Category: Ask Tim Grey

Today’s Question: In Photoshop I sometimes manage to accidentally select the Pencil tool instead of the Brush tool. But they seem to offer the same settings and options. Is there any real difference between the two tools?

Tim’s Quick Answer: There are real differences between the Pencil and Brush tools in Photoshop, and in the context of photo editing you almost always want to use the Brush tool rather than the Pencil tool.

More Detail: One of the most significant differences between the Pencil and Brush tools in Photoshop is that the Pencil tool always paints with a hard edge, even if you reduce the Hardness setting for the selected brush. This is the primary reason that it is almost always best to use the Brush tool rather than the Pencil tool when painting on a photo, so that a blended edge is available for the brush strokes.

The Pencil tool also lacks the Flow setting on the Options bar. You can use Flow in conjunction with Opacity to allow brush strokes to build up as you paint over an area more than once with a single stroke. While this can create a bit of unpredictability in the context of how the Brush tool is generally used when editing a photo, the feature does provide a more realistic behavior for the Brush tool relative to actual painting on a canvas in the real world.

While there are certainly situations where you may want the effect of the Pencil tool for sharp brush strokes on an image, in most cases the smoother results that can be achieved by the Brush tool are preferred when working on a photo in Photoshop.

Today’s Question: You mentioned the issue of Bridge color labels not showing up correctly in Lightroom Classic. Is there a way to fix those mismatched color labels?

Tim’s Quick Answer: You can easily update color labels in Lightroom Classic to resolve mismatches from Bridge by filtering images based on color label text and then assigning the intended color label.

More Detail: The default definitions for color labels are different in Adobe Bridge and Lightroom Classic, which means if you import photos into Lightroom Classic that previously had color labels assigned in Bridge, the color labels will appear white rather than with the intended color. That’s because the display of a color label is based on text in metadata, and the two applications used different text for the labels.

For example, in Bridge the default text for a red color label is “Select” while in Lightroom Classic it is “Red”. If you had assigned a red color label in Bridge and then imported the photo into Lightroom Classic, the color label will appear as white, indicating it is an unknown color.

Fortunately, it is easy to resolve this issue by filtering the images and assigning an updated color label.

For example, you could go to the All Photographs collection in the Catalog section of the left panel in the library module so you’re viewing all photos in your entire catalog. Then on the Library Filter bar start with “None” selected so no filter is set, and then go to the Metadata tab. Set one of the columns to represent color labels by clicking the header and selecting “Label” from the popup menu.

You can then set a filter based on the intended color label. For example, you could choose “Select” from the “Label” column to filter images that were assigned a red color label in Bridge. Then select all the photos (Edit > Select All) and assign the correct color label. In the grid view with the images selected you can press the number “6” on the keyboard, for example, to assign a red color label.

By filtering all images based on the color label definition from Bridge and then assigning the corresponding color label in Lightroom Classic, you’ll resolve those color label mismatches so no images display a white color label moving forward.

Today’s Question: You’ve talked about the risk of color label mismatches for photos, such as if you’ve assigned color labels in both Adobe Bridge and Lightroom Classic. Does the same problem exist for changing color labels for folders [and collections], or is it OK to change the definitions for those?

Tim’s Quick Answer: You can safely change the definitions for color labels for folders or collections (but not photos) at any time in Lightroom Classic, because those definitions are only stored within the catalog and not in metadata for the source image files.

More Detail: It is perfectly safe to change the definitions for color labels for folders and collections (but not for photos) in Lightroom Classic at any time. For example, I use the text “To Review” for the red color label for folders rather than the default of “Red”, because I use the red color label to remind me that a folder contains photos that still need to be reviewed to identify favorites versus outtakes. Updating the text provides a reminder of what each color label represents, just in case I forget.

So, you can go to the menu in the Library module and choose Metadata > Color Label Set > Edit, and then update the text for color labels on the Folders or Collections tabs. Then click the Preset popup and either choose the “Update Preset” option if you want to save the current preset to reflect the changes, or “Save Current Settings as New Preset” if you want to create a new preset with the updated definitions. Then click the Change button to apply the changes.

This flexibility does not extend to color labels for photos, because those are represented as a field in metadata. For example, because the default color label definitions in Bridge versus Lightroom Classic are different, if you had assigned color labels in Bridge the label would appear as white in Lightroom Classic because the definitions don’t match.

Today’s Question: Is it possible (or advisable) to apply the Denoise feature to a large number of photos in Lightroom Classic all at once? This would be helpful for situations such as when I’ve captured a lot of night photos with very high ISO settings.

Tim’s Quick Answer: Yes, you can apply the Denoise effect in Lightroom Classic to multiple images in batch with any of the techniques that enable you to synchronize adjustments across multiple images.

