Adobe Photoshop Lightroom 3 – Understanding Metadata Storage

One of the highly desirable features of Lightroom is that editing is non-destructive. You can adjust, crop, retouch, and apply various settings to your images without loosing the original. However, it’s important to understand where the edit information is stored and the implications.

By default, Lightroom stores all metadata (including changes to the image) in its catalog. If you only use Lightroom on one computer and you never have any problems with your catalog, you’ll probably never notice – your changes just work. However, if you were to delete your catalog, all changes will be lost. In other words, you’ll only have your original image files. So even in simple use cases, it is critical that you back up your Lightroom catalog.

If you use more than one computer to work on your images, and use you a catalog on a portable hard drive, the same situation as above applies. However, since Lightroom will not use a catalog on a shared drive, the situation becomes more complex for those of us who share images across their network.

Lightroom, like many other photo packages, is also capable of reading and writing image metadata from image containers such as jpegs and from “sidecar” files. If you right-click on an image or folder in your library, select “Metadata” and then “Save Metadata to File”, the data will be written to either the appropriate place in the image file or an XMP file in the same directory as as the image. There is also a setting to do this automatically:  Edit > Catalog Settings > Metadata Tab and place a check in the box for “Automatically write changes into XMP”.  I strongly recommend that you turn this option on:

  1. It increases compatibility with other applications including Photoshop.
  2. If your catalog becomes corrupt, you can re-import images without loosing all your work.
  3. Assuming you backup your images, you will also back up the metadata.
  4. You can open images from another PC or import them into another Lightroom catalog and preserve all your edits.

If you’re starting to work with a second computer and haven’t turned this option on:

  1. On your primary computer, right click on the top folder in your catalog and select “Save Metadata.”  It’s going to take a while, perhaps overnight, but it will write the XMP files.
  2. Turn on “Automatically write changes into XMP.
  3. You can now create a new catalog on your second computer and import your images into the catalog. Lightroom will pick up the XMP data.  Don’t forget to turn on the “Automatically write changes into XMP” option for each new catalog.

As you’re working, you might notice an indicator in the upper right corner of an image warning you that metadata has changed on the hard drive, presumably because you edited the image on a different computer or within a different catalog. You can right click on an image (or a selection of images) under “Metadata” and select “Read Metadata from File”.  If you’d like to force Lightroom to read Metadata at the folder level, simply click on the folder, choose Metadata from the main menu at the top of the screen, and select the appropriate option.

There are two drawbacks you should be aware of:

  1. Writing XMP data to disk may reduce Lightroom performance in some circumstances.
  2. If you have a lot of jpegs and write XMP data, each file will change (as opposed to raw files, where a separate .xmp file will be created).  If you use an online backup service, beware that writing XMP data en mass may result in all your files being uploaded again. On the other hand, your work will now be automatically backed up.

To recap:  By default Lightroom 3 stores all your work in the catalog only unless you configure it to automatically write XMP or manually force it to. XMP files are cheap insurance and for most users I recommend configuring Lightroom to write them automatically.

Black and White Conversion in Lightroom

I’m in the process of re-editing images from my 2007 trip to Death Valley. While I still enjoy the creative aspects of shooting and developing black and white film, when travelling shooting digital offers convenience, flexibility, and a lower cost.

Some digital cameras offer built-in greyscale conversion, and some of the latest models such as the Nikon D7000 also include simulated filters. However, if you’re photographing landscapes I strongly recommend shooting RAW and converting in post.

I use Lightroom for most of my editing these days, and the product includes a number of good presets for black and white conversion. I usually try them first. However, in this case the original image is very flat so I went the manual route.

before

First, I adjusted the image, slightly tweaking the black level, brightness and contrast. Since the majority of the digital information was in the middle of the range, I left the exposure level alone.

1

Next, I used the Tone Cure to significantly increase the contrast. I spent most of the time here. Note that the sliders at the bottom of the histogram set the areas of the curve (regions) that are changed by the Highlights, Lights, Darks, and Shadows sliders.

2

Finally, I converted to B&W by selecting “B&W” and tweak the mix slightly.

3

Depending on where the image is to be used I likely would tweak this some more, but as you can see even such a flat colour image can be turned into a reasonable black and white image.                                 

after

 

If you’re looking for more advanced information, Adobe has a great video tutorial.  Happy converting!

Nikon D7000

I recently had the opportunity to test drive the Nikon D7000, and in a word:  Wow!

The D7000 is Nikon’s latest consumer DSLR.  It includes a 16.2 megapixel CMOS Nikon DX format sensor (1.5x crop) and is capable of shooting up to 6 frames per second. It shoots video at 1920 x 1080 24fps, and has twin SD (SDHC/SDXC) card slots.  The latter is a great feature – you can configure the camera to separate JPEG and RAW files or JPEG and movie files onto separate cards, or use the second to just keep shooting.  I personally would prefer the larger and more sturdy CF cards, but SD has become the standard for consumer cameras, and the ability to simultaneously shoot JPEGs and RAW files to separate SD cards has definite advantages should one card fail.

