Ask Tim Grey

Today’s Question: I’m sure this should be simple, but I can’t wrap my head around the concept of collections in Lightroom Classic. Can you briefly explain what they are and how I should be using them?

Tim’s Quick Answer: A collection in Lightroom Classic CC is simply a way to group photos together that are related by some concept beyond the folder structure on your hard drive. Adding a photo to a collection is similar to adding a keyword to the image, with a collection providing quicker access to those photos.

More Detail: In many respects from the perspective of a Lightroom user, collections and folders are very similar. You can click on a collection or a folder on the left panel in the Library module in order to view the photos that are contained within that collection or folder. The key difference is that folders reflect the actual organizational structure on your hard drive, while collections simply reflect a logical organization of photos within Lightroom.

In other words, the list of folders in the Folders section of the left panel in the Library module directly relates to the folder structure you could see on your hard drive if you browse that drive through your operating system. Collections only exist within Lightroom, and are not reflected on your hard drive.

It may be helpful to think of collections based on an analogy. Imagine you have added a keyword to a set of photos, and then have a saved search result that enables you to quickly see only the photos that include the specific keyword. That is the same concept for collections, but instead of adding a keyword and saving a search, you simply add a photo to the collection.

Collections can be used for a wide variety of purposes, enabling you to organize your photos beyond the folder structure on your hard drive. For example, I often use collections to organize photos for various projects that include my photos, such as presentations. You could also use collections to organize photos by category, similar to how you could add keywords to various photos.

So, folders are a reflection of what you might think of as the physical storage structure on your hard drive, while collections are extensions of that concept, enabling you to group photos together regardless of which folders all of those photos might be contained in.

It is important to keep in mind that collections only exist within Lightroom, and are not saved to the metadata for your photos. That means that while the folders you see in Lightroom actually exist on your hard drive, if you lost your Lightroom catalog you would also lose all of the information about the collections for your photos. This is one of the reasons it is important to regularly backup your Lightroom catalog.

Today’s Question: Do you know if the NiK Collection filters are still available to purchase?

Tim’s Quick Answer: Yes, the Nik Collection is still available, now being offered by DxO Software. You can find the updated release of the DxO Nik Collection here:

https://nikcollection.dxo.com

More Detail: The Nik Collection set of (mostly excellent) plug-ins was originally available from Nik Software. Google acquired Nik Software a while back, seemingly with a primary interest in the Snapseed app for image editing on mobile devices. While Google initially offered the Nik Collection for sale, they later made the full collection available for free.

More recently, DxO Software acquired the Nik Collection, and released a new update dubbed the “Nik Collection by DxO”. This update to the Nik Collection is no longer free. You can get a 30-day free trial, but if you want to continue using the software you’ll need to purchase it.

It is important to note that if you have a previous version of the Nik Collection installed on your computer, installing the free trial of the Nik Collection from DxO will cause that previous version to no longer be usable. So, for example, if you have the free version of the Nik Collection from Google installed on your computer, even after installing the free trial of the Nik Collection from DxO, that Google version will no longer function.

There have not been any major updates to the Nik Collection by DxO, so if you’re looking for new features after using an earlier version, you may be disappointed. However, if you don’t have a copy of the Nik Collection, getting the latest update from DxO may certainly be desirable.

Within the Nik Collection from DxO, I don’t consider Dfine to be particularly useful, as many other software tools provide what I consider to be significantly better results. I also don’t consider Sharpener Pro to be a critical plug-in for most photography workflows. However, some of the other plug-ins, such as Silver Efex Pro and Analog Efex Pro, can provide some great creative effects for your photos.

Note that I have produced an updated video training course on the full set of plug-ins included in the Nik Collection by DxO. You can get a 50% discount on this extensive video course by using coupon code nik50 at checkout, or by using this link to have the discount included automatically:

https://www.greylearning.com/courses/nik?coupon=nik50

Today’s Question: I have two external hard drives attached to my MacBook Pro but they do not show up on the left panel in the Library module in Lightroom [Classic CC]. Is there a way to get them to appear there? I can still see all my files on both drives but the drives are not listed under the Folders heading as volumes.

Tim’s Quick Answer: In order to see folders (or photos) from an external drive in Lightroom Classic CC, you need to import the photos into your Lightroom catalog using the “Add” option. After the photos have been imported if you don’t see the folders in the Folders section of the left panel in the Library module, you can click the heading for the hard drive itself in that Folders section to expand the list of folders below.

