How does one coordinate Lightroom used on a laptop when traveling, with a master Lightroom catalog back in the office?  I’ve written about this before (see my blog for October 2, 2012) but the topic keeps coming up at workshops and on tours, so….

I have one main master Lightroom catalog for all my images, which resides on my desktop computer in my office.  That master catalog is on an internal drive (a different drive than the internal SSD drive I use for all my programs).  A backup copy of this master catalog is made to another internal drive (automatically done by Lightroom when I exit the program), and a third copy of the catalog is on a small external USB drive.  Yes, I’m a bit paranoid about loosing all that data.

I have another Lightroom catalog named Travel on my laptop.  When I’m on the road, I download images using Lightroom, in the exact same format structure I use for the image files back in my office.  As the files are downloaded, Lightroom automatically renames the files and adds my copyright information, using templates I’ve created in Lightroom.  My naming template is a YYMMDD_camera-generated-file-name-and-number format, so individual files appear along the lines of 150624_D4S_4752.  Nikon lets you set camera names in the menu system to a three character code, so my cameras are named D4S and D8T.  Yeah, real original thinking there.  Image files are always downloaded into a  _Photos folder (the underscore makes it the topmost folder in my laptop’s directory), into a subfolder named by month and location of shoot.  06 Namibia would by a June trip to Namibia while 09 Denali would be a September shoot in Denali.  Each day’s images are automatically sorted as Lightroom reads the file metadata, makes YYYY-MM-DD folders as needed inside the month-shoot folder (the 06 Namibia or 09 Denali folders), and puts the correct images into the correct folders (I always have my cameras set to the local time, which in turn means all images will be correctly sorted by date).  Once all these parameters are checked in Lightroom they remain as set, so the only thing I ever have to change is the name of the month-shoot folder.  I flag any images I work on in Lightroom, highlight those images, and save all metadata to file by doing Ctrl/Command + S.

While on the road I copy every day’s take to two small external USB powered hard drives, so that by the end of the trip I have three duplicate copies of all my images.  Since the files are already in the organization I use in my office, all I have to do once I get home is to copy the image files to their correct location on my master hard drives, and to add the trip catalog to my master catalog.  I open the Travel catalog on my laptop, select the folder with the trip images, and do File > Export as Catalog, saving the exported catalog on one of the small USB drives.  I make sure to include the image previews.  Since the image files on the USB drive are all current with the correct metadata saved to them, there is no reason for me to do what Lightroom calls Export negative files (“negative files” is Adobe-speak for the actual images).

Back in the office I plug this drive into a USB port on my desktop computer, and use my operating system to copy the image shoot folder, which has all the photos, over to the correct date location on my main hard drive array.  Then I open my master Lightroom catalog, and do File > Import from Another Catalog, and select the catalog on the USB drive.  When this is finished working, I disconnect the small USB drive, at which time Lightroom want to know where the files are located since the imported catalog still thinks they are back on my laptop.  I point Lightroom to the correct image folder I’ve copied over, the 06 Namibia folder or whatever it is, and I’m done.  The backup software on my desktop computer automatically kicks in, and backs up my new images.

When I’m positive that all is well with my desktop system, I remove all the photos from the Travel catalog on my laptop, so that I can reuse the catalog shell again with all my preferences still set.  I reformat the USB drives, reset the time in my cameras, and I’m good-to-go on my next adventure.


In my photography I use Aperture Priority metering most of the time.  I take a shot, look at the histogram, and use Exposure Compensation (EC) to add or subtract light as needed.  Yes, this works great most of the time…but most of the time does not mean all of the time.  There are shooting situations where it is best to not use an autoexposure mode (aperture priority mode, shutter priority mode, or program mode).  This means selecting both the shutter speed and the lens aperture; that is, using manual exposure mode.  In this mode, you have to physically set both the shutter speed and the aperture, and the camera remains at those settings — and exposes at those settings — no matter where you aim the camera.  What you set is what you get, period.  EC does nothing to change the camera’s settings.  It affects the meter readout, but it does not in any way change the shutter speed or aperture on the camera, so turn EC to zero.  In manual exposure mode, what you set is what you get.  If you want to lighten or darken the image, you have to physically change the shutter speed or the aperture or the ISO.  The camera itself does not change anything.  What you set is what you get.

