Dropbox Synchronization


Today’s Question: A friend recently told me he was using Lightroom 5 with smart previews and Dropbox to synchronize his Lightroom catalogue. That is, he put his catalogue in Dropbox, set up smart previews in Lightroom and was able to work on his laptop and have it all synced to his main computer where all the original images were stored. I think i understand the concept but was curious about your take on the subject.

Tim’s Quick Answer: This absolutely works, but it does make me a little nervous. In concept, provided you have an adequately fast Internet connection (or aren’t generally in a tremendous hurry), you can synchronize your Lightroom catalog via Dropbox (or a similar service) and access your Lightroom catalog across multiple computers. In fairness, I’ve never experienced any problems when synchronizing a Lightroom catalog via Dropbox, and I’ve never heard of photographers having any serious problems. But it does make me nervous to take this approach.

Tim’s Quick Answer: This absolutely works, but it does make me a little nervous. In concept, provided you have an adequately fast Internet connection (or aren’t generally in a tremendous hurry), you can synchronize your Lightroom catalog via Dropbox (or a similar service) and access your Lightroom catalog across multiple computers. In fairness, I’ve never experienced any problems when synchronizing a Lightroom catalog via Dropbox, and I’ve never heard of photographers having any serious problems. But it does make me nervous to take this approach.

More Detail: When you access a Lightroom catalog (or other files) “remotely” using Dropbox (or a similar service), you aren’t actually working directly with the files on an Internet-connected server. What’s actually happening is that you are accessing the files locally on your computer, but those files are being synchronized via Dropbox.

So, for example, you could place your Lightroom catalog files in your Dropbox folder, and then access those files via several different computers. But when you do so, the files are actually copied to each of those computers. So you’re actually accessing the files locally, but they are being synchronized across multiple computers via Dropbox.

The biggest challenge here is that the files related to your Lightroom catalog can get rather large, especially the preview files. This can cause the synchronization to be rather slow, depending on the speed of your Internet connection. The key thing to remember here is that if you have updated your Lightroom catalog on one computer, you can’t make updates on another computer until the synchronization is completed. In theory the service (such as Dropbox) that is performing the synchronization won’t let you update a file (such as your Lightroom catalog) until the synchronization for that file is complete. But trusting this limitation makes me nervous, and waiting for the synchronization to complete could involve considerable time with a large set of catalog files on a slow Internet connection.

So, again, this is perfectly feasible, but potentially problematic. I’ve performed considerable testing using Dropbox to synchronize a Lightroom catalog across multiple computers without any difficulty, but I don’t feel comfortable enough with this solution (especially considering potential latency based on the Internet connection) that I’m willing to use this approach with my “real” Lightroom catalog.

Chromatic Aberrations


Today’s Question: Upon reviewing a group of recently imported images into Lightroom 5, I noticed strong alternating blue and yellow bands across textured metal surfaces in 3 of my photos. Lightroom automatically removed the banding in 2 of the images within a few seconds of switching to the Develop Module. However, the third and most strongly banded image, containing a bank of escalator steps, remains unaffected. Any suggestions?

Tim’s Quick Answer: Your description certainly sounds like chromatic aberration. Presumably you have the “Remove Chromatic Aberration” checkbox turned on with your default settings in the Lens Corrections section of the right panel in Lightroom’s Develop module. However, this option doesn’t always provide a complete solution. You can, however, make use of the Defringe options below the “Remove Chromatic Aberration” checkbox on the Color tab of the Lens Corrections section to further improve the result.

More Detail: The type of visible artifacts you describe can be caused by a variety of factors, and fortunately can be resolved very effectively with the Lens Corrections adjustments available in Lightroom’s Develop module as well as Adobe Camera Raw, among a variety of other software tools that provide this correction option.

I find that in about half of the images that require a correction for this type of color fringing, the “Remove Chromatic Aberration” checkbox provides a good solution. In the other half of images that require this correction the Defringe controls provide enough control to resolve the color fringing.

There are two sets of controls for Defringe, allowing you to adjust the Amount (strength) of the correction and the range of color values to be corrected. The first set of sliders applies to magenta fringing in the image, and the second set applies to green fringing.

My approach for the Defringe sliders starts by zooming in on the area of the image where the color fringing is visible. Then increase the Amount slider significantly for the color correction that is needed (or the color that is closest to the problem color) to see if the fringing is corrected. If the color fringing is not completely removed with a large increase in the Amount control, you can expand the color range for the applicable Hue slider. Be careful not to increase the range too much, because doing so may cause the correction to blend into areas where you don’t want the color removed.