More Detail: In order to view and manage folders and photos in Lightroom Classic CC you must import the photos into your Lightroom catalog. When it comes to photos that are already stored in their intended location (such as an external hard drive) you would select the “Add” option from the top-center of the Import dialog after clicking the Import button at the bottom of the left panel in the Library module to get started with the import.

In addition to the “Add” option, you can specify the source of photos to be imported, including being able to select an entire hard drive as the source of photos to import, and to include all subfolders on that drive in a single import operation. There are also a handful of additional options on the right panel in the Import dialog.

Once you have imported existing photos using the “Add” option in the Import dialog, you can see all of the folders that contain photos that were imported under the Folders heading on the left panel in the Library module. Folders will be displayed under a heading for the individual hard drives you have imported photos from (or copied to in the case of importing new captures from a media card).

If the folder view for a hard drive has been collapsed, you won’t see any folders below the header for that drive. You can click the header for the drive to collapse the view (and hide the folders), or click again to expand the view and reveal the folders.

Note that after importing photos into your Lightroom catalog, you’ll be able to view those photos within Lightroom, even if the external hard drive containing those photos is not currently connected to your computer.

Today’s Question: When opening a photo from Adobe Bridge to Photoshop I get a message that the document has an embedded color profile that does not match the RGB working space (Monitor RGB – Color LCD Calibrated4). It offers me the option to use the embedded profile, convert to the working space, or discard the profile. Which choice would you choose and how do you change permanently your choice?

Tim’s Quick Answer: In general you will want to convert the profile to your working space when you get a color profile mismatch message in Photoshop. However, if you want to ensure you are maintaining the color appearance of a source image file, especially if the file was received from someone else. However, in this case you also have your working space in Photoshop set to your display profile, which is not a configuration I recommend using.

More Detail: The working space profile in Photoshop can be set in the Color Settings dialog accessible from the Edit menu in Photoshop. The working space profile should generally be set to a profile created for this purpose. When in doubt the Adobe RGB (1998) profile is a good option. If you want maximum potential in terms of color gamut and always work in 16-bit per channel mode, the ProPhoto RGB profile is a good choice. And some photographers will want to use sRGB if they generally have their images printed by common photo printing services.

When you open an image that has an embedded profile different from the working space profile you have established in Color Settings, you will see an alert about this issue as long as you have enabled the “Ask When Opening” checkboxes within the Color Settings dialog.

When there is a profile mismatch, you have three choices. You should choose “Use the embedded profile” if you don’t want to convert the image to the working space profile, such as to evaluate the “native” appearance of the image. You could always convert the image to the working space profile later in your workflow.

In most cases you would want to choose the “Convert” option, so that the color information is converted to your working space. This provides greater consistency in your workflow, and will generally result in minor (if any) change in appearance for the image.

In general you would never want to use the “Discard” option, as doing so means you are not actually managing the colors in your photo.

Note that the topic of profile mismatches in Photoshop is covered in the “Photoshop Profile Alerts” lesson (Lesson 2 of Chapter 4) of my “Color Management for Photographers” course. You can get a 50% discount on this course by using coupon code color50 at checkout, or by using this link to get started with the discount applied automatically:

https://www.greylearning.com/courses/color?coupon=color50

Today’s Question: I remember seeing a video lesson where you demonstrated how to make a button featuring a photo. I’ve been asked to provide some photos for a fundraising event and thought a photo button would be a good promotional gift to provide attendees. Can you point me to the information about what you recommend for creating photo buttons?

Tim’s Quick Answer: The video you’re referring to was an episode of “Tim Grey TV”, filmed on location at the headquarters of American Button Machines. They sell all of the equipment, supplies, and software you need to create buttons featuring photos or other artwork. You can find my video about creating a photo button on the Tim Grey TV channel on YouTube here [https://youtu.be/EaTgqyke-9I]:

More Detail: When I had the opportunity to visit the American Button Machines headquarters I was surprised at the wide variety of buttons you could create featuring photos or other artwork. I imagine just about everyone is familiar with the traditional “pinback” buttons. In addition there are also a wide variety of variations on this concept, including buttons with a mirror on the back, buttons that function as a bottle opener, and many other options.

I think photo buttons can certainly be a great way to promote a charitable organization or event. For example, the owner of American Buttons Machines is also an accomplished photographer, and creates photo buttons for events supporting a raptor rehabilitation center.

