Author: Tim Grey

Today’s Question: I’ve recently started getting an error indicating that Lightroom Classic does not have access to some “standard folders”. The Learn More link explains what to do, but is there any reason not to enable this security setting for Lightroom Classic?

Tim’s Quick Answer: The issue in question only applies to Macintosh users, and I do recommend enabling Lightroom Classic to access to the folders to avoid potential confusion or problems in your workflow.

More Detail: The message in question relates to security settings in the Macintosh operating system, related to permission for applications to access the “standard” folders in the operating system, which includes folders such as Desktop, Documents, and Downloads, among others.

It appears to me that this issue has arisen anew with the update to MacOS Monterey (12.5.1), although the overall security settings have been in place since the release of MacOS Mojave. Thus, users who have upgraded their operating system recently, including myself, may be seeing the alert message about folder permissions.

I do recommend providing Lightroom Classic with access to the standard folders, especially if you will be storing photos within any of those folders. The setting can be updated in the Security & Privacy section of System Preferences.

To get started click on the Apple logo at the far left of the menu bar and choose System Preferences. Go to Security & Privacy and navigate to the Privacy tab. Click the lock icon at the bottom-left corner of the System Preferences dialog and enter your system password to enable changes. Then turn on the checkboxes under Adobe Lightroom Classic on the list to the right of the “Files and Folders” selection. I recommend turning on all the checkboxes for Lightroom Classic, though you could obviously leave some off if you have a reason to prevent Lightroom Classic from accessing specific storage locations.

With this option enabled you should no longer see the message about this permission issue unless it arises again with a future update to the operating system or to Lightroom Classic.

Today’s Question: In your answer about film scanners, you made reference to “pixels per inch” resolution. The scanner manufacturers list the resolution in “dots per inch”. Are these two terms interchangeable?

Tim’s Quick Answer: In my view the term “pixels per inch” (ppi) is more correct in the context of digitizing film images because the scanner is creating pixels based on the original, and the ppi resolution indicates the density of information being gathered from the original.

More Detail: In some respects I think it would be fair to say that the terms “pixels per inch” (ppi) and “dots per inch” (dpi) are interchangeable. Of course, some purists on the subject would say I am absolutely wrong about that!

In general, ppi resolution is used to refer to a digital image in the context of output size. This resolution is really only applicable when printing a photo, because when an image is shared digitally all that really matters is how many pixels there are. For example, if a monitor has a horizontal resolution of 1,920 pixels, you would need an image to be 1,920 pixels wide to fit the full width of the display. It doesn’t matter what the ppi resolution is set to for the image, because each pixel in the image would simply be represented by one pixel on the monitor display.

When printing the ppi resolution becomes important, because it impacts the quality of the print. In actual fact it is still the number of pixels that is important, but the ppi resolution provides an indication of whether you have enough pixels. For example, a typical photo inkjet printer requires at least 360 ppi resolution for optimal quality, which means an image that is to be printed ten inches wide would need to have at least 3,600 pixels in width.

The “dots” in the dpi resolution refers to dots on the paper when printing. That effectively translates to pixels in the context of the print, but the term “dots” is generally used instead. This is despite the fact that with many printing processes a single “dot” in the image is not produced by a single ink droplet. For example, many photo inkjet printers that render image data at 360 ppi typically place up to 1,440 or 2,880 (or more) ink droplets per inch.

So, in a very general sense dpi resolution relates to physical mediums, which is why I suspect the term came into common use for scanners. The ppi resolution is generally used when referring to a digital image. However, in my view the terms can be very reasonably considered interchangeable in most cases.

Today’s Question: What about [a camera versus scanner for] slides?

Tim’s Quick Answer: In general, you’ll get better resolution with a dedicated film scanner for slides (or negatives). However, considering there aren’t too many film scanners currently in production, you may find it easier to photograph the slides on a lightbox or send the slides out to a service provider.