This blog post comes about because of a Joseph Van Os Photo Safari I recently led.  We were standing on the top of a cliff overlooking the ocean, preparing to photograph birds flying past.  If they birds were above us, the background was a pale milky blue sky.  If below us, the background was a dark navy blue ocean.  So what’s the right exposure?  Any autoexposure mode would be biased by which background was in the frame.  One solution would have been to work only those birds against the pale sky, or only those against the dark ocean.  But the birds were not cooperating in that manner.  They would swoop around, at one moment be above us and the next moment be below us.  When I mentioned that this situation called for a manually set exposure, to compensate for the different background tonalities, the response I got reminded me once again how many photographers have never used a camera in the manual exposure mode.

If the light remains the same, once you correctly set a manual exposure, it is correct for all subjects in that light regardless of their tonality.  OK, but how to set that exposure?  Pick something, it doesn’t matter what, in that constant light, and adjust for it’s tonality.  When you set the camera to manual exposure, an analog display will appear in the viewfinder with a “zero” point in the middle of a “plus” and “minus” line.  “Zero” is the starting point.  Change the shutter speed and/or aperture until this mark in highlighted, and you have set the camera to render whatever you aimed it at to be rendered as a medium tone.   Go to a “plus” mark, and you have added light.  Go to a “minus” mark and you have taken away light.   So, aim the camera at a single tone, and meter it and only it.  Physically change the shutter speed and/or aperture to render that area at whatever tone you want it to appear.  Here’s a quick and dirty way to think about this.  At the “zero” mark the camera will render that subject you metered as a medium tone.  At the “plus one” mark, one stop open, the metered subject will be rendered as a “light” tonality.  At the “plus two” mark, two stops open, it will be rendered as a “very light” tonality.   At the “minus one” mark, one stop down, it would be “dark” subject; at “minus two” it would be an “very dark” subject.

Suppose you meter a blue area.  Here’s what would happen as you change the shutter speed/aperture combination:

+3, whitish blue
+2, very light blue
+1, light blue
0, medium blue
-1, dark blue
-2, very dark blue
-3, blackish blue

Back to those birds….  The solution would be to pick an easy area to meter:  either the pale sky, or the dark ocean water.  Let’s use the pale sky; it was roughly “very light blue.”   Set the camera to manual exposure mode, aim it at the area of sky where the birds would be, and adjust shutter speed/aperture until the “plus two” mark was highlighted.   It doesn’t matter what combination shutter speed/aperture you use to get started.  Pick the equivalent combination that gives the shutter speed needed or the aperture needed.  Suppose you aimed your camera at that sky and the exposure combination that yielded “plus two” was 1/125 sec. at f/11.  Well, you know that 1/125 sec. is way to slow a shutter speed to freeze a bird in flight.  1/125 sec. at f/11 is exactly the same as 1/250 sec. f/8, or 1/500 sec. at f/5.6, or 1/1000 sec. at f/4, etc.  Need a faster shutter speed?  Raise the ISO one stop, and you could shoot at 1/2000 sec. at f/4 (or any equivalent combination).  Set the shutter speed/aperture combination you want to use, and fire away.  So long as those birds remain in the same light, and the light itself does not change, the exposure will be correct no matter the background.

I can think of a number of situations where using manual exposure would be best.  Consider working a black sand beach, with waves breaking white over it.  The camera meter would read a black subject at one moment, a white subject at another.  Or imagine you’re using a zoom lens to photograph a dark buffalo standing in the snow in Yellowstone.   As you zoom the lens, the image changes from primarily snow to primarily buffalo.  Or a situation I faced back in February while photographing red-crowned cranes.  The white cranes were standing in a snow-covered field, but as they took flight the background became leafless winter trees, a dark toned area, and then to medium blue sky as the birds rose higher.  In all three situations, so long as the light remained unchanging, the solution was to meter one area, set the exposure using manual mode, and shoot away.

If you’re not familiar with the manual exposure mode, I would strongly suggest some practice.  But let me add one final statement:  with all digital cameras, you cannot evaluate exposure or color via the LCD on the back of the camera.  The histogram is your friend, whether shooting manual mode or one of the autoexposure modes.  Learn how to use manual exposure mode, and learn how to read the histograms.


If you’re an Adobe Camera Raw user, rather than a Lightroom user, I might point out that the new “merge to panorama” and “merge to HDR” options are also available in Camera Raw 9 if you’re running Photoshop CC.

