Table of Contents for

The Adobe Photoshop Lightroom Classic CC Book, Second Edition

2 Importing photos

A guide to the various ways you can bring your photos into Lightroom

Photograph: © 2011 Rob Cadman

Canon EOS 550D | 22mm | 3200 ISO | f9 @ 1/60th

Lightroom is essentially a catalog management program and raw image processor combined into one. It is important, though, to appreciate how Lightroom differs from browser programs such as Bridge, which you simply point at a folder to inspect the contents. The browser method is best suited for those times when you need the freedom to search everything that’s on your computer. The downside of this approach is that you first have to know where to look in order to find what you are searching for. Plus, you will be shown all the files that are contained in each folder. If there are also lots of non-image files to sort through, this can make image browsing quite tricky.

Lightroom is different. This is because you must import your photos first and, in doing so, make a conscious decision as to which photos you want to have added to the catalog. As you will come to learn in this chapter, the Lightroom import procedure provides an adaptable import workflow, one that can be streamlined through the use of Import presets, as well as offers the ability to import files directly from the camera using a tethered shooting setup.

At the top is the import workflow bar. This displays a summary of the current configured import workflow, showing from left to right the import source, the import method, and the destination folder. You mainly use this to select the import method: Copy as DNG, Copy, Move, or Add. Below the workflow bar, you will see, on the left, the Source panel, which is used to select the source device (or folder) to import from. In the center is the content area. This displays thumbnails of the images that are to be imported and offers options to segment the thumbnail display into different groupings. For example, you can choose to display photos by showing all photos, show new photos only, or segment by destination folders (how the photos will finally be imported, according to the Destination panel settings). You can use this central section to select all or select individual photos, as well as see Loupe view previews of the files you are about to import.

The panels on the right are used to manage the photos as they are imported. In the File Handling panel at the top, you decide how to render the initial previews, whether to import suspected duplicates, and where (if at all) to create secondary backups. Remember, there can be only one physical copy of each image in any particular folder location. It is possible to import more than one copy of a file to the catalog by disabling the Don’t Import Suspected Duplicates option, but it is not recommended that you do so. The File Renaming panel can be used to apply a file-renaming scheme. The Apply During Import panel can be used to apply a Develop preset and/or a metadata template setting to the files as they are imported; plus, you can enter keywords to apply on import here. Then there is the Destination panel, which lets you choose the folder the files should be imported to and how they should be organized within that destination folder. At the bottom, notice the Import Presets menu. Here you can save Import dialog settings as custom presets. This can make it easy for you to select favorite import settings without having to reconfigure everything in the Import dialog each time you want to import files into Lightroom.

If you click the button circled at the bottom of Figure 2.1, you can switch to the compact view shown in Figure 2.2. This provides an abbreviated summary of the import settings. This simpler interface is ideal if you have already saved a number of import presets. When working in this mode, all you need to do is to select an appropriate import preset.

The Copy option makes a straightforward copy of all the images that are on the memory card and stores them in the designated destination folder or subfolder. The Copy option can be used to make copies of the files to the chosen destination folder location and add them to the catalog. But remember, you don’t want to end up creating more duplicate versions of master images than you need to, so “copying” files is mainly used whenever you need to copy files from a camera card or a DVD.

If your intention is to import photographs from existing folders on your computer and add them to the Lightroom catalog, the two options you want to focus on are Move and Add. The Move option copies files from the selected source folder, copies them to the destination folder, and then deletes the folder and files from the original location. This might be a solution for importing photos into Lightroom, placing them in the exact folder location you want them to be in, but not end up with yet more duplicate images. The downsides are that copying files still takes time and potentially is risky should Lightroom crash mid-move. With an Add import, you are telling Lightroom to “reference” the files where they are currently located on the computer. When you add files at the import stage, it takes a minimal amount of time to complete the import process.

You also have to bear in mind that Lightroom does not place any real restrictions as to how or where the images are stored—they can be kept anywhere you like. Also, Windows users can import iPhone Live photos for which both the image and the video are imported.

To summarize, I suggest you use Copy or Copy as DNG for all card imports and use Add or Move for importing files that are already on the computer system.

So should you keep the original raws? It all depends on whether you feel comfortable discarding the originals and keeping just the DNGs. Some proprietary software, such as Canon DPP, is able to recognize and process dust spots from the sensor using a method that relies on reading private XMP metadata information that is stored in the proprietary raw file. If you delete the original CR2 files, you won’t be able to process the DNG versions in DPP unless you chose to embed the original raw file data (because this will allow you to extract the raw originals).