D7000_18_105_front_l

Shown with Nikon 18-105 included in kit bundles. Full specifications are here.

Compared to my D200, I found the D7000 small and light. The live view (though the LCD) feature made some types of photography easier.  The autofocus was fast, accurate, and responsive. But the dramatic difference was in low light capability. With a fast lens, I found myself shooting without flash indoor and outdoors at night.

In the end, image quality is what counts, and images from the D7000 were superb. The D7000 takes image quality to a new level.  Ken Rockwell calls the D7000 “Nikon’s best DSLR ever.” Taking into account its $1200 price tag, I agree.

Added Oct 2011:  The Nikon D7000 appears on our new recommended cameras page.

Added Nov 2011: I purchased a Nikon D7000 and Nikon’s new 35mm f/1.8 DX lens. They make a great lightweight combination.

Nikon COOLPIX P7000

Many Nikon fans have noted that in the past few years Nikon hasn’t introduced much in the high-end compact digital camera market segment. Last month I spent a week with the new Nikon P7000 and in summary, Nikon is back!

P7000_front_lc_l

The Nikon COOLPIX P7000 specs include a 10 megapixel sensor and a 28-200mm (35mm equivalent) f/2.8-5.6  lens with vibration reduction. It records video at 720p. It offers ISO settings as high as 6400 at full resolution and 12,800 in 3-megapixel night mode. (Full specifications are here). Nikon has brought back dial controls for ISO and exposure compensation, which improves overall handling for those of us who like more control over our images.

Overall, I found the P7000 a pleasure to use, but wished it had an articulating LCD screen. One of the great things about small light cameras is the ability to hold them at waist level or place them close to the ground, but that’s difficult without an articulating screen. Despite this one snivel, the P7000 handled well, produced good quality images, and exhibited reasonable low light performance.

Panasonic announces the DMC-DF3

For those wondering what’s next in the Micro Four Thirds (MFT) format, wonder no longer. Earlier today Panasonic announced the LUMIX DMC-GF3.  According to Panasonic the GF3 is their smallest and lightest digital interchangeable lens camera with a built-in flash, has a body size comparable to a smartphone, and weighs 222g (body only).

“Panasonic’s LUMIX GF3 is extremely small and its newly-designed rounded body is quite attractive, which we expect to be popular among users wanting to step-up from a point-and-shoot,” said Doug Borbath, senior product manager, Imaging, Panasonic Canada Inc. “While the size and weight has been greatly reduced, Panasonic does not compromise what is at the core of every LUMIX camera, which is exceptional photo and video quality with an easy-to-use
interface.”

The specs certainly look impressive, I’m looking forward to testing one out!

Kodak PlaySport Vids

I’ve been raving about the Kodak PlaySport to friends and figured I should post a few sample videos.  Kodak was kind enough to lend me a PlaySport to review last summer, and my lovely wife gave me one for Christmas, so the fun will continue!

These are somewhat extreme samples — it’s difficult to shoot steady video while being pounded by ocean waves.  But it’s the fact that I could shoot this video at all that has me in love with the PlaySport.  Yes, there’s no optical zoom.  Yes, water and wind affect sound quality. (I don’t know how you’d avoid that in a pocket-size vidcam.)  But with this camera I can shoot HD video in locations and under conditions that would destroy most video cameras in seconds.  As a parent (and camera geek), that’s really cool.

720p video is on my YouTube channel.

Lens for Portraits

Johane asked,

“My camera is a Nikon SLR D40 and I was thinking of getting a new lens for it. I take a lot of pictures of my daughter and family. I want to get a bigger aperture to get that blurry background that looks so good in portrait pictures but seems like the lower I can go with my camera is 4.0 for some reason and sometimes the pictures turn out blurry itself if I don’t use the flash. I really like natural lighting in the pictures instead of using the flash. What do you recommend for a beginner like me?”

I’m a huge fan of the Nikon f2.8 lenses — the Nikkor 28-70 f/2.8 is on my camera most of the time, but that’s an expensive lens.

You should be able to throw the background out of focus at f4 — you’ll want to ensure that the distance between you and the subject is much smaller than the distance between your subject and the background.

Another alternative to consider is a prime lens.  Both the Nikon 50mm f/1.8 ($200) and f/1.4 ($400) lenses are great, sharp lenses that will act as the equivalent of a 75mm lens on your D40.  That’s a nice focal length for portrait work. It is a different kind of photography (no zoom), and it may take you a bit of time to get used to it, but you can get very nice results.

Welcome to MPS 2.0!

Regular visitors will notice that our site looks a bit different today.  While MovableType served me well for years, it simply hasn’t kept pace with the features, themes, and plug-ins available for WordPress.  Importing a few years worth of work isn’t without hiccups — if you notice any broken links, missing images, or misformatted posts please don’t hesitate to let me know.