More Detail: Film scanners can provide an excellent option for digitizing slides or negatives. There are currently scanners available that are capable of scanning at 7,200 to 10,000 pixels per inch (ppi). By comparison, a 47-megapixel digital camera produces an image of about 5,500 pixels per inch. In other words, in many cases you’ll find that a film scanner will exceed the resolution of a digital camera for digitizing slides or negatives.

Of course, there aren’t that many film scanners currently in production. A couple of options that are available include the 7,200 ppi Plustek OpticFilm 8100 film scanner (https://bhpho.to/3AemZi1) and the 10,000 ppi Pacific Image Prime Film XAs (https://bhpho.to/3pEARx2). Note that I don’t generally recommend flatbed scanners for scanning film, as the quality is typically not as good as a dedicated film scanner.

Another option is to photograph the slides on a lightbox. This is similar in concept to using a copy stand to photograph old prints, as I’ve discussed in previous answers. The difference is that the film needs to be illuminated. There are various accessories that can be used for this purpose, but you can also use a lightbox to illuminate the slides while positioning the camera above the lightbox with a tripod. My preferred lightbox is the Kaiser Slimlite Plano (https://bhpho.to/3ci8FNt).

You could also let someone else do the scanning for you. One service I’ve found that provides great results is ScanMyPhotos (https://www.scanmyphotos.com). While these services can be a little expensive if you’re scanning a large number of images, it is very convenient to simply ship slides or negatives to them and receive digital images (and your originals) in return.

Today’s Question: As a follow-up to your recent posts about scanning vs. photographing photographs to preserve them digitally, you mentioned two lights at 45 degree angles and a copy stand. Do you have more specific information on the lights and stand or an article somewhere that illustrates the setup? I don’t know what a copy stand is or how to position the photo and lights (or what kind of lights to use). I have a lot of old family photos on my “mean to do” list, and this would help.

Tim’s Quick Answer: A copy stand has a platform to hold documents along with a rail for mounting a camera above that platform. Lights are sometimes included or can be purchased separately. You can find an example of a copy stand here: https://bhpho.to/3wnDNSA, and a light set for use with a copy stand here: https://bhpho.to/3pzSH4i.

More Detail: A copy stand makes it relatively easy to photograph old photographic prints or other documents. Two lights can be used to provide good illumination of the print being photographed and having those lights at a 45-degree angle helps avoid glare. Glare could otherwise be a problem if the print is glossy or if you are using a sheet of glass to hold the item flat.

You could certainly use a tripod to hold your camera above a flat surface to photograph prints or other documents. A copy stand simply provides a good solution if you don’t have a good setup for this purpose. I consider it important to use lights to illuminate the item being photographed, and I prefer lights that are always on rather than flash to make it easier to ensure you have the lights in a good position.

The 45-degree angle refers to the lights being above but a bit to the side relative to the item you’re photographing. Let’s assume, for example, that the lights will be about two feet above the platform where the print is sitting. You would also want the lights to be positioned about two feet left and right of center to avoid reflections.

In the photos included on the page for the light kit referenced above (https://bhpho.to/3pzSH4i) the lights aren’t out quite as far laterally as they normally would be to avoid reflections. Also, some of the images show the lights in the context of a copy stand, which is not included with the light kit in this case.

Today’s Question: Do you travel with multiple cameras and how do you deal with charging multiple batteries in non-US (need an adapter) countries? Most battery charges are dual-voltage but you still need adapters to plug-in to whatever the country’s plug standard uses.

Tim’s Quick Answer: Yes, I do often travel with multiple cameras, and when that travel includes international destinations, I use a combination power adapter kit (https://bhpho.to/3CgbAAY).

More Detail: In my experience battery chargers for cameras always support dual-voltage, but it is important to check all electric components to confirm they will work properly with the power configuration in the countries you’ll visit. The charger or other electronic device will generally be marked with an indication of the power input that is supported.