In Bridge, select the images you want to use, and then open those images in Camera Raw.  Once again, select all the images and then click to see the new options.

Click “save” but do not close Camera Raw, and the merged image will appear as a DNG file at the bottom of the Camera Raw filmstrip, and can be processed in ACR as you would any RAW file.

As with Lightroom, a merged HDR file in ACR will now offer plus/minus 10 stops on the exposure slider, a total of 20 stops.


In my last post I should have mentioned one important fact about the new “merge to HDR” feature in Lightroom.  When working on the resulting DNG file in Lightroom, the exposure slider now offers plus/minus 10 stops of exposure, a 20-stop exposure range, double the standard amount.  This is reminiscent of working with HDR Pro in Photoshop; see my August 2014 post entitled “HDR (A DIFFERENT WAY).”


Lightroom CC was announced today.  If you’re like me and have subscribed to the photographer’s Lightroom and Photoshop package, a notice should appear in your desktop Creative Cloud app.  Adobe’s servers are swamped, so this might take a while.  The new Lightroom is also available as a standalone perpetual license program.

Downloading and installing the new version of Lightroom was easy for me.  No problem, until I tried to open the new program.  I clicked on the desktop icon, and nothing happened.  If this is your experience, there is an easy fix:  sign out of your Adobe account via the “preferences” in the desktop CC app (click on the gear icon or the drop down triangle in the upper right) and sign right back into your account.

Lightroom CC has two new features which are of interest to me.

1.  A brush tool option has been added within the graduated filter.  Add a grad just as you did in earlier versions of Lightroom, and then select the brush option within the grad filter, hold down the Alt/Option key, and brush over the image area where you do not want the grad filter applied.  Hey, it’s an editable filter!

2.  Merge to panorama can now be accomplished within Lightroom.  This can be done using RAW files, and the composite image is saved as a DNG file…which means that the resulting pan image is still a RAW file, and can be processed non-destructively in Lightroom.  Select the files you want to merge into a pan, and do Photo > Photo Merge > Panorama. Lightroom does the merging, and saves the merged panoramic in the same folder as are the component files.  It does add -Pano to the end of the combined image’s filename, a feature I’m not really keen about.  I’ve always worked by selecting the images in Lightroom, then opening them in Photoshop to merge images into panoramics, and finally doing a “save as” while added a P_ at the start of the pan’s filename.  I’ve got a smart collection in Lightroom which automatically sorts out all my panoramic images, all the files that have a filename starting with that P_.  OK, so now I’ll add another smart collection, this one to find all the images with filenames that contain Pano.

Lightroom CC also has a new merge to HDR feature, but that’s no big deal for me as I rarely no any sort of HDR.  However, I’m certainly open to playing around with this feature.  Face recognition is also now included, and I’m sure a lot of folks will be pleased with that.  There are also some nice additions to the slideshow module.  I’m sure I’ll discover more as I start using the program, but my initial experience is quite positive.

And one more good point:  all in all, the program runs faster than before.

I highly recommend you go to Adobe’s website and view the videos by Adobe Evangelist Julieanne Kost.  Go to and click on the See how it works buttons in the Lightroom CC section.

Be sure to watch her video on some of the other new features:


The past 17 days I’ve been in Iceland, leading a winter tour for Joseph Van Os Photo Safaris.  My group encountered wild weather, everything from a snow storm to high winds to driving rain to clear skies and bright sunshine…and all on the same day.

For me, there were two photographic highlights.  We worked several hours in a glacial ice cave in Vatnajokull National Park, and the resulting images are pure graphic design.  And toward the end of the trip we were lucky to enjoy a spectacular aurora borealis which lasted for hours.  I’ve seen the aurora many times before, but this one was an incredibly awesome display, with extremely intense colors filling the entire night sky.

Below are my two favorite shots from the trip.  Both were taken with a Nikon D810.  I used my 24-70mm for the ice cave image (at ISO 64), and my 14-24mm for the aurora (at ISO 2500).  FYI, I’ll be leading this tour again in March 2016 and an ice cave shoot is definitely on the schedule.  While an auroral display cannot be guaranteed, we will certainly be out photographing if it happens.  For tour info, see


Ice cave, Vatnajokull National Park.


Aurora borealis display.


This is not right.

This is definitely not the manner in which I normally photograph.