The options in the DNG Creation section are the same as those in the Lightroom File Handling DNG Import preferences (see pages 710 to 714 for advice on which options to select here). If you apply lossy compression when converting to DNG, you can preserve the full pixel resolution but at a reduced file size. Lossy DNGs are almost like normal DNGs, except the raw data is 8 bit and permanently demosaiced, but kept in a linear form (see page 714). You can choose whether to embed the original raw file in the DNG image or not. This does give you the flexibility of reverting to the original raw file format state, but the downside is that you will end up with DNG files that are at least twice the size of the original. Personally, I have no trouble converting everything I shoot to DNG and never bother to embed the original raw data. I do, however, sometimes keep backup copies of the original raw files as an extra insurance policy, but in practice I’ve never had cause to use these—or at least not yet! Mostly, I would say it is safe to leave this option unchecked: Convert everything to DNG, and delete the raw originals as you do so.

2. If the Lightroom Preferences are configured as shown in Figure 2.4, Lightroom will automatically open the Import Photos dialog. How the Import Photos dialog is displayed when opened will depend on whether you last used the compact interface (shown above) or had checked the expand dialog button (circled) to reveal the full range of options in the expanded mode view. I used the compact interface here and, in this example, the EOS_DIGITAL camera card appeared in the From section. In the workflow section, you can choose Copy as DNG, Copy, Move, or Add. For card imports, the choice boils down to Copy as DNG or Copy.

3. The To section initially points to your computer’s Pictures folder. This is a sensible default, but if you wish, you can select an alternative destination folder.

4. For camera card imports, you need to choose whether to import your images into separate, dated folders with the “By date” option or all into the same folder with the “Into one folder” option. There is a lot to be said for the “By date” option: Your files are imported and placed in dated folders, and this provides a neatly ordered way to manage your camera card imports. However, to make this work effectively, you’ll need to tag the imported photos with keywords; otherwise, you’ll experience difficulties later when tracking down specific photos. Importing photos into one folder (and naming the folder appropriately) will allow you to search for photos by the Folders panel name as well as by keywords. The keywording can be done at the import stage or after, working in the Library module.

5. If you select the “Into one folder” option, then you will most likely want to check the Into Subfolder box (as shown here) and type in a name for the subfolder you wish to create in the destination location. To keep things easy (and repeatable), I suggest that every time you import photos from a card, you do so to a standard import folder. I usually name this “Imported photos.”

6. If you already have a prepared IPTC metadata template, it is a good idea to select that template from the Metadata Preset menu list (circled).

7. After you configure all these settings, you can go to the Import Preset menu and save the import settings as a new preset for future use. When you are done, just click the Import button to commence the camera card import. Lightroom then imports the files from the card to the Lightroom catalog. As the images are imported, the thumbnails start to appear one by one in the Library module view. Meanwhile, the status indicator in the top-left corner shows the import progress. Often, there may be two or more processes taking place at once, and the progress bars give you a visual indication of how the import process is progressing. If more than one operation is taking place at a time, you will see the grouped status indicator (seen on the right). If you click the identity plate area, you can view the Activity Center, which is described in the following section.

8. Normally, you shouldn’t encounter any problems when importing files from a camera card. But if you choose the Copy Photos as DNG option, you will be alerted to any corruptions in the files as they are imported. After you have successfully imported all the images to the computer, you can safely eject the camera card and prepare it for reuse. However, at this stage, I usually prefer to completely delete all the files on the card before removing it from the computer. This way, when you reinsert the card in the camera, you won’t be distracted by the fact that there are still images left on it. For example, when I carry out a studio shoot, I find it helps to establish a routine in which the files are deleted immediately via the computer before ejecting. I find that on a busy session, it helps to avoid confusion if you clear the cards as soon as the files have been imported. Otherwise, you may pick up a card, put it back in the camera, and not be sure if you have imported its files already or not. I would still advise you to reformat the card using the camera formatting option before capturing more images. This good housekeeping practice can help reduce the risk of file corruption as new capture files are written to the card.