You can then reduce the value for the applicable Amount slider to a more appropriate level. By fine-tuning the specific range of colors being impacted and the strength of the adjustment for each color, you can generally produce a great result. In some cases there may be a minor amount of fringing left behind, but generally with a bit of careful attention to the slider values you can achieve a very good (and often excellent) improvement for the photo.

High Pass Filters


Today’s Question: Canon has introduced a new 5DS R, a camera without a high pass filter over the sensor. This is supposed to make the image sharper. In Photoshop we use the high pass filter to increase sharpness. Please explain.

Tim’s Quick Answer: The short answer here is that the High Pass filter (in Photoshop for example) doesn’t truly sharpen a photo. Rather, it removes low detail areas of an image and retains high detail areas, creating contrast in the process. That contrast can then be used to sharpen with the help of a blend mode. A high pass filter on a camera’s image sensor filters out some of the low frequency information to avoid artifacts, but softens the image in the process of filtering out some of the information projected by the lens.

More Detail: In other words, both filters are doing approximately the same thing, but they are generally used in different ways. A high pass filter will filter out low frequency information and retain high frequency information. This is helpful in image sensors for preventing moire patterns and other visible artifacts in a photo. However, because some information is being filtered out, there is a degree of softness imparted to the image. In other words, there is a tradeoff here, but many photographers would choose a higher degree of sharpness and detail over the potential for removing certain artifacts in the image.

The High Pass filter in Photoshop also filters out low frequency (low detail) information in a photo, preserving (and enhancing) the high frequency (high detail) areas. The result is something of an embossed effect. When combined with one of the “contrast” blend modes (such as Overlay), this can create a sharpening effect. The light areas of the embossed copy of the photo will brighten one side of a contrast edge, and the dark areas of the embossed copy will darken the other side, resulting in the appearance of greater detail and sharpness.

So, in both cases the same basic filtering of information is being used for different purposes, but with variations on how those filters are implemented contributing to the difference.

Resolution for Printing


Today’s Question: I read on a blog post that they thought 150 ppi is enough to print. Wouldn’t a resolution of at least 300+ produce a better image? Or is the print quality and ppi based solely on the size of the final output of the image – can a smaller print be printed at a lower ppi without sacrificing print quality?

Tim’s Quick Answer: If we use the pixel per inch (ppi) resolution as a form of “shorthand” for describing how much information is in a photo compared to the final print size, then we can use that ppi figure to talk about potential output size. To that end, I would consider 150 ppi to be too low a resolution value for most photographic prints. I consider values of around 200 to 250 ppi to be a good threshold for ideal output, and higher values are generally better. However, in most cases there is no need to go beyond about 360 to 400 ppi for output resolution.

More Detail: Part of the reason I think the general topic of resolution causes so much confusion for photographers is that we use so many different ways of explaining the same basic concepts. In addition, we often mean two different things when we use the term “resolution”.

Resolution can refer to both the total quantity of information as well as the density of information. When printing a photo, both of these concepts intersect.

To produce a print of a given size at optimal quality, you need a specific amount of information. If you’ll excuse analogy, imagine a photo inkjet print of being comprised of individual pixels on the printed page, something along the lines of tiny grains of colored sand you might otherwise glue to the paper to produce an image. It should be noted that photo inkjet printers use ink droplets of variable sizes, so this analogy doesn’t quite fit the reality of the situation. But hopefully it is a helpful analogy in any event.

Based on this analogy, we could say that a photographic print of a given size requires a specific number of grains of colored sand. While there are some added elements of complexity involved with a photo inkjet print, you can think of a print at a given size as requiring a specific amount of information. For a typical photo inkjet printer, that might require 360 pixels per inch. In other words, for a print at 8-inches by 10-inches, you would need an image that is 2,880 pixels by 3,600 pixels.

If you have less information than this, the printer (or the software being used to send the photo to the printer) will need to add information to the image. There is complex software at work behind the scenes to accomplish this task, but the bottom line is that if a photo doesn’t contain enough information to print at a given size, that information needs to be added in some way. Similarly, if a photo contains more information than is needed to produce a print at a given size, the “extra” information will be discarded.

Once you understand that a print at a given size requires (in a general way, at least) a given amount of information, you can choose to describe that information in a variety of ways. One way is to describe the amount of information in the image based on a pixel per inch (ppi) value.

