Changes to a Virtual Copy

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Today’s Question: If I create a virtual copy in Lightroom Classic and then edit the photo, do the changes get reflected in the original photo?

Tim’s Quick Answer: No, the changes you make to a virtual copy are not reflected in the original photo from which the virtual copy was created.

More Detail: When you create a virtual copy in Lightroom Classic, that virtual copy inherits the metadata from the original photo. So, for example, the information about camera settings would be duplicated from the original in the virtual copy, as would other metadata from the original capture. Any updates you had made to the original image before creating the virtual copy, such as keywords and star ratings, would also be inherited by the virtual copy.

However, once a virtual copy is created, changes made to metadata from that point forward are not synchronized automatically between the virtual copy and the original. So, for example, if you update metadata for a virtual copy, those changes are not reflected in the original photo. And if you update metadata for the original photo, those changes will not be reflected in the virtual copy that had been created previously.

The idea is that a virtual copy represents a second interpretation of the original photo, including both metadata updates and adjustments. So a virtual copy inherits the settings from the original when it is created, but from that point forward the virtual copy and the original behave as though they were two different photos, just based on the same original raw capture.

Note that you can synchronize metadata across multiple images, including virtual copies. So it is possible to make updates to metadata or adjustments that apply equally to both a virtual copy and the original photo the virtual copy is based on.

Keyword List Synchronization

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Today’s Question: When I use a traveling catalog [in Lightroom Classic], I find the keyword structure always ends up being different than my desktop catalog. How do you “synch” the keywords between catalogs, preferably BEFORE the trip?

Tim’s Quick Answer: You can synchronize keywords from your primary catalog to a traveling catalog by exporting keywords from your primary catalog and importing them to your traveling catalog. This will ensure that all keywords on the Keyword List in your primary catalog will be readily available to you during your travels.

More Detail: The Keyword List on the right panel in the Library module in Lightroom Classic includes all keywords that have been added to all images in the current catalog, or that were added to the catalog regardless of whether they have been assigned to any images.

When you create a new empty catalog, such as to use on a laptop when traveling for photography, there will initially not be any keywords on the Keyword List. As a result, you can’t simply turn on the checkbox for a given keyword on the Keyword List when you want to add keywords to photos you import to your traveling catalog.

Fortunately, it is possible to effectively synchronize your list of keywords from the primary catalog to a catalog you’ll use while traveling.

To get started, open your primary catalog. From the menu choose Metadata > Export Keywords. In the dialog that appears you can choose where to save the exported keywords list and give that list a name. I recommend saving the list on a storage device you’ll be able to easily connect to your laptop computer, for example. You could also simply save on the desktop and then email the list to yourself. You can use a meaningful name for the keyword list, just to make sure you know where that list came from.

Next, you need to get the exported keyword list file to your laptop. You can use an external hard drive or other storage device, of course, or simply email the file to yourself since it won’t be a very large file.

With the exported keyword list on your laptop, you can then open (or create) your traveling catalog in Lightroom Classic. Then go to the menu and choose Metadata > Import Keywords. Navigate to the location where the exported keywords list is located and import that list.

At this point the Keyword List on the right panel in the Library module will include all of the keywords from your primary catalog. You can therefore assign keywords from this list to your photos while traveling. When you then merge the photos from your traveling catalog to the primary catalog back at home the keywords assigned while traveling will be included as part of that process.

Why Not Use a ColorChecker?

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Today’s Question: You said you prefer to use adjustments in Lightroom Classic rather than something like the ColorChecker Passport. Can you expand on why that is the case? It seems that the ColorChecker would help ensure more accurate colors in photos.

Tim’s Quick Answer: A product such as the ColorChecker Passport (https://timgrey.me/colorchecker) from X-Rite Photo can indeed help ensure more accurate color in your original captures. However, in many cases this will not actually provide optimal color, since in most cases we don’t want our photos to appear to have been illuminated by pure white light.

More Detail: On the surface it seems like the notion of capturing “accurate” color in your photos is rather straightforward. In fact, however, it can be a little tricky to capture truly accurate color, or to define exactly what we mean by accurate color in this context.

Products such as the ColorChecker Passport from X-Rite are primarily aimed at helping you achieve truly accurate colors in your photos. The problem is that accurate color in this context is generally defined as having the subjects of your photos appear as though they were captured under a perfectly white light source.

In most cases I think it is fair to say that photographers aren’t truly looking for “accurate” color, but rather “pleasing” color that reflects how a scene actually appeared.

For example, if you are photographing during “golden hour” just before sunset, you most likely want to retain the color influence of the golden light illuminating the scene. A product such as a ColorChecker Passport will attempt to remove the golden color of the light in order to ensure more “accurate” color.

There are, of course, situations where you absolutely want to ensure the colors in your photos are an accurate reflection of the subject you were photographing, such as with product photography. In many cases, however, that is not your true goal.

If you you do indeed want the colors of objects in your photos to match the subject as though there was not any color case caused by the lighting illuminating a scene, then the ColorChecker Passport can be a perfect solution. You can learn more here:

https://timgrey.me/colorchecker

Note that I discussed some of the ways you can achieve more accurate colors right at the time of capture in the article “Capturing Accurate Color” in the June 2021 issue of my Pixology magazine. You can learn more about the magazine on the GreyLearning website here:

https://www.greylearning.com/courses/pixology-magazine

Improving “Flat” Captures

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Today’s Question: I’ve been disappointed that Adobe hasn’t been providing profiles for new Canon cameras in Lightroom Classic or Camera Raw. The generic Adobe profiles sometimes leave raw images looking quite flat. I’ve seen mention online of color checkers being used to create camera- and lens-specific profiles that can be used in Lightroom Classic and I wondered if you’ve tried that.

Tim’s Quick Answer: A reference card such as the ColorChecker Passport (https://timgrey.me/colorchecker) from X-Rite Photo can help achieve more accurate colors. However, in general I recommend using an updated preset for Lightroom Classic to improve the initial appearance of photos.

More Detail: In general, you will likely find that raw captures appear a bit flat with default adjustment settings in most software. This can be a little disappointing, since the image on your camera’s LCD display will often be more saturated with better contrast compared to what you’ll see on your computer.

However, this is primarily related to the interpretation of the raw capture. In the camera, for example, the raw capture is often interpreted to reflect better contrast and saturation.

Lightroom Classic employs profiles that define the initial interpretation of the raw capture data. You may find, for example, that there is a profile you are most happy with in terms of the initial appearance of your photos. However, you can also change the default adjustment settings to improve the initial appearance of your photos.

Those updated default settings can include changing the profile found at the top of the Basic section on the right panel in the Develop module in Lightroom Classic. However, I also find that a boost of Clarity as well as Vibrance can greatly improve the initial look of photos.

I recommend using a preset to apply updated adjustment settings to photos. Start with a sample image that you have not yet applied adjustments to. Then refine any of the settings you’d like on the right panel in the Develop module, representing adjustments you’d like to apply to other images. Then create a preset by clicking the plus (+) button to the right of the Presets heading on the left panel in the Develop module and choosing “Create Preset” from the popup menu.

In the dialog that appears, make sure the checkbox is turned on only for the specific adjustments you want to include as part of the preset. Type a meaningful name in the Preset Name field and click the Create button to create the preset.

You can then apply that preset to images in order to update the adjustment settings. Even better, you can apply the preset to all new photos as they are imported by selecting the preset by name from the Develop Settings popup in the Apply During Import section of the right panel in the Import dialog.

Protecting Virtual Copies

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Today’s Question: Are virtual copies preserved when you back up the Lightroom Classic catalog? When do you risk losing virtual copies?

Tim’s Quick Answer: Yes, virtual copies are preserved when you back up the Lightroom Classic catalog. You can also export a virtual copy to create an additional image file based on the adjustments you applied to that virtual copy.

More Detail: As the name implies, a virtual copy is a reference to a source image that does not involve creating an additional copy of the source capture. So, for example, you could interpret the original photo in full color, and then create a virtual copy that is a black and white interpretation of the original.

In the context of Lightroom Classic, all adjustments you apply are non-destructive, meaning they are effectively just metadata updates that don’t alter the original pixel values in the source image. So, when you create a virtual copy you simply have two (or more) sets of metadata for the same source image.

While a virtual copy appears as though it were an additional copy of the source image when viewed in your Lightroom Classic catalog, that’s not the case. If you deleted a source image file, the virtual copy based on that source image file would become useless because the virtual copy is only metadata. Without the original image, the metadata is useless.

However, you can export a virtual copy to preserve it as an actual image file. For example, if you create a virtual copy based on a raw capture, you can export with the “Original” option for file format and you’ll get a new copy of the original raw capture along with the applicable metadata (including adjustments) in an XMP sidecar file.

If you don’t export a copy of a virtual copy to preserve a copy of the image and updated metadata, then the virtual copy will only exist as metadata in your Lightroom Classic catalog. That, in turn, means that if you use virtual copies (along with certain other metadata that is only stored in the catalog) that it is especially important to maintain a good workflow for consistently backing up your Lightroom Classic catalog.

