I’ll be teaching at next week’s Lightroom Virtual Summit 2025. You can sign up for a free pass (and learn about the benefits of upgrading to a VIP Pass) here:

https://timgrey.krtra.com/t/WBNmS5VZolXc

Today’s Question: I look forward to experimenting with the new Dust Removal functionality in Camera Raw. I occasionally see dust specks that I know are on the sensor, and they appear as sharply defined spots in the image. But I also frequently get diffuse spots, usually visible only in skies and other plain fields, and my suspicion is that these are caused by dust on one of the physical lens elements, possibly internal to the lens. These are more pronounced with smaller apertures. Does the Dust Removal tool help with both scenarios? And does it help with dust that appears in digital scans from film?

Tim’s Quick Answer: Yes, the Dust feature for Distraction Removal in Camera Raw does clean up both relatively sharp and relatively diffuse dust spots that appear in an image.

More Detail: Dust spots in an image are almost exclusively caused by dust on the image sensor, which is to say dust that attaches to the filter in front of the physical sensor in the camera. Dust on a lens element is not likely to result in what we would classify as a dust spot, though dust on a lens can result in bright orbs in the image caused by the refraction of light.

The difference between relatively crisp versus diffuse dust spots generally relates exclusively to lens aperture. In addition to affecting depth of field, the lens aperture affects depth of focus at the image sensor. Thus, when the lens is stopped down dust spots will appear sharper and when the lens aperture is more open the dust spots will appear less sharp.

Fortunately, in both cases my testing has shown that the Dust feature for Distraction Removal in Camera Raw does a great job identifying and removing these spots. This is especially true for spots that appear in relatively clean areas of an image, such as the sky, because those spots stand out more readily in those areas.

And as I’ve stated previously, I fully expect that the Dust feature will be added to other Adobe applications, including both versions of the Lightroom desktop applications. I have no idea when this might happen, but I’m confident that it will, as Adobe has a good history of maintaining parity across their professional tools for photo editing.

Today’s Question: I have occasionally been getting a warning from Lightroom Classic. After editing a raw file (NEF), an exclamation mark appears on the thumbnails. When I click on the exclamation mark, a message appears that says “Lightroom has encountered problems reading this photo. You will not be able to make adjustments to the photo.” However, I can go back and make additional adjustments. What is the meaning of the warning? What can I do to avoid or correct the warning?

Tim’s Quick Answer: This warning generally indicates there is a problem with the source file, such as that it has become corrupted. It is therefore important to ensure you have a good backup, and to test the storage device the problem photos are on.

More Detail: I have seen periodic indications that the error message in question has appeared in error, with the files being perfectly fine. However, I strongly recommend assuming there may be a hardware issue causing this problem.

The most likely explanation for the error is that the file has been corrupted, or that there is a hardware problem causing intermittent issues. In either case I would be concerned that the source files could become damaged.

First, make sure you have a reliable backup of all your photos, so you can recover from that backup should a photo become corrupted. I would also use the error checking option in your operating system for the drive. This is found on the Tools tab in the Properties dialog for the hard drive on Windows, or with the Disk Utility application on Macintosh.

You can also test the source file using other software, such as to open the file directly in Photoshop. However, just because the file can be opened with other software doesn’t mean there isn’t a problem.

My personal approach is to not trust any drive that has caused me to question it more than once. A single error could be a fluke. But if there is more than one error, I assume the drive is experiencing a problem and I replace it. I’d rather spend a little extra money and do a little extra work rather than risk the loss of an entire hard drive. And again, this type of situation is a reminder of the importance of having more than one backup, and ideally an offsite (such as online) backup.

You can learn more about my workflow for backing up photos from my GreyLearning Ultimate Event on “Backing Up Your Photos”, which can be found on the GreyLearning website here:

https://www.greylearning.com/courses/greylearning-ultimate-event-backing-up-your-photos-may-2023

Today’s Question: If Lightroom Classic identifies an image as a duplicate in the Import dialog, is there a way in Lightroom Classic to find the duplicate? Sometimes my structure gets a little confused so it’s useful to find the “original” and move it to the right place.

Tim’s Quick Answer: There isn’t an automatic way to identify the duplicate image in Lightroom Classic, so I recommend importing the duplicate and then sorting all photos by capture time to locate the cause of the duplication.

More Detail: Lightroom Classic lacks a feature for automatically locating duplicate images, other than to indicate that an image is a duplicate as part of the import process. When an image is excluded from import due to being identified as a duplicate, however, the duplicate that is already in the catalog isn’t identified.

You could potentially track down the duplicate that is already in the catalog by searching by filename or by date, for example. But I find it is generally easier to track down duplicates by sorting the images based on capture time. This requires that the duplicates both be in the catalog, so to use this approach you would need to import images with the “Don’t Import Suspected Duplicates” checkbox turned off in the File Handling section of the right panel in the Import dialog.

Once the duplicate images are added to the catalog, you can browse them by navigating to the “Previous Import” collection in the Catalog section of the left panel in the Library module. Select one of the images you believe is a duplicate, and then select the “All Photographs” collection in the Catalog section of the left panel. In the grid view set the Sort popup on the toolbar below the image preview area to “Capture Time”. This will cause any duplicate images to appear adjacent to the selected image.