For example, if your image was only 1,440 pixels by 1,800 pixels, you have much less information than you really need to produce the 8×10 print referenced above. If you do the math here, you’ll discover that instead of an image that represents 360 pixels per inch for the intended output size, you only have 180 pixels per inch.

The extent to which you can “get away with” having less information in your photo than is required to print depends on a variety of factors. That includes the degree to which your image is coming up short in terms of the amount of information (the number of pixels), the type of paper you’re printing to, the distance from which the final print will be viewed, the quality of the image you’re starting from, and other factors.

The bottom line is that your results may vary based on a variety of factors. However, in general I aim for having enough information in my image that I will at most need to enlarge by double the width and height (four times the total surface area). You can often produce even larger output, but the more you push the limits, the more likely you’ll be dissatisfied with the quality of the final print.

Print Brightness


Today’s Question: I still need to calibrate my monitor – but I also read that just by bumping up the brightness to 20%-30% more, would be good enough to compensate for monitor brightness?

Tim’s Quick Answer: As far as I’m concerned, increasing the brightness of an image for the sole purpose of correcting for a print that is too dark is something that should be considered a last resort. Such a step should only be taken after troubleshooting the real reason the print is too dark and not being able to properly resolve that issue. While making an adjustment can certainly result in a print that better matches what you see on your monitor, I would generally regard this approach as representing a bad color management workflow. Also, the monitor should absolutely be calibrated before even trying to consider whether a print is too dark in the first place.

More Detail: When it comes to producing an accurate print, the desired result is often described as having a print that matches the monitor display. That is certainly our goal when printing, but it doesn’t quite explain what’s really going on. And I think that additional detail can be helpful.

What we’re really doing when printing within the context of a color-managed workflow could better be described in two steps. First, we want to make sure our monitor is presenting an accurate display of the information contained within our image, so that the adjustments we apply are based on an accurate view of the photo. Second, we want to make sure that the printer is producing an accurate print based on the information contained in the photo.

When the print doesn’t match what we see on the monitor display, the first thing to be done is figure out why the print doesn’t match the monitor display. If your print is too dark, it is quite possibly the result of the display being too bright. So if your monitor display is inaccurate, resulting in a print that is inaccurate, to me it makes absolutely no sense to change the print settings so that the printer is no longer producing a print that matches the information contained in the photo.

In other words, if your monitor is too bright, the solution is to set the monitor to an appropriate brightness level, not to make the printer produce lighter prints.

The first step then, is to calibrate and profile the monitor display so that what you’re seeing is an accurate reflection of the information in your photos. Most monitors with their default settings are about twice as bright as they should be. That is a full stop of light too bright. Calibrating the display will provide compensation for this issue, so that the brightness of the display is appropriate. That, in turn, will help ensure that the adjustments you’re applying are appropriate to the actual photo you’re working on.

You also want to make sure, of course, that you’re using a good profile for the printer, ink, and paper combination you’re using for printing, and that you’ve established correct settings in the software you’re using to print and in the printer properties dialog.

The bottom line is that you want to be sure that any work you’re doing in the context of color management is helping to make all of your devices (monitors and printers, for example) more accurate. Taking this approach will help ensure predictable and consistent results both when making prints yourself, and when sending photos to someone else to be printed.

Display Calibration Options


Today’s Question: Two quick (I hope) questions about monitor calibration, based on an answer you provided recently: 1) You seem to suggest that I should disable the feature for my calibration software (ColorMunki) that will cause the display to adjust based on the current lighting conditions at my computer. Is that true? And 2) How often should I repeat the calibration for my display? The software seems to suggest every two weeks is necessary.

Tim’s Quick Answer: I do indeed prefer to disable the automatic ambient lighting adjustment for the display, and calibrating about every three months is more than adequate for a digital display, provided nothing has changed about your overall computer configuration.

More Detail: I fully appreciate that in theory it is a good thing to have your monitor display updated automatically to reflect the current ambient lighting conditions. For example, when the lighting in the room gets brighter because of the sun shining through the windows, the display will get brighter to compensate. The same holds true for the color of the display, again to compensate for the color of the ambient lighting conditions.

However, there are two basic reasons I prefer to disable this automatic adjustment. First, it introduces a degree of variability, and I very much prefer consistency in my color management workflow. Second, in my opinion it is much (much!) better to work in an environment with consistent lighting conditions, preferably in a relatively dark environment where outside light sources aren’t interfering with your monitor display. In other words, I prefer to make sure my working environment remains as stable as possible, rather than having my display calibration tool apply an automatic adjustment based on changing conditions.