Metadata from Bridge to Lightroom

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Today’s Question: I currently use Photoshop and Adobe Bridge. I have used keywords in Bridge. Will those keywords be included if I switch to Lightroom Classic?

Tim’s Quick Answer: Yes, the metadata you add to photos with Adobe Bridge will be included in the catalog when you import photos into Lightroom Classic.

More Detail: When you add metadata to photos in Adobe Bridge, by default the standard metadata updates (such as keywords and star ratings) will be added to the metadata for the photos. For raw captures that means an XMP sidecar file will be created or updated, with the metadata updates included in that XMP file.

When you then import those images into Lightroom Classic, the metadata from the photos will be included as part of that import. Therefore, all keywords and other standard metadata will appear within your catalog, just as you saw it in Adobe Bridge.

Note that this metadata support only extends to standard metadata fields. One exception to this would be the Reject flag, which is a feature supported by both Adobe Bridge and Lightroom Classic, but that is not included as part of a metadata standard. Therefore, if you apply a reject flag in one of these two applications that reject flag will not appear in the other application.

So, in the context of importing photos into Lightroom Classic that had previously been managed in Adobe Bridge, any reject flags will not be visible in Lightroom Classic.

In addition, Adobe Bridge and Lightroom Classic use different definitions for color labels, even though both are applications from Adobe. For example, in Adobe Bridge a red color label gets the value of “Select” in metadata, while in Lightroom Classic a red color label gets the value of “Red”.

If you have worked with color labels in Adobe Bridge, you can maintain your existing workflow by setting the color label definitions in Lightroom Classic to the Adobe Bridge preset. To do so, go to the menu and choose Metadata > Color Label Set > Bridge Default. You could also change the existing color labels in Lightroom Classic to match the default definitions in Lightroom Classic, such as by assigning a “Red” color label to all images that have a “Select” color label from Adobe Bridge.

Overall, however, the transition from Adobe Bridge to Lightroom Classic is very seamless, with standard metadata fields being retained, and your existing folder structure being reflected for images you import into your Lightroom Classic catalog.

Using a Traveling Catalog

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Today’s Question: Are multiple catalogs acceptable if you have the main catalog on a desktop computer and a laptop computer that you use when traveling?

Tim’s Quick Answer: Yes, having a “temporary” catalog for use while traveling, and then merging that catalog with your primary catalog upon your return is a perfectly good reason to have more than one catalog for Lightroom Classic.

More Detail: One of the top recommendations I give photographers when it comes to using Lightroom Classic to manage your photos is that you use only one catalog to manage all of your photos. This helps to streamline your overall workflow and enables you to search for photos among your entire catalog, rather than having to first figure out which catalog might contain the particular photo you’re looking for.

One of the biggest frustrations I’ve found many photographers run into with Lightroom Classic is that they create multiple catalogs and then their workflow becomes confusing.

Of course, there are some exceptions in certain situations where I feel that having more than one catalog is necessary or preferential.

If you store your Lightroom Classic catalog on a desktop computer, that catalog won’t be available to you when you are traveling for photography. You could keep your catalog on an eternal hard drive or use a laptop as your primary computer, but you can also simply use a temporary catalog when traveling, and then merge that catalog with your primary catalog on your return.

This approach enables you to manage the photos you capture during your travels with your normal workflow. When you return home you can merge the traveling catalog with your primary catalog, preserving all updates you made to the photos during your travels, and consolidating your photos once again to the primary catalog.

To learn more about streamlining your overall workflow, cleaning up problems in Lightroom Classic, and merging catalogs into a single primary catalog, check out my “Cleaning Up Your Mess in Lightroom Classic” video course, available on my GreyLearning website here:

https://www.greylearning.com/courses/lightroom-mess

Understanding Exposure Value

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Today’s Question: I’m not clear on the reference to the term “Exposure Value”. What does it mean and how do I use it?

Tim’s Quick Answer: The term “Exposure Value” (often abbreviated as “Ev”) is a number representing the overall exposure settings based on specific lighting conditions. You can think of the Exposure Value as representing how much light is being reflected from a scene, and therefore what type of exposure settings can be used to produce a good photographic exposure.

More Detail: For a given scene you can produce the same good overall exposure with a variety of different camera settings. For example, let’s assume you achieved a good exposure with a lens aperture of f/16, a shutter speed of 1/125th of a second, and an ISO setting of 100. You could achieve the exact same overall exposure by opening up the lens aperture to f/11 and changing the shutter speed to 1/250th of a second.

