Author: Tim Grey

Today’s Question: Is there a way to get a histogram in Bridge? I feel my several requests on this to Adobe have fallen on deaf ears. Or is there something else to use instead of a histogram in Bridge to evaluate exposure? For example, [without a histogram] I could not easily choose which exposure from a bracketed set was exposed to the right and did not have slightly blown out highlights.

Tim’s Quick Answer: Adobe Bridge does not include a histogram panel, but you could select multiple images and open them in Camera Raw to evaluate the histogram there.

More Detail: Adobe Bridge is a popular tool for organizing photos, especially for photographers who are primarily using Photoshop to optimize their photos and who do not want to use Lightroom Classic (or the other versions of Lightroom). However, the absence of a histogram panel in Bridge can create a little bit of a workflow challenge, such as when you want to evaluate the exposure of several bracketed exposures.

While you can’t view a histogram directly in Bridge, you can do so in Camera Raw. If you select one or more photos in Bridge and then double-click, by default the images will open in Photoshop within the Camera Raw dialog. However, you can work more efficiently (especially if you simply want to view the histogram without editing a photo) by turning on the option to edit with Camera Raw via Bridge rather than Photoshop.

To edit with Camera Raw directly in Bridge rather than launching Photoshop, go to the General tab of the Preferences dialog in Adobe Bridge and turn on the “Double-Click Edits Camera Raw Settings in Bridge” checkbox. With this option enabled you can select multiple photos and double-click one of the selected photos to open all of them in Camera Raw. You can switch among the photos on the filmstrip in Camera Raw, evaluating the histogram for each. You can then click the Done button to return to Bridge, or select one or more images on the filmstrip in Camera Raw and click the Open button to open them in Photoshop.

While this process isn’t as efficient as it would be if Bridge simply included a histogram, it is still a relatively streamlined workflow overall. That’s especially true if you’ll ultimately want to open an image in Photoshop after evaluating the histogram.

Note that my comprehensive course on “Adobe Bridge for Photographers” can help you learn to use Bridge to organize your photos. This course is included in the GreyLearning Ultimate Bundle at no additional cost, but is also available as a standalone course here:

https://www.greylearning.com/courses/adobe-bridge-for-photographers

Today’s Question: Is it possible to create a still photo from a video clip? I recorded videos with my camera of whales breaching and wish I had still images as well. Is this possible?

Tim’s Quick Answer: Yes, you can capture an individual frame of a video using software such as Photoshop or Lightroom Classic (among others). However, it is important to keep in mind that the image may be at a relatively low resolution depending on the resolution of the video.

More Detail: Many cameras support the recording of video in addition to capturing still images. In many cases, however, that video is recorded at a lower resolution than the still images the camera is capable of capturing. For example, many cameras capture video at 1920×1080 pixels, which equates to just over 2 megapixels. Some cameras offer 4K resolution video, which typically has resolution of 3840×2160 pixels, which translates to just over 8 megapixels. The point is that in many cases capturing a still image from a video may result in an image of lower resolution (and therefore lower quality) than you might have anticipated.

In Photoshop you can capture a still frame from a video by first opening the video in Photoshop. This can be done just like opening a still image. When you open a video, you should see the Timeline panel automatically. On the Timeline panel you can use the playhead to navigate to the position in the video that you want to capture as a still image. When you’re at the frame you want, go to the menu and choose File > Save a Copy. You can then update the filename, choose the location, and specify the file format and any other available options to save a still image based on the current frame of the video.

In Lightroom Classic you can browse the video you want to capture a still frame from in the Library module. Drag the playhead to the position in the video you want to capture a still image based on. Then click the Frame button (the rectangular icon toward the far right of the playhead area) and choose “Capture Frame” from the popup menu. This will save a JPEG image based on the current frame of the video, in a stack with the video. You could then export a copy of that image, for example.

In many cases it is better to capture a still photo rather than planning to extract a still frame from a video after the capture. However, for situations where you only captured a video, you can most certainly extract an image from the video.

I covered the topic of capturing a still frame from a video, as well as the overall process of optimizing videos in Lightroom Classic, in my lesson “Optimizing Video”, which is Chapter 3, Lesson 10, in my comprehensive video training course “Mastering Lightroom Classic”. This course is included at no additional cost in my GreyLearning Ultimate Bundle, but is also available as a standalone video course here:

https://www.greylearning.com/courses/mastering-lightroom-classic-2023

Today’s Question: In Lightroom Classic I see the “Move files on disk” message regularly and I like having it there so I don’t accidentally move images or folders. If you turn on the “Don’t show again” checkbox, and then change your mind about wanting to see the messages again, do you have any idea how to restore this dialog box?

