Ask Tim Grey

Today’s Question: When I photograph in Raw+JPEG and import the photos to Lightroom Classic, it only imports the raw file, but not the JPEG file. Is there a way to import both files?

Tim’s Quick Answer: Yes, you can import both images for Raw+JPEG captures by turning on the “Treat JPEG files next to raw files as separate photos” checkbox in Preferences.

More Detail: I feel I should hasten to point out that I don’t recommend using Raw+JPEG capture when using Lightroom Classic to manage your photos. Lightroom Classic will generate a JPEG preview based on the raw capture that is used for faster performance outside the Develop module (where the source image is used). In my view there isn’t any advantage to having the additional clutter of a JPEG for every raw capture. If you need a JPEG for sharing, for example, you can export based on the raw capture.

If you do prefer to use Raw+JPEG, by default during import Lightroom Classic will download both files, but will only add the raw capture to the catalog. You can import both images for Raw+JPEG pairs by turning on the “Treat JPEG files next to raw files as separate photos” checkbox on the General tab of the Preferences dialog.

For Raw+JPEG captures that were previously imported without the JPEG files being added to the catalog, you can add those images with the Synchronize Folder command. Start by right-clicking on the applicable folder in the Folders list on the left panel in the Library module, choosing “Synchronize Folder” from the popup menu.

In the Synchronize Folder dialog, turn on the “Import new photos” checkbox and make sure the “Remove missing photos from catalog” and “Scan for metadata updates” checkboxes are turned off. I also recommend turning on the “Show import dialog before importing” checkbox so you can adjust the import settings as needed. Then click the Synchronize button, and if you opted to have the Import dialog appear adjust the settings there and click the Import button.

Today’s Question: I’m going to be traveling without internet access for a couple weeks. I want to be sure I won’t lose access to Lightroom Classic and Photoshop along the way. How long can I be offline before I lose access to these applications?

Tim’s Quick Answer: If you have an Adobe Creative Cloud plan with an annual commitment (even if you’re paying monthly) you have 129 days of offline access. For month-to-month plans (without an annual commitment) the grace period is limited to 30 days or less.

More Detail: Adobe requires that your license for Creative Cloud applications be validated periodically to confirm you have an active subscription. The software will check every 30 days and then will warn you if validation wasn’t possible. At that point you will then have a 99-day grace period before the software is unavailable or feature limited. This adds up to up to 129 days of offline use if you are on a plan with an annual commitment rather than a month-to-month plan.

With month-to-month plans the grace period is only 30 days. That grace period may also be further limited by other factors, such as where you purchased the software.

To maximize your offline access, you’ll want to validate your license with Adobe. My understanding is that the only way to do this (and therefore reset the clock for maximum offline access) is to sign out of the Creative Cloud application, and then sign in again.

You can read more details about offline access for Adobe applications on their website here:

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

Today’s Question: When working with Adobe Camera Raw (ACR) I attempted to Save an image using the “Save a Copy” command. My intent was to save image as a JPEG but that option wasn’t available. I then attempted to Print but the Print command was not available. Is it possible the problem lies with the fact that I used the HDR [High Dynamic Range] option while in ACR?

Tim’s Quick Answer: The specific issue here is that the file is in the 32-bit per channel bit depth, which is an option for high dynamic range (HDR) images. Converting the image to 16-bit per channel after processing will enable the features that aren’t supported for 32-bit per channel images.

More Detail: By default, when you assemble an HDR image from a set of bracketed exposures in Camera Raw, the result will be a 16-bit per channel image. However, you can generate a 32-bit per channel HDR image by turning on the “Enable HDR editing by default for HDR photos” checkbox on the Defaults tab of the Camera Raw Preferences dialog.

A 32-bit per channel image is a true HDR image, but by default in Camera Raw when you create an HDR image the tone-mapping step is applied as part of that process, resulting in a 16-bit per channel image. But if you enable HDR processing, the result will be a 32-bit per channel image.

Converting an HDR as a 32-bit per channel image gives you the option to perform the tone-mapping with other tools, such as the Image > Adjustments > HDR Toning command in Photoshop, a variety of plug-ins, for example. However, in general I don’t consider this type of workflow to be advantageous for processing HDR images, because Camera Raw already provides great tools for optimizing those photos.

