Cleaning the Clutter: How to Get Your Lightroom Catalog in Tiptop Shape

Clean and organized. Some people are and some people are, well, less so. When it comes to Adobe Lightroom however, we all benefit from a clean, well-organized catalog. In fact, cleaning up Lightroom is one of the most common topics we’re asked about on our workshops and in our one-on-one Tutoring sessions.

In this post, I will share three tips on decluttering this very important part of our digital lives.

Tip 1: Use Reject Flags to Remove Unwanted Images

Get rid of those files you’ll never use and do it quickly with Reject flags. Lightroom has the capacity to keep track of thousands and thousands of images. In fact, I’ve not heard of an upper usable limit, but I have noticed that when my catalog neared 50,000 images it started to slow down a bit. Cleaning out the dead weight couldn’t hurt, right?

Here’s a method that will help you sail through your images and quickly mark them for deletion:

  1. Open Lightroom and enter the Library Module.

  2. From the menu choose Photo > Auto Advance (Auto Advance is engaged when there is a check mark next to it). You can also do this by engaging your Caps Lock key.

  3. Find a folder that contains images you would like to cull. Click on the first image and then press your space bar to magnify the image to fill the screen (this puts you into Loupe view).

  4. Now, if you want to keep this image, simply hit the right arrow on the keyboard to advance to the next image. To mark the image as rejected, you can go up to the Menu and choose Photo >  Set Flag > Rejected (Figure 1), or press X. This will set the flag on the image as rejected, and because you have Auto Advance enabled, Lightroom will automatically advance to the next image!

Figure 1. Rejecting an image.

Once you are finished working through that folder, it’s time to actually delete the images:

  1. Return to the Grid mode by pressing G.

  2. The keyboard combination to Delete Rejected Photos on a Mac is Command + Delete, and on a PC is Control + Backspace. Click whichever is pertinent.

  3. Lightroom will ask you to confirm (Figure 2). Click Delete from Disc to permanently delete the images from your computer as well to remove them from your Lightroom Catalog.

Figure 2. Deleting flagged images from the catalog and disk.

Deleting images one at a time takes a lot of time. By using Reject flags and then the Delete Rejected Photos feature, you’ll save a ton of time, thus freeing up more time for you to sift through more images.

Further Tips

  • You can do this whole process of adding Reject flags to the images while working in the Grid view as well.

  • If you accidentally flag an image as rejected, simply click on the image again and press U to unflag it.

  • Conversely, pressing P will flag an image as simply “flagged.” Many of us think of this as a Pick flag. This can be an additional marker on your image along with stars and color labels.

Tip 2: Optimize Your Catalog

Your Lightroom catalog is a database. Databases, like your teeth, need maintenance and occasional care. If uncared for, like your teeth, they will no longer perform the job we ask of them without being painful to use.

Begin by backing up your catalog on a regular basis. This could be once per week or once every two weeks or so. Remember this backs up only your Lightroom Catalog (the database of the location of your images and all the metadata and edits you’ve performed on them). This does not back up your actual photographs. To ensure your images are backed up, you must take the separate step of backing up the drive(s) where your images are stored.

Here are the steps to determine when your catalog will be automatically backed up:

  1. From the menu on a Mac, choose Lightroom Classic > Catalog Settings, or on a PC choose Edit > Catalog Settings.

  2. Click on the General tab.

  3. In the Backup section, choose your frequency preference in the dropdown menu (Figure 3). I choose “Every time Lightroom exits.” This setting gives me the option to back up or skip each time I close the program.

Figure 3. Setting backup preferences.

When I quit Lightroom, I see the dialog in Figure 4, which tells me the backup preference that I set earlier. Then it’s time to make some additional choices. Notice that I check both boxes outlined in red. Test Integrity will ensure my catalog is healthy, and Optimize Catalog will keep my catalog lean. This way, by taking the time to back up my catalog, I’m simultaneously repairing it and making it run more efficiently.