For example, a typical battery charger might indicate “AC100-240V”. This indicates the charger can be plugged into a standard AC (alternating current, such as household power) plugs the provide power between 100 volts and 240 volts. In the US the power is 110 volts and in Europe the standard is 220 volts. The charger in this example could therefore be used in either location. Devices that do not support the higher voltage in Europe, for example, would be damaged and possibly cause a fire if they were plugged into a European outlet.

For devices that don’t support the power in a destination you’ll visit, you either need a different device or a power transformer. For example, when taking a US device that only supports 110 volt power to Europe, you would need a transformer (such as this one: https://bhpho.to/3ps1dCe) to bring the 220-volt power down to 110 volts.

As long as your devices all support the power in the areas you’ll visit, all you need is an adapter so the plug will actually fit in the socket. You can buy individual adapters for specific locations, such as an adapter that enables a device with a US plug type to be plugged into a European outlet.

However, my recommendation is to get a more universal solution. For example, you can find a single kit that enables you to adapt in both directions for plugs in the US, Australia, United Kingdom, and Europe here:

https://bhpho.to/3CgbAAY

Again, be sure to confirm the power input support for any devices you intend to use in a country other than what it was designed for. Most electronic devices support international power without issue. However, it is best to be sure to avoid damaging a device. For example, it is quite common for hair dryers and devices with heating elements to only support US power, which could cause them to be ruined and possibly catch fire if plugged into an outlet with a voltage higher than that found in the US.

Today’s Question: Is there a way to have the Develop presets in Lightroom Classic that I’ve created on my desktop computer available on my laptop when I’m traveling?

Tim’s Quick Answer: Yes, you can simply export the applicable presets from Lightroom Classic on your desktop computer and then import those presets into Lightroom Classic on your laptop computer.

More Detail: When you’ve created a set of presets in the Develop module in Lightroom Classic you may want to make those available on another computer, such as to have on your laptop or to share with a friend.

First, I recommend making sure that the presets you want to copy to another computer are organized into meaningful groups. If you have a relatively small number of presets you could simply use the “User Presets” group, but you may want to organize the presets into specific groups if you have a relatively large number of them.

When you’re ready to export the presets from your desktop computer you can right-click on a preset group in the Presets list on the left panel in the Develop module and choose “Export Group” from the popup menu. Navigate to a convenient location (such as the Desktop), update the name for the export if you want to, and click the Save button. Repeat this process for all the groups of presets you want to export.

The exported files will be ZIP files, which will contain individual files for each of the presets for the group that was exported to create the ZIP file. Copy all of the applicable ZIP files to your laptop computer, saving them in a convenient location.

On your laptop you can then go into Lightroom Classic and click the plus (+) button to the right of the Presets heading on the left panel in the Develop module. Choose “Import Presets” from that popup and navigate to the location where you saved the ZIP files. Select all the ZIP files for the presets you want to import and click the Import button. The presets will appear in their respective groups on the Presets list on the left panel.

I shared a variety of tips related to managing presets in Lightroom Classic in my recent webinar presentation on “Mastering Develop Presets in Lightroom Classic”. You can view a recording of the full presentation on my “Tim Grey TV” channel on YouTube here:

https://youtu.be/yadDi_p5u5Q

Today’s Question: Can I view the metadata for a photo while working with it in Photoshop? I don’t use Lightroom Classic, and it is inconvenient to go to Bridge just to see the metadata.

Tim’s Quick Answer: Yes, you can view the metadata for the current image in Photoshop by choosing File > File Info from the menu.

More Detail: Photoshop includes a “File Info” dialog where you can browse the metadata for an image you’re working with. You can access this dialog for the active image by choosing File > File Info from the menu. This makes it easy to review (or update) metadata while working in Photoshop.

Along the left side of the File Info dialog you’ll find categories for the different metadata. For example, you can click on the “Camera Data” tab to browse the basic EXIF metadata from your camera, including the camera gear and settings used. There are various other categories including “Basic” for core file info and metadata, along with IPTC for information such as Title, Caption, along with contact and copyright information.