Therefore, unless you have a specific reason for wanting to work with 32-bit per channel images, I suggest turning off the HDR checkbox in the Camera Raw Preferences dialog and rendering your HDR images as 16-bit per channel images instead. Note that as long as you’re happy with how the 32-bit image had been processed, you can also convert it to 16-bit per channel in Photoshop by choosing Image > Mode > 16 Bits/Channel from the menu.

Today’s Question: There are two ways to send an image to Topaz Photo AI from Lightroom Classic. With the Edit In command a TIFF file is created. With the Plug-in Extras command the raw file is sent to Topaz and a DNG file is created. I either don’t see or, more importantly, understand why one method is that much better or preferable than the other. Am I missing anything here?

Tim’s Quick Answer: The two reasons to opt for the plug-in route are to achieve (at least in theory) higher image quality and to end up with a smaller file size.

More Detail: With certain plug-ins for Lightroom Classic you are able to send the raw capture to the plug-in, rather than having Lightroom Classic generate a derivative file (such as a TIFF) first.

The key principle here is that there is an advantage (at least in theory) to having software process the raw capture rather than rendering the raw to a standard image file format first. This enables the software to process the original raw data, rather than being based on how Lightroom Classic rendered the data.

This advantage is largely theoretical, by virtue of the fact that raw-processing software in general has improved significantly, and that there is generally only a modest benefit to applying adjustments as part of processing the raw capture rather than applying those adjustments after the raw capture has been rendered. Therefore I would say that sending the raw capture is a best practice, but it isn’t likely to result in any difference you can clearly see in the processed image.

The more impactful issue relates to the file format used in this particular example. If you use the Edit In command to send the image to Topaz Photo AI, the result will be a TIFF file that will typically be several times larger than the DNG file that is created when you use the Plug-in Extras command. That can add up to significant additional storage consumption if you process a large number of images with the plug-in.

Of course, if you later send the DNG file to Photoshop, you’ll end up creating another file with a different file format (such as TIFF), which would result in even more storage space being consumed compared to simply generating a TIFF in the first place and editing that same TIFF in Photoshop without creating a derivative copy.

Today’s Question: Is there a way to apply a Develop preset to multiple photos at one time in Lightroom Classic?

Tim’s Quick Answer: Yes, you can apply a Develop preset to multiple photos by using Quick Develop in the Library module or by synchronizing adjustments in the Develop module.

More Detail: If you want to apply a Develop preset to multiple images in Lightroom Classic, there are several ways to go about it. You could, of course, apply the preset by choosing it from the Develop Settings popup in the Apply During Import section of the right panel in the Import dialog.

If you want to apply a preset to multiple images after import, you can do so in either the Library or Develop modules.

In the Library module you can select multiple photos in the grid view display, then choose the desired preset from the Saved Preset popup in the Quick Develop section of the right panel. This will apply the preset to all selected images (as long as you’re in the grid view) just as though you had applied the preset in the Develop module.

It is also possible to apply the same preset to multiple selected photos in the Develop module by using the synchronization feature. Start by selecting multiple images on the filmstrip, and then turn on the Auto Sync feature by clicking the toggle control (it looks like a light switch) on the left side of the Sync button at the bottom of the right panel. Doing so will change the button to “Auto Sync”, and you can turn off Auto Sync using the toggle control again.

With the Auto Sync feature enabled you can apply a preset (and any other adjustments you’d like) and the adjustments will be applied to all selected images. I do recommend turning off Auto Sync when you’re done, just to avoid a situation where you don’t realize it is enabled and you think you’re only applying adjustments to a single image.

Today’s Question: Your mention of applying Auto during import in Lightroom Classic reminded me of an issue I’ve run into. If I apply Auto to an image after import, the adjustment is no longer available. But if I apply Auto as part of a preset during import, after the import the Auto adjustment is available, and clicking it causes the appearance of the image to change. What’s going on here?

Tim’s Quick Answer: This behavior is a known issue in Lightroom Classic, and my understanding is that this is due to how the images are processed during import versus after import.

More Detail: When you apply the Auto adjustment during import (by including the “Auto Settings” adjustment when creating a preset that you apply during import) that adjustment will still be available for images after they have been import, and applying Auto after import will generally result in different adjustment settings than were assigned at import.