As for the frequency of the calibration and profiling, this is something that changed dramatically when we transitioned from analog displays (such as CRT monitors) to digital displays (such as LCD monitors). Digital displays are much more consistent over time, and so you don’t need to calibrate and profile the display as frequently.

With analog displays I used to recommend calibration every one to two weeks, but I also knew photographers who would calibrate their display every single day. With digital displays, frankly it is perfectly reasonable to only calibrate every few months or so, provided there hasn’t been any change in the hardware or software configuration that would impact the appearance of the display.

The primary issue with digital displays is that they fade in brightness over time (although not very rapidly under normal circumstances). The color doesn’t tend to shift much at all, at least until the display starts to get toward the end of its useful life. Therefore, in most cases, calibrating every few months will ensure an accurate and consistent display.

Need a tool for display calibration? Check out the X-Rite ColorMunki Display:http://timgrey.me/colormunkidisplay

Metadata for Video


Today’s Question: Nowhere in Photoshop, Bridge, nor Lightroom can I find my camera settings data for video that I shoot ( e.g. ISO, aperture, shutter speed). Is there something I need to change in camera to have this data show up the way it does for still shots? Or does the camera not record this data when shooting video?

Tim’s Quick Answer: Video captures don’t generally contain the same metadata information you’re accustomed to having for your still captures. But for Canon digital SLRs (and some other cameras) it is possible to view your capture settings in metadata.

More Detail: With most (or perhaps all) Canon digital SLR cameras, the capture metadata is saved in a THM (thumbnail) file that shares the same base filename as the video file that is created (for example, a file with an extension of MOV). However, even that THM file requires an “extra” step for you to be able to view the capture metadata. There are actually two approaches you could take.

The first is to use Canon’s Digital Photo Professional software to browse your video captures. As you might expect, since this software is from Canon, you can view the metadata captured by Canon digital SLRs using Digital Photo Professional.

The other approach is to simply change the filename extension for the THM file to JPG, so that other software tools (such as Adobe Bridge, for example) will be able to find the metadata. Yes, the THM file is really just a JPEG image with a different filename extension. So if you change the filename extension to JPG, you can then browse that JPEG image with any software that allows you to view metadata for images. Among that metadata, you’ll find all of the capture settings you are accustomed to seeing for your still images.

I’m not familiar with the options that might be available for other cameras, but in general you’ll find that there is much less support for metadata among video file formats. For example, Lightroom will not create an XMP sidecar file (nor write to the video directly) to add metadata to video clips the way it is able to for still images. The metadata for videos will only be retained in the Lightroom catalog.

So, in general, there isn’t as much flexibility when it comes to metadata for video files, at least compared to what we have become accustomed to for still captures. But, at least for video captured with a Canon digital SLR, that information can be found.

Display Brightness


Today’s Question: With today’s monitors, laptops, tablets and smart phones auto-adjusting brightness according to ambient light as well as power conservation, how do you recommend brightness be set so your work in Lightroom and Photoshop are consistent? I find on our gloomy mid-west days with breaks of bright sun here and there that I want to adjust my MacBook’s brightness up and down to compensate. But will that mean any exposure related changes I might make while developing could look drastically incorrect when printed or viewed by someone else? Any suggestions?

Tim’s Quick Answer: Consistency is important when it comes to your display, especially when applying adjustments to your photos. I therefore highly recommend calibrating and profiling your display, working in a consistent environment that is relatively dark, and avoiding the urge to change the display brightness based on changing lighting conditions.

More Detail: Most computer displays with their default settings are about twice as bright as they should be from a color management perspective. This is a big part of the reason that calibrating and profiling your display is so important. If your display is twice as bright as it should be, you’re seeing your images one full stop of light brighter than they really are. Calibrating the display ensures that display is adjusted to a more appropriate brightness level, and profiling ensures color accuracy as well.

Once you have made those adjustments in the process of calibrating your display, you should not make changes to the display settings. Doing so would work against the calibration.

It is also important to ensure that your environment is not significantly impacting the computer display. Ideally, you should work in a slightly darkened environment, so that display “overpowers” the ambient lighting conditions. Of course, I realize this isn’t always possible, but it is an ideal to strive for.

Many of the newer tools for calibrating and profiling your display include an option to automatically compensate for changes in the luminance or color of the ambient lighting conditions. However, I prefer not to make use of these options. While they can be very helpful in concept, their use suggests that you are working in an environment that has changing lighting conditions, and thus is not an ideal working space.