The Activity Center also lists various background operations, such as copying and importing photos (Figure 2.8). By default, the only background task that now shows up in the identity plate area is the Sync progress. The other background tasks appear in the Activity Center. If you look closely, you’ll see a dark gray progress bar for each individual activity. In Figure 2.9, Lightroom has finished importing photos, but now lists the additional processes in progress, such as fetching initial previews, building a local index of the current import, and (in this example) converting the imported files to DNG. The Activity Center also shows the current progress for other activities such as generating a Photo Merge. You can cancel any of these activities by clicking the X button (such as the one circled in Figure 2.9).

For all other types of image imports from a hard drive into the Lightroom catalog (using Copy as DNG, Copy, Move, or Add), you can select a folder listed in the Files section. Lightroom will list all connected and available directory volumes regardless of whether they contain image or video files or not.

The volume headers in the Source panel can be expanded for you to locate the folders you wish to import from, just as you would in a regular file browser program (Figure 2.11). It is also possible to select multiple folders from the Source panel. Use the key to select a contiguous list of folders, or -click (Mac) or -click (PC) to make a discontiguous selection. When you’re selecting folders to import from in the Source panel, they don’t all have to be on the same drive. You can import from multiple folders that are on different drives. The procedure here is to click the volume header you want to import from to expand it and view the root-level folders. From there, you can click the arrows to the left of each folder to expand the folder hierarchy and reveal the subfolder contents (Figure 2.11).

When you have folders nested several folders deep inside other folders, you may find it helps if you double-click on a selected folder to reveal a more compact hierarchy, such as the one shown in Figure 2.12. If you compare this with Figure 2.11, you’ll notice how the same folder is selected, but in the Figure 2.12 example, only the folders belonging to that specific folder hierarchy are displayed and all the other folders are hidden. Basically, if you double-click a folder, the Source panel folder hierarchy changes to reveal just those folders that belong to that parent folder’s directory. This is known as a docked folder view. Double-click the parent folder to return to the fuller hierarchy view of parent folders. The docked method can at first seem confusing and the folders appear to dance around unexpectedly. Once you spend a little time familiarizing yourself with the double-click method of navigation, the shuffling you see won’t be so distracting.

When you click to select a folder listed in the Source panel, the files contained in that folder will appear in the main content area and, depending on whether the Include Subfolders option is checked, all subfolders will be included as well.

In the Grid view, each cell has a check box next to it. You can use the Check All and Uncheck All buttons in the Toolbar (Figure 2.13) to select or deselect the photos in the current Grid view that you wish to import. With all the cells deselected, you can make a custom cell selection. Use a -click to make contiguous selections of photos, or use a -click (Mac) or -click (PC) to make a discontiguous selection, and then click any one of the check boxes to select or deselect all the photos that are in that selection. Furthermore, in both the Grid and Loupe views, you can use the “pick” keyboard shortcut () to add a photo to an import selection and use the “unpick” keyboard shortcut (either or ) to remove a photo and use to toggle between selecting and unselecting. If you hold down the key as you apply these key shortcuts, you can auto advance to the next photo. Lastly, you can use the to toggle adding or removing a photo from an import selection. You will notice a Sort menu in the Grid view Toolbar (Figure 2.13). This lets you sort files by Capture Time, Checked State, or File Name, and can play a useful role in helping you determine which files you wish to select when making an import. You can also sort by File and Media Type, which allows you to quickly select specific file types and remove certain types of files at the import stage.

The Lightroom Import dialog can show only supported image and video files. If no files can be imported, you’ll see a “No photos found” message. If you select a folder to import from in the Source panel and Include Subfolders happens to be unchecked, you may see an Include Subfolders button in the middle of the content area (Figure 2.15). Clicking this displays the subfolder contents.

The Grid view cells provide some visual clues regarding import status. You will notice that some of the thumbnails are grayed out. This is because the Don’t Import Suspected Duplicates option in the File Handling section was checked and these are duplicate photos that won’t be imported. Files that are unselected are displayed with a dark vignette, meaning they won’t be included in the import.

In the Figure 2.17 example, the photos are ready to import by Destination Folders. Because the Destination panel has Organize set to “By date” (circled in blue), the photos are separated into dated segments in the content area. You will notice the date destination folders appear in italics in the Destination panel. Basically, this tells you that these folders have not been created yet and also tells you how many files will be placed in these new folders. If the card contains multiple folders, there will be an option to import photos “By original folders.” This option is useful when your camera is set to limit the number of files in any given folder (e.g., 100 photos per folder).

2. Once imported, the Loupe previews retain the embedded previews and do not update, thereby making the import process faster.