Figure 4. Backup options.

Further Tips

  • Both the Test Integrity and the Optimize options are sticky, which means once you check the boxes they will still be checked every time you back up, until you uncheck them. (And vice versa.) So if you check the boxes today and then back up, next week when you go to back up again, the boxes will already be checked for you. Awesome, right?

  • There is no need to have a zillion backups of your catalog. I recommend periodically going to the Backups folder and deleting older backups. I typically keep one or two. The Backups folder can be found by navigating to the General tab of Catalog Settings (directions above) and clicking the Show button (Figure 5). This will take you to the folder on your hard drive where your backups are stored. Enter the folder and delete any subfolders for older backups that you no longer want to keep.

Figure 5. Navigating to the location of your backups.

Tip 3: Organize by Using Smart Collections

I know, I know, the topic of organizing your Lightroom catalog could easily fill a small book. (Or it could even fill a 5.5-hour video dedicated to the Library and Develop modules 😎). For now, I’d like to show you just one of the myriad tools you can use to ensure that your images are always easy to find. That tool is Smart Collections.

The more information you put into an image, the easier it is to find. For example, all imported image files already contain EXIF data from your camera that lists aperture, shutter speed, focal length, ISO, lens model, etc. This embedded information makes it easy to search for, say, all images shot with a Nikon Z 6 set at ISO 6400. You could further narrow the results by searching for all images shot with a Nikon Z 6 set at ISO 6400 using a focal length of 14mm.

That is incredibly powerful. But EXIF is only one part of an image’s metadata. The color labels, stars and flags we add to help us organize our catalogs are also metadata. Develop settings we apply—such as Exposure, White Balance and Dehaze—are also recorded as metadata. The keywords we apply to images? Metadata.

So we start off with searchable metadata in the form of EXIF data from our camera. But we can also apply metadata after the images have been imported.

Again: The more information (data) we apply to an image, the easier it is to find. How so? Smart collections.

Think of a smart collection as a really smart, saved search. In the above example we wanted to search for all images shot with a Nikon Z 6 set at ISO 6400 using a focal length of 14mm. Great. We could do that with Library Filter. But if you did this through a smart collection, Lightroom would immediately find those images and gather them up in one location for you to view at any time. It doesn’t move your images. It just creates another “location” to view the images that meet those criteria, no matter how many different folders the images live in.

The smart collection doesn’t stop there, though. It continually monitors your whole catalog and updates the collection whenever a new image meets those same criteria (Nikon Z 6, ISO 6400, 14mm focal length). You don’t need to anything. The next time you import an image you shot with a Z 6 at ISO 6400 and 14mm, that image will automatically appear in that smart collection.

Creating a Smart Collection

The Collections panel sits just below your Folders panel in Lightroom’s Library module (Figure 6).

Figure 6. Creating a smart collection.

Here’s how to create a smart collection:

  1. Click on the plus sign in the upper right corner of the Smart Collection panel to reveal the actions shown in Figure 7.

  2. Choose Create Smart Collection. You will see the dialog that allows you to set the criteria the smart collection will search for (Figure 8).

  3. Start at the top by giving your new smart collection a name. (Ignore the Inside a Collection Set option for now.)

  4. Keep Match set to “all.”

  5. The large area on the bottom of the dialog contains the rules you will set up for the smart collection. Notice that by default the first rule is sets Rating as “is greater than or equal to.” Clicking on one of the dots to the right sets the star rating it will search for. So if you click the fourth dot, this smart collection will collect all of the images in your Library that are marked 4 stars or above.

  6. Click Create and you’ve just made your first smart collection!

Figure 7. Collection panel actions.

Figure 8. Creating a smart collection.

Putting Smart Collections to Practical Use

Now let’s make a smart collection that will help keep your catalog organized.