Tim’s Quick Answer: Yes, you can restore this (and all other warning dialogs) by clicking the “Reset all warning dialogs” button on the General tab of the Preferences dialog in Lightroom Classic.

More Detail: Many of the warning dialogs in Lightroom Classic include a “Don’t show again” checkbox. If you turn on that checkbox for a particular warning dialog, that specific warning will not be presented again.

If you have changed your mind and want to restore one or more of the warnings, the only option is to enable all of them again by clicking the “Reset all warning dialogs” button on the General tab of the Preferences dialog.

After clicking this button, all warning dialogs you had previously disabled will be enabled again. Therefore, if there are dialogs you still don’t want to see, you’ll need to turn on the “Don’t show again” checkbox again for the specific dialogs you want to disable.

The task of configuring the Preferences and other settings in Lightroom Classic is a topic I covered in great detail in the lesson “Configuring Lightroom Classic”, which is Chapter 1, Lesson 3, in my comprehensive video training course “Mastering Lightroom Classic”. This course is included at no additional cost in my GreyLearning Ultimate Bundle, but is also available as a standalone video course here:

https://www.greylearning.com/courses/mastering-lightroom-classic-2023

Today’s Question: When assembling a composite panorama is there any significant differences or advantages between processing the RAW files in Camera Raw or Lightroom before merging into a composite panorama versus simply merging the original RAW files into a composite panorama, flattening it and saving it as a PSD image file, and then using the Camera Raw Filter for editing using the selected image layer in Photoshop?

Tim’s Quick Answer: There is at least a theoretical advantage to processing the raw captures via Camera Raw or Lightroom rather than rendering into a composite panorama first. From a practical perspective the advantage is more about workflow flexibility.

More Detail: If you process raw captures and assemble a composite panorama using Camera Raw or Lightroom, you are processing the original raw data using the applicable adjustments. This provides a potential benefit in terms of image quality compared to applying adjustments to rendered pixel data later in your workflow, such as with the Camera Raw filter in Photoshop.

The advantage in terms of image quality generally won’t be very significant unless relatively strong adjustments are required. The stronger the adjustments, the greater the advantage of working with the raw capture data rather than rendered pixel data.

In my view, however, the key advantage is more about workflow flexibility and efficiency. If you assemble a composite panorama using Camera Raw or Lightroom you are creating an Adobe DNG file that essentially amounts to a new raw capture. If you process that image, the adjustments you applied before assembling the composite panorama are still non-destructive, so you can change the settings without degrading image quality.

For example, if you convert raw captures to black and white in Camera Raw or Lightroom and then merge the images to a composite panorama using Camera Raw or Lightroom, the adjustments are simply metadata values. You could later change the Treatment option from black and white to color, and you would be back to the original color version of the image.

From a workflow perspective, I therefore prefer to use Camera Raw or Lightroom to assemble composite panoramas. The only reason I would use Photoshop to assemble with a more manual process is if the panorama didn’t come together well with Camera Raw or Lightroom. In that case, the images can be assembled into layers in conjunction with layer masks to merge the images together. Thankfully, most of the time Camera Raw or Lightroom do a great job of assembling composite panoramas.

Note that I covered the process of assembling composite panorams in great detail in my lesson “Panoramas and High Dynamic Range Images”, which is Chapter 3, Lesson 8, in my comprehensive video training course “Mastering Lightroom Classic”. This course is included at no additional cost in my GreyLearning Ultimate Bundle, but is also available as a standalone video course here:

https://www.greylearning.com/courses/mastering-lightroom-classic-2023

Today’s Question: As a follow-up to your discussion of the Adobe DNG file format, what is your opinion of setting the camera to use DNG rather than a proprietary raw capture [for cameras that support DNG as a capture format]?

Tim’s Quick Answer: As long as you don’t need to make use of camera features (if applicable) that require a proprietary raw capture format, I think it is perfectly fine to capture in DNG (Adobe Digital Negative).

More Detail: As noted in yesterday’s Ask Tim Grey eNewsletter, while there are potential advantages to converting raw captures to the Adobe DNG format, I personally prefer to retain the original proprietary raw captures rather than converting.

That said, some cameras do support native capture in the Adobe DNG format. As long as doing so doesn’t cause you to be unable to make use of special camera features that are important to you, I think capturing in DNG is perfectly fine. And I should hasten to add that in my experience very few photographers make use of the types of special features that require a proprietary raw capture format.

In my view there frankly isn’t a strong argument one way or the other when it comes to choosing between Adobe DNG and a proprietary raw capture format. If one of the potential advantages for one over the other is compelling to you, then you should choose based on that.