3. After you select an image or apply any image adjustments to the photo, the embedded preview is replaced by a Lightroom-generated preview. If “Replace embedded previews with Standard previews during idle time” is selected in the General preferences, all the previews will eventually become updated without your having to select each photo in turn.

The High Efficiency Image Format (HEIF) was recently adopted by Apple for iPhone photos captured using devices updated to iOS11. HEIC is the name Apple have given this new format, which is actually more of a container for photos and audio. The chief advantage is that HEIC offers better file compression and can therefore store image files more efficiently than JPEG. The new format also supports 16-bit, which for some captures may result in less banding.

To ensure your layered Photoshop format (PSD) files are recognized in Lightroom, the PSD files must be saved from Photoshop with the Maximize PSD and PSB File Compatibility option enabled in the Photoshop File Handling preferences (Figure 2.20) before you save layered PSD files via Photoshop. If you ever find you are unable to import PSD files into Lightroom, try switching on this option in Photoshop and resave the PSDs overwriting the originals. If there are no compatibility problems, everything should import successfully, but if there are files Lightroom cannot process, you’ll encounter a feedback dialog like the one shown in Figure 2.21.

Choosing the Edit option from the bottom of the Template list (Figure 2.26) opens the Filename Template Editor, which allows you to customize and save your own File Naming template designs using tokens, such as Date, Sequence or Additional items. In the Figure 2.26 example, I clicked the Insert button next to the Custom Text item in the dialog to add a Custom Text token at the beginning of the Filename template. Next, I went to the Additional section and added a Date format token. I then went to the Numbering section and added a four-digit Sequence number token. This template was then saved and added to the File Renaming Template list. I have used this particular template a lot on jobs, inserting the client name into the Custom text field in the File Renaming template, so the files will be renamed something like: clientname161201_0001.

Some photographers prefer to use the Custom Name – Original File Number template. With this template, the sequence number uses the original, camera-generated file number, and the file-renamed sequence numbers therefore keep rolling over from one job to the next. So, instead of your imported images always being numbered from say, 1 to 500, you will end up with a much broader distribution of sequence numbers throughout the catalog. Consequently, this can make it easier for you if you need to narrow down an image selection based on a sequence-number-only search. Let’s say, for example, a client orders a photo, giving you just the last four numbers and nothing else. If you reset the numbers when renaming so that they start from 0001 before each job, then every shoot you import will most likely have photos that are renamed with sequence numbers in the 0001–0100 range. If, on the other hand, you use the Custom Name – Original File Number template to rename your photos, the chances are there won’t be so many other photos in your catalog that have the exact same four-digit number. This method of renaming should work in most instances, although I am aware that with certain camera models there is a compatibility problem where the camera-assigned sequence number cannot be recognized. Lastly, the Sample filename at the bottom of the File Naming panel gives you an advance indication of how the chosen renaming will be applied to the imported files.

I find that the only time I ever need to use the Rename Photos dialog is when I have to correct files that have been imported out of sequence. For example, when I shoot using the tethered mode in Lightroom, things go wrong only when I am at my busiest! Consequently, I do sometimes end up manually importing files from the camera card and adding these to the files that have been correctly imported (and automatically renamed). This is where I find the original file-number renaming really helpful. Renaming files based on the sequence number contained in the original camera-generated filename is far more reliable than manually trying to work out how to renumber files so that they fit within an existing sequence of imports.

Sensible folder naming and file naming can certainly make it easier to retrieve images later, but as your library grows, you will begin to appreciate the benefit of using EXIF metadata and other types of metadata to help keep track of all your files, especially when searching a large catalog collection of photographs. The Library module offers a number of ways to search for a specific image or group of images. For instance, you can use the Library Filter bar to search for files using criteria such as by Date, Camera, or File Type. This method of searching requires no prior input from you of course. In the Apply During Import panel, you have the option to add custom metadata and keywords to your photos as they are imported. Next to the Metadata item is a pop-up list. This lets you select a pre-saved metadata template (see page 570 for more about working with metadata templates). Or, you can click New to open the Edit Metadata Presets dialog shown in Figure 2.29.

The Keywords section can be used to add shoot-specific metadata, such as the location name or other descriptive terms for the photos you are about to import. Also, once you have an established keyword list, as you begin to type a keyword, Lightroom will auto-complete your entries by referring to the current Keyword List panel contents. Basically, adding metadata at the time of import can greatly assist you later when searching for specific images, and the metadata information you add will also be applied to any derivative files that are created from the master photos.