  1. Click the plus sign to create a new smart collection.

  2. Name this collection “Without Keywords.”

  3. Click the arrows next to Rating and instead choose Other Metadata > Keywords (Figure 9).

  4. Click the arrows next to “is greater or equal” and instead choose “are empty” (Figure 10).

  5. Click create.

Figure 9. Choosing a criterion for a smart collection.

Figure 10. Refining the options for a criterion.

Now you have a smart collection that shows every image that needs to have keywords applied. Click on any image, apply a keyword, and that image will automatically disappear from the smart collection. Why? Because now that the image has a keyword, it no longer fits the criterion.

Creating this particular smart collection is a great way to begin organizing your entire Library, because it can be very difficult to find images that lack keywords!

Smart collections are extremely powerful. As you can see from the screenshot in Figure 9 above, there are an enormous amount of criteria you can use to build your smart collections. And you are not limited to just one choice. By clicking on the plus sign to the right of your first rule, you can continue to add additional rules. As long Match is set to “all,” an image would need to meet all of the criteria to show up in the smart collection. Figure 11 shows a screenshot of the smart collection we talked about earlier (Nikon Z 6, ISO 6400, 14mm focal length).

Figure 11. A smart collection that collates all images shot with a Nikon Z 6 at ISO 6400 with a focal length of 14mm.

Spend some time thinking about how you want to find and organize your Library. Poke around in the choices for ideas for new collections. Before you know it you’ll be creating smart collections that will keep your Library perfectly organized!

Some Sample Smart Collections

Here are a few ideas to get you started:

Make a collection of your favorite photos that are marked with 5 stars.

Make a collection of your favorite photos that are marked with 5 stars.

Make a collection that shows all of your images that don’t have stars.

How about one to show your favorite family photos?

Or your favorite vacation photos?

Further Tips

  • Organize your smart collections by creating collection sets. Think of these as folders to store your individual collections in.

  • In the Collections panel, collections appear in alphanumeric order from top to bottom with the collection sets coming first. If you want to have something appear at the top, use a space or underscore before the title to force Lightroom to move it up there.

  • You can edit a smart collection anytime by double-clicking on the gear icon that appears on your smart collection icon.

Wrapping Up

There you go, three tips to help you clean your Lightroom catalog! It might take some time and dedication to get this done, but the investment will pay off later when you’ll be running a lean, efficient database of images.

Do you have any of your own tips for how you like to clean up your Lightroom catalog? Share them in the comments below or on our Facebook page!

Want some help getting your Lightroom catalog organized? National Parks at Night offers one-on-one tutoring, so we can work with you remotely! See our Tutoring page for more information.

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

How I Got the Shot: Ubehebe Crater at Death Valley National Park

Ubehebe Crater, Death Valley National Park. Nikon D5 with a Nikon 14-24mm f/2.8 lens at 24mm. 11 stitched frames photographed at 10 seconds, f/5.6, ISO 2500.

The Location

Ubehebe Crater could be the most underrated natural feature in Death Valley National Park. Lots of folks know about Badwater Basin, where hexagonal formations rise from the salt flats; and Mesquite Flat Dunes, where sand rises and dips in patterns that lead toward desert-mountain backgrounds; and Racetrack Playa, where rocks appear to sail across the dried, cracked mud.

Figure 1. Look out!

All those things are well-renowned, and they should be. But I’m continually bemused at how few people know about Ubehebe, a half-mile-wide, 600-foot-deep volcanic crater. Why? Because it’s amazing!

Standing at the edge (carefully, Figure 1) reveals a beautiful, mesmerizing landscape. Standing at the bottom is awe-inspiring, as you look up and marvel at the power of nature to blast such a massive amount of earth over an area of 6 square miles.

It’s also a fun place to hike, as immediately to the south sit a few more smaller craters. You can hike along the rims or to the bottoms and explore the wonders of geology and wilderness.

However, one thing that Ubehebe Crater is not? Easy to photograph. The main attraction is the main crater, and it’s a pretty massive subject.