In this way you can relatively quickly identify duplicate images visually, confirming the duplication by evaluating metadata details such as capture time and filename. You can determine where a specific image file is located by viewing the Folder field in metadata, or by right-clicking an image and choosing “Go to Folder in Library” from the popup menu. You can then review metadata updates such as star ratings and keywords to determine which image should be kept versus discarded and perform any other updates such as to move photos to a different folder location.

Today’s Question: In Lightroom Classic there are two options for assembling a high dynamic range (HDR) image. There’s Photo Merge > HDR and Edit in > Merge to HDR Pro in Photoshop. What’s the difference? Is one preferred over the other?

Tim’s Quick Answer: These two options represent two very different tools for assembling HDR images, and I have consistently found the Lightroom (or Camera Raw) option to produce better results.

More Detail: The “Merge to HDR Pro” command found on the Photo > Edit In menu in Lightroom Classic leverages the HDR Pro feature in Photoshop. This feature has been around longer than the HDR merge feature of Lightroom (or Camera Raw). If you send a group of bracketed exposures to Photoshop from Lightroom Classic using the Photo > Edit In > Merge to HDR Pro in Photoshop command, you’ll be accessing this HDR Pro feature.

If you instead select Photo > Photo Merge > HDR from the menu, you’ll be using the HDR feature that is built into Lightroom (and Camera Raw). This is a more recent engine for assembling HDR images, and in my experience consistently produces better results than HDR Pro in Photoshop.

In addition, merging HDR images with Lightroom or Camera Raw provides a workflow advantage, in that you can apply the tone-mapping and adjustments directly on the DNG file created as part of the HDR merge process. This enables a more streamlined and flexible workflow.

I think of HDR Pro in Photoshop as being somewhat dated compared to the HDR merge feature of Lightroom and Camera Raw. For those using Lightroom Classic, that means I recommend assembling HDR images directly within Lightroom Classic. If for some reason Lightroom Classic doesn’t produce a good result for an HDR image, I would be more inclined to use software such as Luminar Neo (or my original favorite, Nik HDR Efex Pro) rather than using Photoshop.

Today’s Question: I noticed that Camera Raw [via Photoshop] has a feature for the Remove tool that automatically removes dust spots. This option doesn’t exist in Lightroom Classic. Am I looking in the wrong place? Or can I invoke Camera Raw from Lightroom Classic?

Tim’s Quick Answer: The dust detection feature for the Remove tool is currently only available for Camera Raw as an “Early Access” feature. I expect the same feature will be added to Lightroom Classic (and Lightroom) in the near future.

More Detail: Generally speaking, Adobe maintains parity across Camera Raw, Lightroom, and the Develop module in Lightroom Classic, in terms of having the same features for optimizing photos. Lately, there have been some features added to Camera Raw before they are available in Lightroom or Lightroom Classic. I expect that is what’s currently happening with the dust detection feature for the Remove tool in Camera Raw.

The Dust option can be found in the Distraction Removal section of the right panel for the Remove tool in Camera Raw. When you expand the Dust section you’ll see that there is an “Early Access” banner to the right of the “Apply” checkbox, which indicates this is in effect a beta feature that isn’t quite ready for full release.

My testing has shown that this feature works remarkably well. It essentially identifies where dust spots exist in the image and adds a removal spot for the Remove tool based on that detection.

For the time being, if you want to use this feature, you’ll need to open an image in Camera Raw, such as from Photoshop or Adobe Bridge. You could also send an image from Lightroom Classic to Photoshop as a Smart Object. This is done by selecting the image in Lightroom Classic and then from the menu choosing Photo > Edit In > Open as Smart Object in Photoshop. You can then apply the Camera Raw filter (Filter > Camera Raw Filter) to the image to access Camera Raw and the dust removal feature. However, based on past experience I am confident Adobe will add this feature to both Lightroom Classic and Lightroom in the relatively near future.

Today’s Question: Do you know if there’s a way to use Lightroom Classic when you’re in a remote location where you can’t have it verified by Adobe?

Tim’s Quick Answer: Most users will have about a three-month grace period for offline use of Adobe applications. Prior to a trip where you know you’ll be offline, I recommend signing out of the Creative Cloud application and then signing back in so that you are sure your account has been validated to maximize the amount of time you’ll have offline.

More Detail: Your Creative Cloud subscription needs to be validated via an internet connection to maintain access to the applications in your plan. For most users there is about a three-month grace period, but this varies by plan. For example, there is a 99-day grace period for annual subscribers (even if you’re paying monthly) but only a 30-day grace period for month-to-month subscribers. This can also vary based on how you signed up for your Creative Cloud plan.

To ensure you will have as much offline access to Adobe applications as possible when you know you’ll be offline for an extended period of time, I recommend signing out of the Creative Cloud application (the application you use to install updates to the applications included in your plan, for example) and then sign back in. This will effectively reset the clock for the validation requirement, maximizing the amount of time you’ll be able to use the applications offline.

You can learn more about the requirements for online validation on this page on the Adobe website:

https://helpx.adobe.com/au/creative-cloud/kb/internet-connection-creative-cloud-apps.html