My approach is to try to always work in a relatively dim room, even if that means closing the blinds and turning off lights. This isn’t always practical, but I make an effort to ensure the environment is consistent (and relatively dark) whenever I’m making critical decisions about adjustments for my photos.

I do in general prefer a very bright display when performing general work (not adjusting photos) on my computer. When I increase the brightness for those other tasks, I make sure that when I’m finished I return the brightness setting to the setting that was established during the calibration process.

Resolution Revisited


Today’s Question: When I export from Lightroom trying to use a size that will look good on an iPad I understand that 2048 pixels on the long dimension is good to use. I am still unsure what dimension I should put in the resolution box. Say I want to use every available pixel in the image so it will look really good. It seems that there should be a difference between 50 and 500? I usually use 200, but it is only a guess.

Tim’s Answer: This is obviously a bit of a follow-up to Wednesday’s question. I thought that since resolution tends to be a subject that many photographers struggle with, it made sense to amplify the issues raised in yesterday’s email by addressing this question today.

In short, the pixel per inch (ppi) resolution for an image does not matter unless that image is being printed. What that means is that for an image you intend to share electronically, it doesn’t matter what you set the ppi resolution to. All that matters is how many pixels are in the image.

So, for example, if you are preparing an image to be shared on an iPad, it makes sense to size the image to match the pixel dimensions of the display. In the case of the latest iPad tablets, the resolution is 2048×1536 pixels. So you can size your images to 2048 pixels on the long edge to get great results, and you can set the ppi resolution to anything you like. Regardless of the ppi resolution you set, the image will still be 2048 pixels on the long side, and so will be sized to match the number of pixels (at least on the long edge) for the display.

In other words, for a digital display you’ll get the best results when there is one pixel in the image for each pixel on the display. That way, you have an image that matches the “size” of the display in terms of the amount of information, and you can expect the best display quality for the image.

I should add that some software does actually look at the ppi resolution value when you add an image to a document, even if the aim is not printing. As far as I’m concerned that shouldn’t be the case, but in some cases software will adjust the apparent size of the image based on the ppi resolution value. But that doesn’t change the number of pixels in the image, and thus has no impact on the quality of the image if it is sized based on the actual pixel dimensions.

So, for printing you should absolutely set the ppi resolution based on the type of printed output you’re producing. But for sharing images electronically, you don’t have to worry about the ppi value at all. In those cases, I recommend setting the ppi resolution value to your lucky number, just for fun.

Transparent Canvas


Today’s Question: I suddenly have a problem [in Photoshop] that I haven’t experienced before when adding extra canvas to an image. When adding extra canvas to a flattened image I‘m getting the transparency chequered board instead of a pure white boarder. The ‘Canvas Extension Color’ at the bottom of the dialogue box is greyed-out (not active). I’m sure there is a very simple solution that I’m overlooking here.

Tim’s Answer: In a way this is two questions in one. Sometimes you might actually want transparent pixels for the additional canvas around an image, and sometimes you might want actual pixels to fill in that area, so it is helpful to understand how this option works. The key is the presence (or lack thereof) of a Background image layer.

If the image includes a Background image layer, the Canvas Size dialog (accessible by choosing Image > Canvas Size from the menu) will include the option to set a color to be used for the new canvas area that will be added to the image. The default option is to use the current background color (white by default) for that canvas area, but you can choose a different option from the “Canvas extension color” popup if you prefer.

If the image does not include a Background image layer, the canvas you add to the image will be transparent, and the “Canvas extension color” popup will be disabled.

This, of course, leads to the question of how to change an image layer into a Background image layer, and how to change a Background image layer to a “normal” image layer. You can make this change by first making sure the layer you want to convert is the active layer on the Layer panel. You can make a layer active by simply clicking on the thumbnail for the layer on the Layers panel.

To change the status of the active layer to or from a Background image layer, you can then first choose Layer > New from the menu. On the submenu that appears you can choose “Background from Layer” if the active layer is not currently a Background image layer, or “Layer from Background” if the layer is currently a Background image layer. These two options are actually one item on the menu, with the specific option shown dependent upon whether the current image contains a Background image layer.

In the case of the example cited in today’s question, the image layer (even though the result of flattening) is not a Background image layer. Therefore, you could choose Layer > New > Background from Layer to convert the layer to a Background image layer, so that you can set the color of the canvas area you add to the image. If you wanted to add transparent canvas area for a different image, you would simply want to make sure the Background image layer is converted to a “normal” layer by choosing Layer > New > Layer from Background from the menu.