I personally prefer to use the proprietary raw capture format, in part so that updating a backup when there have been metadata changes only requires backing up the very small XMP “sidecar” file rather than backing up an entire DNG file. But that is frankly a minor issue. Either option can be perfectly fine depending on your preference and workflow needs.

Today’s Question: I’m still not clear about the pros and cons of converting RAW files to DNG in my workflow. Can you clarify?

Tim’s Quick Answer: The primary advantage of converting raw captures to the Adobe Digital Negative (DNG) format is to avoid the use of proprietary file formats that may not be supported in the long term. The primary disadvantage is the risk of losing access to certain features that can only be accessed by using software from the camera manufacturer in conjunction with a raw capture file.

More Detail: My personal view is that the advantages of converting to the Adobe DNG format are not so compelling that I’m willing to discard my original proprietary raw captures. That said, there are some advantages to consider if you’re thinking about using the DNG format in your workflow.

One of the primary reasons the Adobe DNG format was created was to address concerns about proprietary raw capture formats that might not be supported in future software or operating systems. The DNG format is openly documented, so that even if Adobe discontinued support for the format other software developers could provide solutions. Seeing how a number of software developers (including Adobe) have reverse-engineered raw capture formats to provide support, this isn’t a significant concern in my view.

Another potential advantage of the DNG format is that the file size will generally be somewhat smaller than the raw capture it replaces, based on lossless compression. This can often reduce the file size by about 15% or more, which can obviously have a significant impact when dealing with a large number of photos.

The DNG format is also touted as not requiring an XMP “sidecar” file, because metadata is saved within the DNG file. While this does provide consolidation, there are also some drawbacks to this, such as requiring more time to perform an incremental backup because the updated DNG file is significantly larger than an updated XMP file.

The main drawback of converting to DNG is that you’re potentially losing the original raw capture data. You could always keep both files or embed the original raw capture in the DNG as part of the conversion, but to me both of these options take away some of the key advantages of converting to DNG in the first place.

For most photographers under most circumstances, converting to DNG probably won’t cause them to miss out on any important data. But if you use certain features of certain cameras, such as the automatic dust spot removal supported by some Canon cameras, you need the proprietary raw capture to be able to make use of the feature.

All things considered I don’t see any compelling reason to convert proprietary raw captures to Adobe DNG. But I also don’t think there is any significant risk in doing so for most photographers with a typical workflow. But on balance, I prefer to retain the proprietary raw capture format and not convert those images to DNG.

Today’s Question: In Adobe Bridge can you make changes on-the-fly to an existing workspace, for example the Light Table workspace without saving the changes or are all modifications saved automatically?

Tim’s Quick Answer: If you make changes to a workspace without saving, then the changes are not preserved as part of the selected workspace. In other words, if you then reset the workspace, you’ll undo the changes you made that were not saved.

More Detail: Adobe Bridge provides a pretty good amount of flexibility in terms of configuring the interface. This primarily revolves around choosing which panels will be visible versus hidden and how the visible panels are arranged and grouped.

To customize the workspace, you can start by selecting a workspace that represents a good starting point by choosing Window > Workspace from the menu and then selecting the desired workspace from the submenu. You can then choose panels from the Window menu to reveal or hide panels based on your preference. You can also drag panels around to arrange them to better suit your workflow preferences, including the option to group panels together to consolidate them.

As you make changes to the current workspace, those changes are not saved as part of the workspace you selected. The changes will simply be retained until you make a change or choose a different workspace.

If you want to preserve the changes you’ve made to the workspace, you can go to the menu and choose Window > Workspace > Save Changes to this Workspace to update the current workspace to reflect the changes you’ve made. If you want to preserve the existing workspace and save a new workspace, you can choose Window > Workspace > Save as New Workspace.

Note that after making changes to an existing workspace, you can also revert to the saved version by choosing Window > Workspace > Reset to Saved Layout.

You can learn more about customizing the interface in Adobe Bridge in the video “Customizing the Interface”, which is Chapter 1, Lesson 2, in my video course on “Adobe Bridge for Photographers”. This course is included at no additional cost in my GreyLearning Ultimate Bundle, and is also available as a standalone course here:

https://www.greylearning.com/courses/adobe-bridge-for-photographers

Today’s Question: In Lightroom Classic, is there a way to apply a profile to only part of an image? I do not see how and assuming I am correct, is there a way to determine what settings the creator of the profile used so that I can duplicate that as a preset and then use masks?

Tim’s Quick Answer: No, it is not possible to apply a profile to part of an image with the Masking feature in Lightroom Classic (or Camera Raw). Unfortunately, it isn’t possible to easily mimic the results of a profile because they aren’t based on adjustments in the Develop module.

More Detail: The Profile option found in the Basic section of the right panel in Lightroom Classic (or near the top of the Edit panel in Camera Raw) enables you to apply a baseline interpretation of an image to alter the appearance or apply a creative effect. While choosing a profile will alter the appearance of the image, the effect is not the same as a preset with saved settings from the Develop module, but rather a basic interpretation of the image data. For those familiar, you can think of these profiles as being more like an ICC profile used for color management rather than a preset from the Develop module.

When you select a profile for an image it affects the entire image, altering how the image data is interpreted before the adjustment settings from the Develop module are applied. The profile option is not available as a targeted adjustment for the Masking features.

Furthermore, it is not possible to reveal what the underlying profile is actually doing to the image, at least not easily. The included profiles are part of the application, not separate profile files. Third-party profiles are XMP files, but without a clear indication of what they represent in terms of how the image is affected.

Therefore, the only real way to reproduce the effect of a profile for a targeted adjustment is to evaluate the effect of the profile and try to reproduce that effect as best you can using other adjustments in the Develop module. If the intent is to use the effect for a targeted adjustment, that task is made more difficult by the fact that the Masking features don’t include all adjustments that are otherwise available in the Develop module.

Today’s Question: If I import photos into the Lightroom app on my tablet while traveling, how do I get them into Lightroom Classic when I return home?

Tim’s Quick Answer: Photos imported to the Lightroom mobile app will appear in your Lightroom Classic catalog as long as you have synchronization enabled. You can them transition those photos to your normal workflow.

More Detail: Photos added to the Lightroom mobile app, Lightroom in a web browser, or the Lightroom (non-Classic) desktop application will automatically synchronize to the cloud. As long as you have synchronization enabled in Lightroom Classic, those photos will then appear within your catalog.

First, make sure you have synchronization enabled for Lightroom Classic. You can do so by clicking the cloud icon at the top-right of the interface, making sure that the button at the bottom-left of the popup shows “Pause Syncing”. This indicates that synchronization is enabled, and that clicking the button would pause that synchronization.

Next, I recommend going to the Lightroom Sync tab of the Preferences dialog and turning on the “Specify location for Lightroom’s Synced images” checkbox. Then click the Choose button to the right of the checkbox and choose the folder where you want the photos to be saved.

Photos you add to Lightroom’s cloud-based storage outside of Lightroom Classic will then appear in the folder you designated within your Lightroom Classic catalog. From there they can be transitioned to your normal workflow.

I recommend first marking the photos in some way to identify them as having come from cloud-based storage, such as by assigning a color label to them. You can then select the photos in the folder you designated for synchronization and drag-and-drop the images to the desired storage location.

While dragging the photos to a different folder will cause them to be moved to that folder, they won’t be automatically removed from cloud-based storage. I recommend removing them from cloud storage to avoid confusion, since synchronization is managed via collections in Lightroom Classic.

To remove the photos from cloud-based storage, go to the “All Synced Photographs” collection in the Catalog section of the left panel in the Library module. Select the photos you want to remove, which can be streamlined by filtering based on the color label or other attribute you updated for the photos that were added via synchronization. Then right-click on one of the selected photos and choose “Remove from All Synced Photographs” from the popup menu.

Today’s Question: Is there a way to handle metadata conflicts [in Lightroom Classic] in bulk? I want to maintain the metadata in the catalog for a large number of photos that were updated outside the catalog.

Tim’s Quick Answer: Yes, you can select multiple images in Lightroom Classic and handle the metadata conflict for all selected images in one step.

More Detail: Metadata conflicts in Lightroom Classic occur when an image is updated outside the catalog. For example, if you open an image with Camera Raw or apply a metadata update in Adobe Bridge, the metadata in the file won’t match the metadata in the catalog. This is one of the reasons that if you’re using Lightroom Classic to manage your photos all updates should be made within the catalog.

Fortunately, you can resolve metadata mismatches for multiple images at once in Lightroom Classic. In fact, you can even filter images based on those that have a conflict by using the Metadata Status option for one of the columns on the Metadata tab of the Library Filter bar.

To get started, select all photos that have a metadata conflict in the grid view. If you use the loupe view and select multiple photos on the filmstrip, you need to enable the Auto Sync option to update multiple photos. Once you’ve selected multiple photos in the grid view you can click the badge indicating the metadata conflict at the top-right of the thumbnail for one of the selected images.

Clicking the metadata conflict badge will bring up a confirmation dialog, where you can choose an option for how to handle the conflict. In this case you would click the “Overwrite Settings” button to save the metadata from the catalog to the source files on the hard drive. If you wanted to preserve the metadata in the photos you could click the “Import Settings from Disk” button to update the catalog with the metadata from the source files.

When you handle the metadata conflict with multiple images selected in the grid view, the option you choose in the confirmation dialog will be applied to all selected images.