Imported photos can be organized in one of three ways. The “Into one folder” import option allows you to import the selected photos to a specific, named folder location. In addition, you can check the Into Subfolder option and specify a new subfolder as the target folder location. For example, you could choose Users/Username/Pictures/ as the folder destination, select the “Into one folder” option, and type the name of the subfolder destination. In the Figure 2.30 example, I named the subfolder LR Import Folder so the full destination directory path would therefore be: Users/Username/Pictures/LR Import Folder/. Another option is to segment the photos by Original Folders. If the source images on the drive are contained in more than one folder, this option preserves the same source folder hierarchy structure when the files are imported. Lastly, you can choose to organize By Date. This segments the imported photos into dated folders, and the way it does so depends on which date segment option you have selected from the Date Format menu (Figure 2.31). Note that when you choose either the Original Folders or By Date option, you can click Destination Folders in the content area workflow bar (Figures 2.16 and 2.17) to preview how the photos will be segmented before you click Import.

How you plan to organize your photos and the folders they are stored in is a topic I will be addressing in more detail in the following chapter, where we will look at working with the Folders panel in the Library module in more detail. For now, let’s just consider the various options that can be implemented here and ways to make the import workflow as smooth as possible.

There are four main approaches I see photographers using. By far the most popular is one of total chaos: Photographers are haphazard and inconsistent in the way they organize photos into their computer system folders. You should at least try to segment your imported files by putting them into named folders that have some kind of systematic structure. If you mainly shoot on assignment, you could import your photos to folders that use the client name plus date. I actually find this works pretty well for all my studio shoots. Alternatively, you could use a folder name hierarchy, in which, for instance, Rome trip photos go inside an Italy folder inside a Travel folder. This can make finding photos by subject or location relatively easy. When choosing to import your files into one folder, you can use the directory to locate the folder to download to and check the Into Subfolder option to specify a subfolder (Figure 2.32). A third method is to segment by date (Figure 2.31). This system can work well whether you shoot mainly on assignment or for pleasure. Plus, if you are using keyword metadata to extensively catalog all your photos, it really should not matter which folder your photos live in because you can search for everything by metadata. It can be argued that organizing your photo imports by date offers a much more consistent approach to folder organization and is specially suited to those users who systematically apply keywords to all their photos.

With the above methods you need to take into account the scalability of the system you choose to implement. This is something I’ll also discuss in more detail in the next chapter. So, instead of worrying too much at the import stage about where your imported images should eventually be stored, there is a fourth option: Use a series of workflow folders to store the incoming files before you decide where best to store them for the long term. There is much to be said for such a system. Instead of trying to work out at the import stage which folder the photos should go into or what hierarchy to use, you just import everything into the same import folder. This folder can be regarded as an initial holding folder to store all new, incoming images before you decide where they should eventually go. For example, when I am on location, I download everything to a laptop computer. The laptop is required to store the imported images only temporarily before they are transferred to the main computer archive. It therefore makes sense to use a standard import folder such as the “LR Import Folder” location, shown in the Figure 2.30 example. It is then pretty easy to create a standard import preset (see following page) that you can use for every job. This method of importing can help standardize the import process and has the added advantage you don’t need to think too much about where to store the images just yet. You just use the same import preset for each and every shoot import.

Once video files have been imported into Lightroom they can be distinguished from regular image files by the time-clip duration badge that appears in the bottom-left corner of the Grid/Filmstrip thumbnails (Figure 2.35). To filter for video files, you can use an Attributes search (I’ll be discussing that aspect of Lightroom toward the end of the book). Lightroom does, however, support direct video playback and limited video editing. This means you can double-click video files in the Library grid and play them directly in the Library module Loupe view. You can also edit the timeline start/finish times, as well as apply certain types of Quick Develop adjustments. For more information about video-clip editing in Lightroom, see page 237 in chapter 4.

In Figure 2.38 below, I located the images I wanted to import and dragged them across to the content area in the Library module. This action established the dragged folder as the source. From here on, the steps I used were exactly the same as for any other import. All I had to do after that was to decide how I wanted them to be imported, whether to import by copy or to add to the catalog.

