Category Archives: Software

Automated file import in Lightroom

Leica, Lenses, Lightroom

6-bit coding comes into its own.

For an index of all Leica-related articles click here.

My earlier piece on 6-bit coding of Leica M-mount lenses concluded with the following codes for my four lenses:




Lightroom stores lens correction profiles, which correct for vignetting and distortion, for the first three. Strangely the Tele-Elmarit is missing.

While 6-bit coding corrects for edge color effects in-camera, there is still a need to apply lens corrections in LR or LRc for the best results. Ordinarily this is done manually, frame by frame, a very laborious approach. You have to check the lens maker and then choose the correction profile from a very long list, one frame at a time. Not good.

Here is how to have Lightroom do that automatically when the files are imported. Even if the imported files were made with more than one lens, the correct profile will be applied to each, along with chromatic aberration correction. Here’s the process.

Take a picture with each of your 6-bit coded lenses and import those into LR or LRc. Go into the Develop module on the first image and scroll down to the ‘Lens Corrections’ pane at right. Check the first two boxes as shown below. My examples are specific to the lenses I own. Choose as appropriate for yours.

21mm f/3.5 Voigtländer Color-Skopar Aspherical VM:




  • Click on ‘Make’ and choose ‘Voigtländer’
  • Click on ‘Model’ and choose ‘Voigtländer VM 21mm f/3.5 Color-Skopar Aspherical’ from the long list
  • The correct Adobe profile will appear in the box ‘Profile’
  • Click on the drop-down ‘Default’ above under Setup
  • Click on ‘Save New Lens Profile Defaults’
  • My 21mm Color-Skopar is 6-bit coded as a Leica 21mm f/2.8 Elmarit pre-ASPH, which is what Lightroom sees in the imported file
  • You have now instructed LR that every time it’s importing a file with the 6-bit code for the 21mm f/2.8 Elmarit-M to apply the profile for the 21mm f/3.5 Voigtländer VM Color-Skopar Aspherical lens.

The next time you import a file taken with the Voigtländer lens, the correct correction profile will be applied along with correction of chromatic aberrations.

Now repeat this process for files taken with your other lenses, selecting the appropriate Make and Model each time, then saving the result. Here are my settings for the other three lenses I own with 6-bit coding. Amazingly LRc has corrections for the two Canon lenses, each over 50 years old:

35mm f/2 Canon LTM:




50mm f/1.4 Canon LTM:




90mm f/2.8 Leitz Tele-Elmarit:




In the case of the Tele-Elmarit there is no lens profile stored in LRc so I chose the one for the 90mm f/2.8 Elmarit-M which is very similar. Both lenses are almost distortion free so you really do not have to check the ‘Enable Profile Corrections’ box, but you still want to correct for chromatic aberrations.

Now on your next import these profiles will be applied automatically. The next step is to correct the lens’ names in EXIF data using the tool I describe here which takes little time and allows the serious business of post-processing to commence.

A note on changing lens names:. For my three non-Leitz lenses I like to change the names from the Leica 6-bit coded names to the correct ones – 21mm Voigtländer and 35/50mm Canons. If I apply the EXIF tool to do this any Lens Correction changes made using the above method are erased, and the lens corrections have to be applied anew after the lens name change. To avoid this, instead of using the above method to apply lens corrections, create Develop presets for each lens with the appropriate corrections profile selected, saving them in the Develop modules Preset pane (click the ‘+’ sign’) thus:



Develop presets in LRc’s Develop module

Import the images in the usual way, run the EXIF tool to change lens’ names as required then in the Library module of LRc select the images to which you wish to apply Lens corrections using the Quick Develop panel at the right, thus:



Applying Lens Corrections using Quick Develop

For 100 images this takes a mere 2-3 seconds.