More Detail: While it has been possible to apply the Denoise feature to multiple images in batch in Lightroom Classic since the feature was first added, in some ways it is easier to do so thanks to a recent update. When the feature was first introduced, a new derivative DNG file would be created for the effect. Now, however, Denoise can be applied to any image without the need to create a DNG file. In other words, Denoise now basically behaves like any of the other many adjustments available in the Develop module.

There are some obvious benefits to having Denoise applied to the existing image rather than creating a new DNG file. One of those benefits is that just like all the other adjustments, you can easily include Denoise when using a batch process to adjust multiple images.

For example, you can select multiple images on the filmstrip, turn on the Auto Sync feature by toggling the switch on the left side of the Sync button at the bottom of the right panel in the Develop module, and then enable Denoise.

You could also save and apply a preset, manually synchronize using the Sync button, or copy and paste the settings, for example. The point is that you can easily apply Denoise in batch in a variety of ways in Lightroom Classic. You could even apply a preset that includes Denoise to all photos at import by selecting an appropriate preset from the Develop Settings popup in the Import dialog.

There are just a couple of caveats to keep in mind. One is that it can take quite a bit of time to apply Denoise to multiple photos. You may therefore want to batch process images in relatively small groups. The other caveat is that while Denoise is processing, you won’t be able to do anything else in Lightroom Classic. So you’ll want to plan accordingly, such as by applying Denoise in batch when you’re ready to walk away from your computer for a little while.

Today’s Question: Your recent answer suggested that the purpose of assigning a reject flag to a photo is to later delete the photo. But if that’s the case, why not just delete the photo instead of marking it as rejected?

Tim’s Quick Answer: To me the Reject flag provides two key benefits. It helps streamline the workflow for deleting outtakes and provides an opportunity to make sure you really want to delete a photo before committing to that action.

More Detail: The primary reason I appreciate having the Reject flag in Lightroom Classic is that it provides a way to streamline the workflow for identifying favorites and outtakes. If you were to delete images as part of that workflow, you would need to click a button in the confirmation dialog after using the Remove Photo command. That dialog briefly interrupts your workflow, and so I prefer instead to assign a reject flag to photos I want to delete. Simply press “X” to assign a Reject flag and move on to the next image.

In addition, I appreciate having an opportunity to review the rejected photos before deleting them, just to make sure I’m completely confident in my decision to discard those photos. I’ll set a filter to view only the images that have a Reject flag assigned to them, review one last time to be sure I want to delete all of them. I can remove the Reject flag from any photos I decide to keep, and then use the “Delete Rejected Photos” command to delete photos with a Reject flag in the current folder location.

Today’s Question: I inadvertently used the Delete Rejected Photos command [in Lightroom Classic] while browsing a collection rather than a folder. The confirmation suggested the images might only be removed from the collection, not deleted. Does that mean I need to be sure to be in a folder if I want to truly delete rejected photos.

Tim’s Quick Answer: Yes, to delete the source files for photos that have been marked as rejected you need to be browsing a folder. If you’re browsing a collection, the only option is to remove the images from the collection, not to delete the source files.

More Detail: The “Delete Rejected Photos” command is simply a variation on the “Remove Photo” command. In other words, they both behave the same, with the “Delete Rejected Photos” command effectively being a “Remove Photo” command that only applies to images that have the Reject flag applied that are in the current folder or collection. If you use either of these commands in a collection, you will only be removing images from the collection and not removing the source files from their storage location.

If you are browsing a folder, you have the option to either delete the applicable photos or only remove them from the Lightroom Classic catalog. If you apply either option the image will be removed from all collections they were added to, since the source image would no longer be in the Lightroom Classic catalog. And if you use the delete option then the source file will be removed from the storage location as well.

Today’s Question: I normally export my processed and sharpened images from Lightroom as either a sharpened print or projected final image. Do you consider this an appropriate workflow for sharpening.

Tim’s Quick Answer: Yes, absolutely. Printing from the Print module in Lightroom Classic with sharpening applied or exporting a derivative file with sharpening represent totally appropriate workflow for preparing images for output.

More Detail: Yesterday’s question related to a workflow for sharpening in the context of Photoshop, while today’s question focuses on Lightroom Classic. In Photoshop the workflow is a little more complicated. It provides a little more control, but that doesn’t necessarily translate into better output.

In Lightroom Classic you don’t have as much control as you do in Photoshop, but you can still achieve excellent results. When printing or exporting in Lightroom Classic, for example, instead applying a sharpening filter to an image that has been prepared for output, you choose between Low, Standard, and High options for the strength of the sharpening. You can also choose the type of output, with options for Screen for images that will be shared digitally, and Matte or Glossy for printed output.

These sharpening options in Lightroom Classic are relatively straightforward, but they also represent good algorithms that produce good output sharpening. It may take a little trial and error to find the right settings for various types of output, but once you have the experience to make the right decision for the circumstances, it provides a streamlined workflow.