For Photoshop users who are not using other software such as Lightroom Classic to manage their photos, you can even update the editable fields within the dialog. When you’re finished reviewing or updating metadata you can click the OK button to apply any changes and close the dialog.

Note that photographers using Lightroom Classic should not use the File Info dialog to update metadata, as that will cause a conflict with the Lightroom Classic catalog. You can still, however, use this dialog to review the metadata for the current image while you’re in Photoshop.

Today’s Question: With the latest update to Lightroom Classic after importing a folder of images, Lightroom Classic does not automatically go to that folder. Is there a way to have the imported folder be the “current” folder I would work in automatically?

Tim’s Quick Answer: Yes, you can have Lightroom Classic remain in the folder you’re importing to as long as that folder already exists within your catalog at the time of import.

More Detail: By default, Lightroom Classic will navigate to an automatic collection that contains the photos you imported as soon as you initiate an import. During the import this collection is called “Current Import”, and after the import is completed, the collection will be called “Previous Import”. This collection is found in the Catalog section of the left panel in the Library module.

If you don’t want to be taken to this collection during or after an import, you can turn off the setting in the Preferences dialog. On Windows choose Edit > Preferences from the menu and on Macintosh choose Lightroom Classic > Preferences. In the Preferences dialog go to the General tab and turn off the “Select the ‘Current/Previous Import’ collection during import” checkbox.

However, turning off that option won’t automatically take you to a new folder you’re importing to. Rather, Lightroom Classic will simply continue to focus on the folder you had been browsing at the time you initiated the import, which obviously may not be the folder you’re importing into. Fortunately, you can change this by adding an extra step.

If you want to import into a new folder, start by creating the folder within Lightroom Classic. To the right of the Folders heading on the left panel in the Library module you’ll find a plus (+) button. If you want to create a folder within a folder that is already being managed in Lightroom Classic, click on that folder to select it and then choose “Add Subfolder” after clicking the plus button. If you want to create a new folder somewhere else, you can choose “Add Folder” from the popup instead.

Once you’ve created the new folder it will appear as an empty folder within the Folders list in the left panel. Click on that folder so it is active. Then right-click on the folder and choose “Import to this Folder” from the popup menu. This will bring up the Import dialog, where you can configure the import of new photos. Just be sure not to change the settings for the destination folder, as that will be set automatically to the folder you right-clicked on to initiate the import.

When you then click the Import button to begin the actual import, you’ll still be browsing the folder you are importing into, and thus will see the new photos as they are imported into the current folder.

Today’s Question: What is your recommendation on the best quality in photobooks? I see that Lightroom incorporates Blurb in their product and I have read good reviews about Mixbook photobooks.

Tim’s Quick Answer: The integration of Blurb in Lightroom Classic certainly provides convenience for many photographers, and Blurb also provides a good marketplace of options for photographers to sell their work. You might consider other services, some of which can provide improved print quality, such as Artifact Uprising, Printique, and Mixbook.

More Detail: If your top priority is image quality I recommend looking at Artifact Uprising (https://www.artifactuprising.com/photo-books). This will likely be among the most expensive photo book printing services you’ll find, but the quality is superb. This is a great choice for producing albums for a high-end wedding album, for example.

Also providing excellent print quality are Printique (https://www.printique.com) and Mixbook (https://www.mixbook.com). These services won’t be as expensive as a service such as Artifact Uprising, but still provide excellent print quality.

Blurb (https://timgrey.me/blurb) also provides very good print quality, along with some features that make it a great choice for photographers. If you’re a Lightroom Classic user you can design your photo book right within the Book module in Lightroom Classic. You can also use their special software to create a book.

Blur also provides an excellent marketplace, making it easy to offer your book for sale. And like many of the other photo book printers, there are a number of other printing options to choose from such as magazines.

In my experience any of the above options represent a great choice for photographers wanting to showcase their photos in book form. Choosing a specific service mostly involves deciding which specific features are most important to you for the book you’ll produce.