1. I started in the Aperture library with an image selected that had been rated with two stars and an orange label.

2. I quit the Aperture catalog, and in Lightroom I chose File Plug-in Extras Import from Aperture Library. This opened the Import from Aperture dialog (if importing from iPhoto, you would select Import from iPhoto Library). I clicked the Select button to select the Aperture library referred to in Step 1 and clicked the Select button below that to choose a folder to copy the images and videos to. I then clicked the Import button.

3. Once the import process had completed, the above dialog summarized the import process. If there were any errors, these would have been reported.

4. In Lightroom, a From Aperture collection was added to the Collections panel and the actual files themselves were copied to the folder location specified in Step 2. As you can see here, the Export/Import process preserved the two-star rating and assigned Orange as a keyword, which is visible in the Keywording panel. This process also preserved Aperture Faces and Stacks as keywords when imported into Lightroom.

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The Auto Import feature is incredibly useful. After you have configured the Auto Setup settings and selected the Enable Auto Import box, you are all set to add files to the catalog by simply dragging them to the designated watched folder. This lets you quickly import files and bypasses the Import Photos dialog completely. After files have been imported, you will see them appear in the Destination folder in Lightroom. You can then, if you like, choose to move them to a new folder location.

The main reason for choosing to shoot tethered is to make the import process smoother and faster. But a number of factors can affect the overall tethered shoot import speed. First, you have to consider whether you are going to shoot raw or JPEG and the likely size of the capture files. Then there is the camera interface. Professional digital SLR cameras should boast a faster buffer capacity and data transfer rate compared to budget digital SLRs. The Lightroom tethered capture feature does not appear to create any bottleneck problems and can match or exceed other tethered solutions in terms of download speed, but the actual download speed may still be compromised by the speed of the operating system’s USB drivers and how well the software is able to optimize the interface connection. In my experience, the biggest limitation is the interface connection. It doesn’t matter how fast your computer is or whether you are using fast hard drives—the camera interface connection is nearly always the weakest link.

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1. To initiate a tethered shoot, I went to the Library module File menu and selected Tethered Capture Tethered Capture (Canon) Start Tethered Capture.

2. This opened the Tethered Capture Settings dialog, where I could configure the tethered import settings. I renamed the Session Name Pewter bowls and selected Segment Photos By Shots. In the Naming section, I chose a suitable file-naming template. In the Destination section, I set the destination folder location to Studio work. You can choose to add photos to a specific collection or create a new collection (as shown here). In the Information section, I selected a metadata preset to add on import, along with relevant keywords for the shoot. I clicked OK to confirm these settings.

3. Because I had chosen Segment Photos By Shots, the Initial Shot Name dialog appeared, showing Shot 1. I clicked OK to proceed.

4. This opened the Tethered Shoot control panel. When the camera is switched on, the camera name will appear in the top-left section. If more than one camera is connected to the computer, you can click on the pop-up menu to choose which to import from. For supported Canon capture imports, you can use the control panel to adjust the camera settings. Click on the big round shutter button to capture photographs remotely, or use the F12 Trigger shortcut.

5. Here, I clicked the Develop Settings pop-up menu to select an appropriate Develop setting. As long as the Tethered Shoot control panel remained active, I could shoot pictures with the selected camera and these were automatically imported into Lightroom. You can hide the panel using (Mac) or (PC) or quit by clicking the Close button (circled). To collapse the tether control panel, -click the Close button (Figure 2.42).

6. As I started shooting, the capture images began to appear in the Lightroom catalog. There is a menu in the Lightroom General preferences that allows you to select a sound to play when a tethered-shoot import process has completed. You will see I adjusted the sort order so the most recently shot images were shown first (see the Tip at right). If the “Disable Auto Advance” option is unchecked in the Tethered Capture Settings dialog (see Step 2), the most recently shot capture image is automatically selected. You will also notice that the photos appeared in the following folder directory: Studio work/Pewter bowls/Shot 1. To understand the hierarchy employed here, you will need to refer back to the sections highlighted in Steps 2 and 3. Studio work was the selected master destination folder for the tethered shoot images. Pewter bowls was the default name used in the Shoot section, and Shot 1 was the name given to this first series of shots. Notice also how the files were added as a collection (see highlighted collection). At this point, I could prepare for a second shoot by opening the Initial Shot Name dialog via the Tethered Shoot control panel (see Step 4) and enter a name for the next set of shots (or use the [Mac] or [PC] shortcut). In the Tethered Capture Settings dialog, Save a Copy to Camera was enabled, which meant copies of the capture files were simultaneously stored on the camera card.