Today’s Question: I typically use Sharpening (Filter > Unsharp Mask) in my Photoshop workflow. When should I sharpen my image file, at its original large size or after I’ve reduced the image size for printing?

Tim’s Quick Answer: I recommend sharpening both the original image and the image prepared for final output, just with different settings and a different focus (no pun intended).

More Detail: There are benefits to sharpening both the original image at full resolution and the processed image that has been resized to the final output size. This is particularly important for photos that will be printed compared to those that will only be shared digitally.

The first pass of sharpening I recommend applying as part of the process of processing the original raw capture, such as in the Develop module in Lightroom Classic or in Camera Raw for Photoshop users. This sharpening should be relatively modest, aimed only at compensating for the minor loss of sharpness caused by the lens, digitization of the analog signal, and more. It is important not to over-sharpen at this stage, as that can have a negative impact on image quality when it is shared later.

The second pass of sharpening is the output sharpening and should be applied after the image is resized and otherwise prepared for output. This sharpening is focused on compensating for any loss of sharpness that will occur with the output process, such as printing. For photos printed to uncoated matte paper, for example, the ink can spread considerably on the paper. Therefore, you can think of there being a need to over-sharpen the image slightly to compensate for the reduction in sharpness in the print process.

For images that will be printed to coated glossy papers you don’t need to sharpen as much, because the ink won’t spread as much on the paper. For digital sharing you would apply even less sharpening, though a slightly stronger effect might be applied to images projected to a large screen to help improve the perceived sharpness in that context.

So, sharpening the original image is aimed at compensating for the slight loss of sharpness that occurs during capture, and the sharpening the image resized and prepared for output compensates for degraded sharpness in the output process.

Note that in some respects you could think of adjustments such as Texture, Clarity, and Dehaze as providing a third sharpening pass, but that occurs between the first pass and the output pass. This is often described as being a creative version of sharpening.

Today’s Question: Is there a way to redirect Lightroom Classic to a different location for a folder? I accidentally imported photos from my backup drive rather than the primary drive, and I want to fix this without losing the metadata updates I’ve applied.

Tim’s Quick Answer: Yes, you can change the location Lightroom Classic looks for a folder using the “Update Folder Location” command.

More Detail: The most common scenario where you might need to point Lightroom Classic to a different location for a folder is when that folder is missing. This can be caused by moving a folder to a different location or renaming a folder, for example. In that case you would use the “Find Missing Folder” command to reconnect the Lightroom Classic catalog to the updated location or name for the folder.

In the scenario outlined in today’s question, however, the folder is not missing. Rather, a backup version of a folder was imported rather than the intended source. In other words, there are two copies of the same folder but Lightroom Classic is managing the incorrect folder among the two, and the folder in Lightroom Classic isn’t missing.

In this case you can right-click on the applicable folder in the Folders section of the left panel in the Library module and choose “Update Folder Location” from the popup menu. In the dialog that appears, navigate to the correct location for the folder, and open that folder so it appears at the top-center of the dialog. Then click the Choose button, and the folder location will be updated within your Lightroom Classic catalog.

Today’s Question: How do you recommend using the Contrast slider relative to the use of the Texture, Clarity & Dehaze sliders?

Tim’s Quick Answer: I actually don’t recommend using the Contrast slider most of the time, because I prefer the control that can be exercised using the other tonal adjustments.

More Detail: I should hasten to point out that there’s nothing inherently wrong with using the Contrast adjustment (available in Camera Raw, Lightroom Classic, and Lightroom) if it produces a good effect for the image. I simply prefer to leverage other adjustments that provide greater control over contrast.

While the Texture, Clarity, and Dehaze adjustments can be used enhance overall contrast in an image, I think of them more as tools for detail enhancement rather than contrast enhancement. That is, of course, a bit of an academic distinction.

For overall brightness and contrast, I recommend starting with the Exposure adjustment to fine-tune the overall look of the image in terms of overall brightness. I then suggest establishing overall contrast in the context of total tonal range using the Whites and Blacks sliders. Finally, I recommend using the Highlights and Shadows adjustments to refine overall contrast, which in part is focused on the degree to which you want to reveal or enhance detail in the image.

To be sure, it is perfectly fine to use the Contrast adjustment along with these other adjustments. The reason I tend not to use it is that it effectively applies an equal adjustment to both the highlights and the shadows. In general, I prefer to adjust these tonal ranges individually through the Highlights and Shadows adjustments. But if you find the Contrast slider helpful, there is no reason not to use it.

Beyond that, the Texture, Clarity, and Dehaze adjustments can be used to adjust overall contrast in the image, as discussed in a prior Ask Tim Grey eNewsletter.

It is worth keeping in mind that among all the adjustments mentioned above, there is overlap among all of them. In other words, there isn’t a single right answer in terms of how you approach these various adjustments. Ultimately all that matters is applying adjustments that result in a look that you’re happy with for the image.