A couple of weeks ago, while I was having breakfast at a small hotel in northern Japan, a Hokkaido squirrel (Japanese tassel-eared squirrel) was raiding the bird feeders on the porch just outside the windows.  So how could I resist?  I went to my room, mounted my Nikon 80-400mm lens on my Nikon D4s, and returned to breakfast.  Between sips of my morning coffee, I photographed right though the window glass, handholding my camera rig.  Early morning light and ISO 3200; I stayed toasty warm inside. while outside it was very cold and snowy.  A bite of breakfast for me, a bite of breakfast for the squirrel, another photo or two.  This photography gig is supposed to be a lot more difficult.


Hokkaido squirrel.

Lightroom — ACR difference

I’m a big fan of Lightroom, and use it as my RAW file converter.  Adobe Camera Raw is essentially the same, but there is one small difference which, for me, is a reason I prefer Lightroom over ACR.  That difference lies in how the two programs allow the user to adjust contrast.

Both Lightroom and ACR incorporate a contrast slider, and in both programs the slider does exactly the same thing.  Watch the image histogram as you drag the slider left or right, and you’ll see both ends of the histogram move simultaneously, expanding or contracting the histogram.  OK, no difference here between LR and ACR.

But go to the Tone Curve, which I prefer to use, and the two programs operate slightly differently.  Both Lightroom and ACR offer two views of the Tone Curve, a Point Curve (where you place points on the curve and move those points), and a Parametric Curve (where the tone curve is divided into sections and adjustments affect that region).  The Targeted Adjust Tool — which allows you to mouse over your image, click on a spot, and drag to adjust — is available in both Lightroom and ACR.  In the Parametric Curve, in both programs, one point can be set on the curve.  You cannot set two points close to each other (for example, two points in the highlights sections, or two points in the shadows).  But go to the Point Curve, and here lies the difference: you cannot use the Targeted Adjustment Tool in ACR when in the Point Curve.  Try to do so, and it affects the Parametric Curve.  In contrast, Lightroom allows using the tool in the Point Curve.  As you mouse over your image using the tool, a “ball” appears on the curve indicating where the point under the tool will fall on the curve, so you can set multiple points exactly.  ACR does allow placing multiple points on the curve, but it does not indicate where any one tonal value falls on the curve; you’re guessing at the precise position on the curve.

Two precisely set points on the Tone Curve, using the Targeted Adjustment Tool in Lightroom.

Frost fog

A couple of weeks ago I was in White Sands National Monument, when a rather rare event occurred for that area of New Mexico.  It had rained for two days, so there was a lot of moisture in the sand.  But the first morning the weather cleared the photography conditions were magical for a few hours.  The overnight temperature had been in the low 20s and frost had formed on everything, while during the early hours a thick fog layer formed, low to the ground.  Wow!  Frost and fog together, a combination that lasted for only a few hours.

Scanner Part Two

I’m rather shocked that my previous scanner post has generated so many emails (42 have landed in my mailbox so far).  To answer everyone at once:

As far as I know, there are almost no dedicated 35mm film scanners currently made, but then I have no reason to keep up on the scanner market.  I’m not looking for a new scanner, and I don’t pay attention to what is out there.  I bought my Nikon Coolscan 4000 back in 2001, and it still works just fine for my purposes.  If for some reason I need a higher res digital file from a transparency, I ship the film out to have a drum scan made.  And  no, I don’ t want to sell my Nikon scanner.

I’m not in the market for different scanner software.  Yes, I know about SilverFast and VueScan, but I see no reason to purchase additional software when I’m satisfied with the results I get with NikonScan.  This is especially true since I make very few scans per year.

I’m not scanning my entire film archive, nor do I have any intention of doing so.  I only make a scan, or send out for one, when I have a very specific need (which is not nearly as often as you might expect).  Indeed, why would I even want to scan all my old transparencies?  Assume that I have 200,000 images (not such a big number, since I’ve been photographing professionally for almost 45 years now!).  Total time it takes to make one scan (pull image, remove dust, make scan, replace film, enter resulting digital file into database with caption info, etc.): about two minutes under the very best of conditions (not including any Photoshop time needed on the resulting file).  OK, 200,000 images @ 2 minutes/image = 400,000 minutes, or just over 833 days straight, working 8 hours per day with no breaks.  No thanks.

And…I actually already have thumbnail images of all my slides.  The slide itself is a thumbnail.  Hold up the slide, look at it.