If you’re just getting started creating buttons, and specifically want to create buttons that feature your photography, I recommend considering a kit that includes supplies for 2.25-inch, 3-inch, or 3.5-inch buttons. You can find kits for these photo-friendly button sizes on the American Button Machines website here:

[https://www.americanbuttonmachines.com/collections/photo-button-making-kits]

You may also find it helpful to review some of the informative videos available on the American Button Machines website, which you can find here:

https://www.americanbuttonmachines.com/pages/video-library

And finally, if you decide to purchase a photo button kit, if you use coupon code TGPHOTO during checkout you’ll get a free year of button making software (an $82.95 value) with your purchase. You’ll also get free UPS Ground shipping on the kit to the lower 48 states.

Today’s Question: Which computer do you use in the field? And is it mainly to download and get a quick look at your images or do you do any initial adjustments in Lightroom or Photoshop as well?

Tim’s Quick Answer: When traveling I use a 13-inch MacBook Pro laptop (https://timgrey.me/macbookpro18), both for image download, review, and initial editing, as well as all the other work I need to keep up with along the way. In fact, about ten years or so ago, I switched to using a laptop as my exclusive computer, doing away with my desktop computer.

More Detail: My needs are probably not representative of most photographers, but I do think they are similar to what many photographers might need at least when they are traveling for photography.

I bring a laptop with me on virtually every trip, not because I necessarily need it for managing or processing my photos, but because I need additional utility along the way. For example, even on extended trips I still produce new video content for GreyLearning, continue publishing the Ask Tim Grey eNewsletter, and more.

While I do need the additional power of a computer for tasks beyond my photography, I still also prefer having a laptop for my photography workflow when on the road. I simply find I prefer the additional features available with a laptop as compared to something like a tablet or portable storage device.

Part of my reasoning for traveling with a laptop is that it enables me to maintain my normal photographic workflow no matter where I am. I travel with a laptop and external hard drives, so I can work with new and old photos along the way. I use Adobe Lightroom Classic CC (https://timgrey.me/creativecloud) as the foundation of my workflow. With my Lightroom catalog stored on the internal hard drive of my laptop, I’m able to work with my photos from virtually anywhere.

While traveling I download my photos into my Lightroom catalog, copying the image files to an external hard drive (and to a backup drive). I then at the very least identify favorite photos along the way, and optimize and share the photos I consider to be my best.

There are obviously other potential solutions, such as to use the cloud-based Lightroom CC to work from a mobile device such as an iPad. But my preference is to travel with a laptop so I have greater utility while traveling.

Today’s Question: When I’m capturing video on my digital SLR, the shutter speed can only be set as slow as 1/30th of a second. But there doesn’t seem to be any limit to how fast a shutter speed I can use. Is there any guideline on what shutter speed I should use when shooting video?

Tim’s Quick Answer: Generally speaking you will want to use a relatively slow shutter speed for video, for a smoother playback experience. Using fast shutter speeds can result in a video that has a bit of a stuttering appearance. I generally aim for shutter speeds of around 1/30th to 1/60th of a second.

More Detail: There has long been a rule of thumb in video that the shutter speed should be half the duration of each frame based on the recording and playback speed. For example, many videos are recorded at 30 frames per second (fps), which would mean a shutter speed of 1/60th of a second would be good.

I don’t consider it critical to strictly follow this “rule”, but it does provide a good general guideline. If you use a very fast shutter speed for video, the playback will have a stuttering appearance. By using a shutter speed that is close to the duration each frame will be visible in the video, you’ll get a more natural and generally pleasing appearance for the video.

The only time I would use a faster shutter speed than about 1/60th of a second for video is if it was important to freeze action in the video. For example, you may have noticed when watching movies that if the camera pans across a scene, it is often impossible to read words on signs that appear in the frame, because at a shutter speed of about 1/30th of a second the panning movement is enough to cause motion blur for each frame in the video.

So, opt for a shutter speed of about 1/60th of a second as a general rule for video. You may find a neutral density filter helpful for this purpose, especially if you want to keep the lens aperture relatively wide open to achieve narrow depth of field. Only use fast shutter speeds for videos where it is important to freeze the action, keeping in mind that the video will have a somewhat stuttering appearance when fast shutter speeds are used.

Today’s Question: Is there a preferred method for downloading images to the computer, such as connecting the camera to the computer via a cable versus inserting the memory card into the computer’s card slot?

Tim’s Quick Answer: In terms of reliability, connecting a camera to your computer or using a card reader are generally about the same. However, I recommend using a card reader for better performance and less risk to your camera.

More Detail: Generally speaking you will get the same reliable transfer of data whether you’re using a card reader or a direct camera connection to download photos to your computer. That said, I do think there is a slightly higher risk of having problems with a direct camera connection, simply because a camera tends to get abused in the field a bit more than a card reader. But if there is a problem with the camera in terms of downloading photos, there may also be a problem capturing photos in the first place. In other words, I wouldn’t consider this to be a major cause for concern.

However, in most cases you will be able to download photos faster with a card reader than with a camera connected directly to your computer. More importantly from my perspective, I prefer using a card reader in order to avoid putting my camera at risk. I’m simply worried that with my camera directly connected to my computer with a cable, there’s too much risk that I’ll manage to snag the cable and knock my camera to the floor.

So, both for performance benefits and keeping your camera safe, I recommend keeping your camera in the camera bag, opting for a card reader to download photos to your computer.

Today’s Question: When resizing a layer in a composite image in Photoshop, I used to be able to hold the Shift key while dragging the mouse to lock the aspect ratio for the layer so the image wouldn’t get distorted. With a recent update that isn’t working anymore. How do I get the Shift key working again for resizing layers?

Tim’s Quick Answer: The Transform feature now maintains the aspect ratio by default for a layer you are resizing. So, without holding the Shift key you’ll maintain the aspect ratio, and you can hold the Shift key if you want to alter the aspect ratio while resizing.

More Detail: In earlier version of Photoshop if you were using one of the Transform commands to resize an image layer or layer mask, you needed to hold the Shift key if you wanted to maintain the aspect ratio while dragging the handle for one of the corners of the layer. With a recent update to Photoshop CC, however, the behavior is now reversed.

So, if you want to retain the aspect ratio when resizing using one of the Transform commands, simply drag the handle at any corner of the image you’re resizing. You don’t need to hold the Shift key, as the aspect ratio will be retained automatically. If you do want to alter the aspect ratio while resizing, simply hold the Shift key as you drag the handle for one of the corners.

Note that the various Transform commands can be found on the Edit menu in Photoshop. For most of my resizing I use the Free Transform command, which you can activate by choosing Edit > Free Transform from the menu. In addition, you can access additional types of transformations by looking at the submenu under Edit > Transform on the menu.

Today’s Question: I originally imported files in Lightroom Classic CC as DNG files. I switched to importing the CR2 [original raw capture] files a few years back. When I go to the menu and choose Edit > Preferences > File Handling > File Extensions, the only options I see are dng or DNG. How do I make the change back to CR2? And what’s the difference between dng and DNG?

Tim’s Quick Answer: The filename extension (which can be upper or lower case) reflects the file type. While you can convert an original raw capture to the Adobe DNG (Digital Negative) file type, you can’t convert a DNG file to a proprietary raw capture format. Your only option would be to extract the proprietary raw capture file from the DNG if it was embedded originally, or to recover the proprietary raw capture files from a backup.

More Detail: The Adobe DNG file format was created as an alternative to the many varieties of proprietary raw capture formats created by camera manufacturers. Some cameras include the option to capture in the Adobe DNG format in place of the proprietary raw capture format. In addition, when importing photos into Lightroom Classic CC you have the option to convert your raw captures to the DNG format. To do so you select the “Copy as DNG” option (rather than the “Copy” option) when configuring the import for your new photos.

It is not possible to convert and Adobe DNG file to a proprietary raw capture format. However, if you embedded the original raw capture in the DNG file, you can use the Adobe DNG Converter application to extract that embedded raw capture. This would be done using the DNG Converter directly, outside of Lightroom.

The option to embed the original proprietary raw capture in the DNG file would need to have been selected before importing (or otherwise converting) to create DNG files from your proprietary raw captures. That option can be found on the File Handling tab of the Preferences dialog in Lightroom. Simply turn on the “Embed Original Raw File” checkbox, and when you create DNG images the original raw will be embedded as part of the file.

If you did not use the option to embed the original raw capture in the DNG files you created, the only option would be to recover from a backup copy of the original proprietary raw captures. However, if you used the “Copy to DNG” option during import, you may not have such a backup. Unless you manually copied the files yourself, the only backup of the original raw capture files would have been created if you made use of the “Make a Second Copy To” option in the Import dialog. That would cause a copy of the original raw captures from your media card to be copied to the designated location. When copying as a DNG file, the original raw capture file is not retained, so this backup option during import would provide the only other way to access the raw captures.