My understanding is that this behavior is due to Lightroom Classic using the embedded preview when applying Auto during import, versus evaluating the source image (such as a raw capture) when applying a preset after import. My assumption that this is done to speed performance, and therefore that it may not be an issue that will be fixed. In other words, it may not be considered a bug by Adobe.

I generally treat the Auto adjustment as simply providing an updated look for a photo based on an analysis of the image. In other words, when I apply Auto I consider it to be just providing a better starting point for the image preview, and I will then refine all adjustments for the image based on how I want to interpret the image. However, if you want to update the Auto adjustment after applying it with a preset on import, you would need to apply Auto again after the import.

Today’s Question: I have noticed as I import photos into Lightroom Classic the images initially appear better exposed, with the display shows “loading”, and as it finishes the photo automatically gets darker. Any idea why?

Tim’s Quick Answer: This behavior is caused by Lightroom Classic initially showing the embedded preview from the camera, then updating to the preview generated by Lightroom Classic. You can likely improve the results by applying a preset during import, such as one including the Auto adjustment.

More Detail: When you initially import photos into Lightroom Classic (or when there otherwise is not a preview built by Lightroom Classic) you will initially see the embedded preview for the image. This is the preview generated by your camera and can include any adjustments you had applied in-camera. For example, in many cases cameras enable you to apply adjustments to boost the contrast or saturation of photos, among other options.

While Lightroom Classic will initially show you the embedded preview in these cases, that preview will be replaced by a Standard preview generated by Lightroom Classic whenever you browse photos that don’t already have a Standard preview. Because the Standard preview is generated by Lightroom Classic without taking into account any adjustments applied in-camera, the Standard preview can look different from the camera’s preview.

The Standard preview in Lightroom Classic does take into account any adjustments that have been applied in the Develop module, of course. When importing new photos you obviously won’t have applied adjustments in the Develop module, but you can apply a preset during import to apply adjustments that will impact the Standard previews.

For example, you could create a preset in the Develop module that includes the “Auto Settings” option, so that the Auto adjustment will be applied as part of the import. You can also include any other adjustments you’d like to apply to images upon import. For example, I apply Lens Corrections, Clarity, and Vibrance as part of the preset I typically apply to photos during import.

Applying a preset during import can help improve the initial preview for your images, especially for situations where you had adjustments applied in the camera that won’t be applicable in Lightroom Classic. And, of course, you can also apply the same preset to images after import to update those photos with the same adjustments.

Today’s Question: Is there any difference in the adjustment effect when you choose between the HSL or Color option on the Adjust popup in the Color Mixer section [in Lightroom Class, Camera Raw, or Lightroom]?

Tim’s Quick Answer: No, choosing between the HSL and Color options for the Color Mixer adjustment only changes how the sliders are displayed, and does not impact the effect of your adjustments.

More Detail: There are a couple ways you can change how the Hue, Saturation, and Luminance sliders for the various colors are displayed on the Mixer tab of the Color Mixer adjustment, which is available in Lightroom Classic, Camera Raw, and Lightroom. Changing the slider configuration based on these options, however, does not in any way affect how the adjustments change the appearance of a photo.

The first way you can change the slider display configuration, as noted in today’s question, is to choose between HSL and Color from the Adjust popup. If you choose HSL then the sliders for each color range will be grouped based on hue, saturation, and luminance. So, you’ll have Hue sliders for each of the colors grouped together, followed by the Saturation sliders, and then the Luminance sliders.

If you instead choose Color from the popup, the sliders will be grouped in sets for each color, with a Hue, Saturation, and Luminance slider for Red, then a Hue, Saturation, and Luminance slider for Orange, and so on.

The other way you can change the configuration of the sliders is to filter them by group. When you have selected the HSL option, for example, you will see links that enable you to only see the Hue sliders, only see the Saturation sliders, only see the Luminance sliders, or see all sliders. With the Color option selected the same basic concept applies, except that you’re filtering sliders based on colors. So you can choose a color by clicking the circle of the applicable color, for example, to only see the Hue, Saturation, and Luminance sliders for that color. You can also click the circle that shows a rainbow gradient to view all sliders for all colors.

The behavior of the sliders is exactly the same in all cases. For example, if you change the value for the Red slider for Hue, and then switch from HSL to Color, you’ll see that the Red value remains exactly the same, and the effect on the image does not change.