In the above example, both exposures represent an Exposure Value of 15. That also happens to correspond to the “Sunny 16” rule of exposure, which serves as a good rule of thumb for exposure on a sunny day. With “Sunny 16” you use an aperture of f/16 and then use a shutter speed with a reciprocal that matches the ISO setting, such as 1/125th of a second at ISO 100.

When you have known good exposure settings, you can of course adjust the various settings to achieve the same exposure with a different effect, such as to match the exposure but get a long exposure blur effect. The Exposure Value is helpful at the very beginning of that process, when you need to determine good exposure settings to start with.

One of the easiest ways to study Exposure Values is with a table. I find the PhotoPills to be especially helpful in this regard, because it includes both an Exposure Values table as well as an Exposure tool for calculating exposure settings based on existing settings from a test exposure.

You can learn to master the many features of the PhotoPills app with my comprehensive course on the subject, which you can find here:

https://www.greylearning.com/courses/photopills

Duplicating a Layer Mask

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Today’s Question: How do you copy a layer mask from one layer to another in Photoshop?

Tim’s Quick Answer: There are several ways you can duplicate a layer mask in Photoshop, but one of the simplest is to hold the Alt/Option key while dragging-and-dropping the layer mask to the destination layer.

More Detail: When you apply a targeted adjustment or create a composite image in Photoshop, the “stencil” that causes the layer to only be visible in certain areas is called a layer mask. At times you may want to duplicate a layer mask so it can be used with another layer.

One quick option is to hold the Alt key on Windows or the Option key on Macintosh while dragging-and-dropping the layer mask to the destination layer. If that destination layer already has a layer mask, as would be the case with an adjustment layer, you’ll be asked if you want to replace that existing layer mask.

You could also use a selection as the basis of duplicating a layer mask. To load a selection based on a layer mask hold the Ctrl key on Windows or the Command key on Macintosh while clicking on the thumbnail for the layer mask on the Layers panel. You can then add a layer mask (such as by adding an adjustment layer) with that selection active, and the selection will be used as the basis for the new layer mask.

In some situations you may want the opposite of an existing layer mask. In that case, after duplicating the layer mask, click on the thumbnail for the layer mask you want to invert so that mask is active. Then on the Masks tab of the Properties panel click the Invert button to invert the layer mask to apply to the opposite area of the image.

Note, by the way, that in many cases you can avoid having to duplicate a layer mask at all by using a layer group for the layer mask, with the adjustment layers or image layers you want to mask inside the layer group.

For example, you could create a selection of the area of the image you want to apply a targeted adjustment to. Then add a layer group by clicking on the folder icon at the bottom of the Layers panel. This will add a layer mask to the layer group with that mask being based on the selection you had created. You can then add adjustment layers (or image layers) to the layer group, and they will only be visible in the area defined by the layer mask.

Unfeathering a Selection or Mask

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Today’s Question: If I have feathered a selection in Photoshop and then added an adjustment layer for a targeted adjustment, is there a way to “unfeather” the result if the feathering was too much?

Tim’s Quick Answer: Yes, you can reduce the feathering of a layer mask (or selection) using the Contrast adjustment in the Select and Mask workspace.

More Detail: In almost all cases when applying a targeted adjustment or creating a composite image in Photoshop you will need the effect of a feathered selection. Feathering creates a smooth transition along the edge of the selection or layer mask that defines where the adjustment or image is visible. In effect, feathering involves blurring the edges within the selection or layer mask.

While you will almost always want the effect of a feathered selection, I recommend that you never feather your selections. Instead, wait until you have created a layer mask based on the selection for a targeted adjustment or composite image. Then apply the feathering to the layer mask, at which point you’ll be able to achieve a better result because you can actually see the direct effect of feathering within the image.

If, however, you had feathered the selection by too much, you can indeed reduce the amount of feathering by applying a Contrast adjustment. Feathering involves blurring the edges of a layer mask (or selection), and Contrast sharpens those edges to reduce the blur effect.

After creating the layer mask, click on the thumbnail for the layer mask on the Layers panel to make sure that mask is active. Then go to the Masks tab on the Properties panel and click on the “Select and Mask” button. That will bring up the Select and Mask workspace, where you’ll find a Contrast slider in the Global Refinements section.

You can increase the value for Contrast to reduce the feathering along the edge of the layer mask. This is helpful whether you had applied too much feathering to a selection before creating a layer mask or you had previously applied feathering to a layer mask that had ended up being too much, and you need to reduce the degree of blurring for the layer mask.