The first time I photographed it, in 2017 (Figure 2), I used a Nikon 14-24mm lens at its widest zoom, which was OK, but I could barely fit the whole crater in the frame. Moreover, at that wide a focal length you really need foreground material to help create a sense of depth in the composition, and the crater rim offers very little of that.

In 2018 I got to try shooting the crater with the rectilinear Irix 11mm lens (Figure 3). That allowed me to get the whole crater into a 35mm frame, and some wild clouds helped add a special dynamic to the scene, but I still wasn’t thrilled with the photo. I visited again in 2019, and didn’t even bother shooting. I was completely out of ideas for how to make the scene work in a photograph.

Figure 2. Nikon D3s with a Nikon 14-24mm f/2.8 lens. 1/1250, f/8, ISO 400.

Figure 3. Nikon D5 with an Irix 11mm f/4 lens. Three blended exposures of 1/640, 1/1250 and 1/2500, at f/8, ISO 100.

Another challenge to photographing the crater is that its sharp angle of decline prevents sunlight from fully illuminating the interior unless the sun is relatively high in the sky. So on a bright day, you need to choose between harsh light at midday or big shadows earlier or later. You might think that overcast conditions are the answer, but I’ve tried that too. Flat light wipes out all depth and diminishes the warm-toned hues on the eastern flank that are such a crucial part of the crater’s aesthetics.

Honestly, as much as I love Ubehebe Crater, by early 2019 I’d just about given up trying to make a photograph of it that I like.

The Aha Moment

Then in February 2020 I was back at Death Valley for National Parks at Night’s very first Alumni Excursion, a 5-night, 6-day photography jaunt through this amazing place. Toward the end of the workshop, we made a day and night trip to Racetrack Playa, and on the way we stopped at Ubehebe Crater.

I was leading this workshop with Lance Keimig and Matt Hill, and Matt had never been to the crater before. As most people do, he loved it. And he said, “On the way back tonight it’d be awesome to shoot a moonlit pano of this.”

Aha! That was the answer. I knew it right away. I had to get this image.

So, we scouted. Matt went off to explore his idea for the photograph, and I went off to explore mine. I hiked along the northern rim to find an angle where I could get a good vantage point over the crater with the snowy peaks of Hunter Mountain in the background. I made a quick auto-pano using my cell phone, just to make sure the composition would work the way I wanted (Figure 4). Then I checked PhotoPills to confirm a suspicion: That evening, I could shoot the full moon drifting through background of the scene. That was my shot. It was scouted and ready to be executed hours later, in the dark of the California desert.

Figure 4. A daylight test pano from my scouted spot, using my Google Pixel 3a.

The Shoot

Unfortunately, the Racetrack is hard to leave, and we stayed late. By the time we returned to Ubehebe, the moon had drifted way out of the scene. But it was still high, and delicately sidelighting the crater, and that was beautiful.

The hour was late—well after midnight on what had been a long day at the end of an adventure-filled week—and I was exhausted. But I was also determined. I was getting this image.

With my eyes half closed, I carried my tripod, Nikon D5 and two lenses one-quarter mile to my spot. I set up, tested each lens, and decided the Nikon 14-24mm (zoomed all the way to 24mm) was my best option for creating the image I had in my mind.

The first key to shooting a pano is to level the entire setup. I own a Gitzo GSLVLS Leveling head, but unfortunately didn’t have it with me. So I needed to level manually. That required three steps:

  1. leveling my tripod legs by using the bubble level on the top as a guide (Figure 5, left, bottom circle)

  2. leveling my ball head by using its bubble level the same as above (Figure 5, left, top circle)

  3. using the in-camera Virtual Horizon to ensure that all the leveling was correct by panning the setup left to right and back again and watching to see that the camera stayed level across the scene (Figure 5, right)

Figure 5. Perfectly level in every way.