So the order of events is:

  • Import images from the SD/SDHC/SDXC card
  • For non-Leica lenses use the EXIF tool to change lens’ names
  • For non-Leica lenses apply the lens correction profile using the Quick Develop panel in the Library module of LRc after selecting images from each lens in turn using the Metadata panel in the Library module
  • You cannot select multiple images in LRc’s Develop module to apply lens corrections. This workaround lets you do so.
  • You are done

Sharpening the 35mm f/3.5 Summaron RF

Film, Leica, Lenses, Lightroom

Pretty easy.

For an index of all Leica-related articles click here.

The other day I was pixel peeping, at 100% magnification, images from the Leitz 35mm f/3.5 Summaron RF taken on Kodak Ektar 100 film. These would make 48″ x 72″ prints. Two things are obvious. There is minor red fringing chromatic aberration, easily removed with one click in the LRc Develop module. And while this image, taken at the lens’s sweet spot of f/8 will easily make a 13″ x 19″ print, start cropping and the definition is not quite there. Given that this is the least expensive Leitz branded 35mm lens you can buy (other than the poor earlier 35mm f/3.5 Elmar in LTM) and realizing it was first sold some 70 years ago, I’m not grumbling. But can we get a quart out of this pint pot?



1/250th, f/8, Kodak Ektar 100, Noritsu HQ scan.

Reading up on various sharpening applications I came across one named Gigapixel from Topaz labs, a long time maker of LR plug-ins. They offer 20 full trial attempts and place no watermark on the enhanced image. Nice. The cost is $100. The examples on their web site are startling, showing massive improvement in micro-contrast and detail. Using the above image I could not remotely get comparable improvement. Indeed, if there was any improvement I was very hard pressed to see it. Either Topaz Labs is using an especially ‘friendly’ image which supports their technology or this is pure snake oil. Either way, $100 saved.

Next I took a look at Affinity Photo 2, v.2.6.0, using their Develop Persona and Document->Resize Document, quadrupling the displayed pixel count, for a file which accordingly grew to four times the size:



The Document dialog in Affinity Photo 2.

Again, I could barely notice any difference compared with the original. Pass. Lots of disc space saved.

Next I tried LRc’s native controls. In the Develop module I went to Photo->Enhance where, for JPGs like this, there is only one active option named Super Resolution:



Super Resolution in LRc.

Well, the file size again quadrupled but the difference was again negligible.

Hmmm, none of this works.

Then I recalled that LRc has a simple Sharpen slider in the Develop module, one which I had not looked at in years as I was using good lenses with large digital sensors, no sharpening needed.



Optimal sharpen settings.

Now I really started seeing improvements. In the Develop module you can see ‘Before’ and ‘After’ images by hitting the ‘Y’ key, and here they are, at 100% magnification. Again, that translates to a 48″ x 72″ print:



100% pixel peeping, ‘Before’ (left) and ‘After’.
Click the image for a large original.

Look at the detail in the flag and in the fluting of the Grecian columns. A very significant improvement. Now I am not about to make prints that large but now I know I can crop images from this ancient optic and get great prints from the crops. Not half bad for an ancient bit of bottle!

Affinity Photo 2

Lightroom, Software

Hasta la vista, Photoshop.

Much as the many enhancements in Lightroom Classic, compared with my decade old Lightroom version 6, reduce the need for Photoshop, there are still those images which require the more granular processing capabilities of a Photoshop-like application. However, on upgrading my 15 year old Mac Pro to the latest Mac Mini M4, Photoshop CS5 refuses to boot. That’s sleazy Adobe for you.

I think I have found a solid replacement for Photoshop: Affinity Photo 2. No subscriptions, just a one-off payment of $34.99 with a full 7 day trial period, no watermarks. That’s Black Friday pricing. Some research discloses that Version 1 of Affinity Photo was continually upgraded over a seven year period at no cost to owners, so paying that sort of sum every few years is not exactly something to grumble about. Affinity only asks for money for major version upgrades.


Purchase options.

I needed traditional PS tools to edit this image and clean up the background people, plus add selective lens blur. LRc is just not sophisticated enough to do that. (The image was taken on a Panasonic GX7 micro 4/3 camera. One inherent issue with micro four thirds sensors is that the short focal length lenses which are standard with the sensor come with high depth of field. That’s physics, not Panasonic’s fault).
Here’s the before and after, the ‘after’ processed in Affinity Photo 2:


North Beach, San Francisco.

The Affinity interface is very much like PS. Adobe is asking $23 to $35 a month, meaning $276-$420 annually, which I think is exorbitant. And that’s on top of $120 annually for LRc. You pay for Affinity in a couple of months by comparison, and you own it. I set up LRc to allow round trips just like in the old PS days (Option-Command-E to export to Affinity – you set this up in the Lightroom Classic Preferences->External Editing panel) and then just a Save in Affinity will return a modified .tif file to LRc. The original RW2 file above is from Panny RAW in the GX7.

Given the similarity of the tools and commands to PS the learning curve is not all that bad, and layers are supported. Here’s the interface – I have tailored it to light gray finding the default black hard on the eyes:


The processed image and the Affinity interface.

The 7 day trial period delivers a fully functional app. I downloaded mine from the Apple App Store, the safe way to go.

There are many good tutorials available on You Tube. For a round trip from Lightroom Classic I find that the exported .tif file pops up in Affinity Photo 2 in some four seconds on my base spec Mac Mini M4. I have never seen a beach ball in Affinity which processes everything very quickly. Affinity is optimized for Apple Silicon. From their website:

“The new GPU represents an industry inflection point—we now have compute performance surpassing nearly all discrete GPU hardware, but retain the key benefits of unified memory. This required us to step back and think again about where performance bottlenecks might be, as it’s clear the ‘old rules’ no longer apply.

“The results of this work yield a benchmark score of around 30,000 for the M1 Max 32-core GPU, absolutely obliterating any other single GPU score we have ever measured. Our changes have also improved performance on the previous M1 chip, which is now roughly 10% faster in our benchmark in version 1.10.3.”

Apple says it recorded up to 5.6x faster combined vector and raster GPU performance in Affinity Photo with the 16-core M1 Pro, and up to 8.5x faster with the 32-core M1 Max.

So there. Mostly BS, but you get the idea.

One word of advice. One of the really well implemented enhancements in Lightroom Classic is the Denoise function. This does an excellent job of taking out chroma noise in files without destroying detail and it’s very processor heavy, typically taking 30 seconds on the speedy Mac Mini M4. (Chroma noise is very common in files which are produced by small sensors in micro fourth thirds cameras). Once you round-trip an image to Affinity (or Photoshop) it comes back as a .tif file which Denoise cannot currently handle. At this time the function only works with most stock RAW files and will not work with either Apple Pro RAW, .tif or .jpg formats. So if you are going to use Denoise along with a round trip to Affinity, do so before the round-trip, while you’re core file is still in RAW format.

While Photoshop has a deeper AI focus – Photoshop’s neural filters will allow you to change a dour face into a smiling one if that’s your thing – the key AI feature of PS is available in Affinity. This has been around in PS for over a decade and is named Content Aware Fill. In Affinity it is called the “Inpainting Brush Tool”, and can be found in the drop-down menu for the Blemish Removal Tool. It’s a useful tool for removing extraneous items from images and works every bit as well in Affinity as in Photoshop. Further, the Magic Lasso outlining tool, frequently used in conjunction with Content Aware Fill in Photoshop is identical in Affinity. Both do an excellent job of selecting an area of choice to which you wish to apply localized changes.

Affinity also offers applications for graphics designers and publishers. These are also attractively priced. I have no need for those, but if you are into those fields they’re probably worth checking out. All apps come in both Mac and Windows versions. Now if only Affinty would clone the excellent database and cataloging features of Lightroom I could ditch sleazy Adobe for once and for all.

Tethered shooting with Lightroom

Lightroom, Nikon bodies

Instant preview.

Tethered shooting refers to a connection – wired or wireless – between your camera and a display device, allowing near instant preview of images, typically in a studio environment, on a decently sized laptop or desktop display. ‘Chimping’ the small rear LCD on the camera pales by comparison.

In this way you can instantly assess composition, lighting, exposure and focus and, most importantly, if you have a client present, you can give him faster-than-Polaroid previews of the session’s photographs.

Before you start spending money on cables I suggest you check that your processing software on your computer supports the camera of your choice. Not all software supports all cameras and you can bet that older versions of software will not support many of the latest camera models. Of all manufacturers you can be assured that Adobe will have been first on the planned obsolescence wagon, forcing you to upgrade your software at considerable cost.

My gear is relatively dated – Lightroom 6.4, a Nikon D800 and a 2015 MacBook Air, the latter no speed demon by modern standards. I use a wired USB2 connection between camera and laptop. Wireless solutions are available for those with more money than sense. Mine involved diving into the cable box in the garage and finding the right cable, free.

Plug the cable into the laptop and camera, turn the latter on, and Lightroom requires these steps:




Enabling tethered capture in Lightroom.

Once both ends of the cable are plugged in the Nikon D800 no longer shows a frame count on the top LCD:


The frame count display in tethered capture mode.

If you do not see ‘PC’ in the frame count location unplug the cable from the computer and reconnect it. As a further check, a display panel will pop up in Lightroom and will show the model of the connected camera if the connection has been properly made.

‘PC’ indicates that the storage card in the camera is not being used to store images, which are being sent directly to the connected computer.

One word of caution. The camera socket for the connecting cable in the D800, if using a wired solution, uses a USB2/3 Micro USB design. This is unarguably the worst connector ever made, being unidirectional, fragile, small, and easily damaged. What’s worse the cable is subjected to tugging and stress in use, inviting disconnection as a minimum, damage at worst. So, instead of a costly solution what is needed is a simple twist tie, attached between the left strap lug or key ring and the cable, acting as a simple and free strain relief thus:


A tether for the tether. Highly recommended. The white paint mark has been added to indicate orientation when plugging the connector into the camera.

Acknowledging the awfulness of the Micro USB socket and connector, Nikon did make a strain relief clip but mine did not come with the secondhand body I bought. They crop up on eBay from time to time for very little; mine ran me $9.45:


The Nikon USB cable clip.

Here it is installed. Be aware that the MicroUSB connector comes in both USB2 (narrow) and USB3 (broader – two connectors in one) versions. The casing for the USB3 version on the cables in my box will not pass the opening in the Nikon USB Cable Clip (you could always try sanding it down if that is all you have), while the narrower USB2 version passes through just fine. There’s a locating peg and a couple of shark teeth to hold the whole thing in place on the camera and the cable itself is secured with a locking foldover bar. Indeed, as the image below shows there’s an unused adjacent peg hole which suggests there may be a wider USB3 version of this clip. I do not know. It works well:


The Nikon D800 USB Cable CLip installed on my camera.

I have found no difference in transfer speed for the USB2 vs. the USB3 cable, both allowing LR to render the image on the laptop’s display in 5 seconds after the shutter button is depressed. using my ancient 11″ MacBook Air and the 14-bit RAW file format. That’s a whole lot faster than a Polaroid! Edwin Land would be proud.

My strong inclination is to rip off that awful, intrusive rubber cover for the connector area, but I have not yet summoned the courage to do that.

I switch Lightroom to full screen display (hit ‘F’ on the keyboard) and the latest image is the one displayed in maximum size. Hit ‘G’ for the familiar LR grid display. The advantage of the full screen display is that it’s far easier to judge the image in full size.

And that’s about it. Once the session is completed the LR catalog can be exported to your desktop of choice for post-processing in the usual way. I simply network my desktop Mac Pro with the MacBook Air and transfer the catalog into the Lightroom software on the Mac Pro. You use Windows? You are on your own.