I fired off a couple of test photos to nail down an exposure. The NPF Rule told me I could shoot as long as 10 seconds before the stars began to trail. That was easy under moonlight, as I could achieve that shutter speed at ISO 640 with the lens wide open. However, I unconditionally trust the ISOs of the D5, so I pushed to ISO 2500, which allowed me to close the aperture to f/5.6 and really take advantage of the best sharpness levels of the lens.

I was finally ready to shoot. I started with the camera panned far to the left, way past where I needed it for the final composition, to give myself flexibility to crop in later. I shot the first frame. Using the engraved degree markings on the bottom of my Really Right Stuff BH-55 ball head, I rotated the camera 15 degrees to the right, then shot again. (That’s really more overlap than I needed, but I always prefer to have more than less.) I repeated this nine times, until I was shooting far right of my composition, for a total of 11 frames.

The Post-Production

The only change I wanted to make before assembling the pano was to apply lens corrections. This is best practice when making panos (particularly at night), so that any natural vignetting of the lens is removed. Otherwise, the color and brightness of the sky can fluctuate across the final panorama.

In Lightroom, I selected all 11 images in Grid view (Figure 6), then clicked to the Develop module. At the bottom right, I toggled the switch next to the Sync button to enable Auto Sync (Figure 7). Then I opened the Lens Corrections panel, then checked the boxes to turn on Remove Chromatic Aberration and Enable Profile Corrections. Then I went back to the bottom right and turned off Auto Sync.

Figure 6.

Figure 7.

To start the stitch, with the 11 frames still selected, in the menu I chose Photo > Photo Merge > Merge to Panorama. In the resulting dialog (Figure 8), I selected Spherical for the Projection, because it created the look I had in mind more closely than Cylindrical. I choose not to use Boundary Warp, Fill Edges, Auto Crop or Auto Settings, because I prefer to perform those tasks manually and deliberately. I did, however, click on Create Stack, because I like my multi-frame images to be neatly organized in the Lightroom catalog.

Figure 8.

I clicked Merge, and Lightroom did a great job stitching the 11 frames.

I switched to the Basic panel to apply some basic edits to Whites and Clarity, to make the overall image “pop” a little, then I manually made my crop to hone in on the elements I felt were most important to the composition (Figure 9).

Figure 9.

I felt the sky and stars needed even more punch, so I used the Graduated Filter tool to create a mask over the top half of the frame. I wanted the changes to affect only the sky, and not the mountains, so I enabled Range Mask and chose Color. Using the Color Range Selector (the eyedropper) to sample the blue sky, then used the Amount slider to tweak the selection. When I was happy with my mask (Figure 10), I made minor adjustments to Contrast, Highlights, Shadows, Blacks, Texture, Clarity and Sharpness—all to add just a little extra “oomph” to the sky, to make it appear in the image how it looked to me in person.

Figure 10.

Because the moon was off camera-right, the right side of the sky was noticeably brighter. To tone that down a bit, I created another mask in the same way as above, but instead of the top of the frame, I targeted the right (Figure 11). I then brought up Dehaze a bit to increase the local contrast of that portion of the frame, making it appear a little darker, and massaged the mask a bit to ensure a transition that looks natural.

Figure 11.

Wrapping Up

The final image. Ubehebe Crater, Death Valley National Park. Nikon D5 with a Nikon 14-24mm lens at 24mm. 11 stitched frames photographed at 10 seconds, f/5.6, ISO 2500.

That’s how I finally, after four tries, made an image of Ubehebe Crater that I’m happy with.

The 3-year process from first visit to final image reinforced three ideas:

  1. Revisiting locations almost always leads to making better photographs.

  2. Photographing at night almost always allows for a unique way of photographing a scene.

  3. Creative breakthroughs can come from listening to what others think. I love teamwork and collaboration! (Thank you, Matt!)

Am I now done with Ubehebe? No way! On my hike back to the car that night, I thought of another idea, and I’m confident it will work. Stay tuned. Some night I’ll shoot that idea too.

Chris Nicholson is a partner and workshop leader with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT