DarkRoom/docs/gestures.md

How the application is driven

Every entry here is extracted from the comment beside the code that implements it, so this file cannot describe a gesture the application does not have. Add one by writing a GESTURE: block next to the implementation; there is nowhere else to write it.

76 gestures, in 7 places.

Develop

Set the white balance from the photograph

• Touch — Press "pick" in the group's heading, then tap something neutral in the picture
• Pointer — Press "pick", then click something neutral
• See it — in the manual

Sampling a neutral is the first move of the tonal pass — every colour judgement afterwards is measured against where the grey was put — and guessing at two sliders until a wall stops looking green is the wrong way round. One click is one sample and one step to undo; the sliders stay, because a sampled neutral is where the decision starts rather than where it ends.

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Choose a film stock from the keyboard

• Touch — Tap the Film row, flick the list, tap a stock
• Pointer — Click the Film row, then a stock; the wheel or a drag scrolls the list
• Keyboard — With the list open, ↑ and ↓ move along it, Enter chooses, and Escape or Back closes it unchanged
• See it — in the manual

The list is longer than it is tall, so a way to walk it that cannot be lost to the column's scrolling is part of it being reachable at all. Focus goes back to the photograph's keys when it closes.

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Magnify the photograph by any amount

• Touch — Pinch it with two fingers
• Pointer — The scroll wheel over it
• Keyboard — Ctrl+= or Ctrl+Plus in, Ctrl+- out, about the middle of the view
• See it — in the manual

Anchored on the fingers' midpoint, and on the pointer, so the gesture reads as magnifying the picture rather than sliding it about. Double-tap is the way to an exact 1:1; this is the way to everything in between. Past 1:1 the pixels are shown as they are, square and unsmoothed; below it, filtered.

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Move a magnified photograph about

• Touch — Drag it
• Pointer — Drag it
• Keyboard — Shift+←, Shift+→, Shift+↑ and Shift+↓, a fifth of the view at a time
• See it — in the manual

Only once there is something outside the viewport to reach, which is why the cursor becomes a hand exactly then. The view is clamped to the frame: panning past the edge would show undefined area beside the photograph, and that reads as a rendering fault rather than as the end of the picture.

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Paint a mask by hand

• Touch — Choose Paint or Erase, then drag on the photograph
• Pointer — Choose Paint or Erase, then drag
• See it — in the manual

A model's mask stops inside a shoulder and leaks into the hair, and no single edge control fixes two errors that go opposite ways. The whole stroke is one step in the history, so taking a mark back costs one press however long it took to make.

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Open this list

• Touch — Press "?" in the top bar, beside Settings, and Done to put it away
• Pointer — Press "?" in the top bar, beside Settings, and Done to put it away
• Keyboard — F1; the key that closes any sheet puts it away

Most of the keys are develop's, and a reference that could only be opened from the grid had to be looked up before opening the photograph they were wanted for.

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Take back the last change

• Touch — Tap the step above the current one in the History list
• Pointer — Click it, or press Undo in the History header
• Keyboard — Ctrl+Z
• See it — in the manual

A whole drag is one step, so undo takes back a decision rather than a frame of a gesture. The list is there because arriving six steps back costs what arriving from one does.

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Do it again after taking it back

• Touch — Tap the step below the current one in the History list
• Pointer — Click it, or press Redo in the History header
• Keyboard — Ctrl+Shift+Z, or Ctrl+Y
• See it — in the manual

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Remove a repair

• Touch — Tap it, then Delete Repair
• Pointer — Click it, then Delete Repair
• Keyboard — Delete or Backspace, while repairing

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Copy the settings from this photograph

• Touch — Press Copy in the top bar
• Pointer — Press Copy in the top bar
• Keyboard — Ctrl+C
• See it — in the manual

The button is the copy that has to work: a tablet has no modifier key to hold and no menu bar to hang the action from. The shortcut is an accelerator for a control that is on screen either way.

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Paste the settings onto this photograph

• Touch — Press Paste in the top bar
• Pointer — Press Paste in the top bar
• Keyboard — Ctrl+V
• See it — in the manual

The button names what would be pasted — "3 adjustments", and whether the crop is coming with it — which the shortcut cannot say. Both paste the same scope.

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Choose which kinds of edit a copy carries

• Touch — Open Presets and toggle the kinds
• Pointer — Open Presets and toggle the kinds
• Keyboard — Ctrl+Shift+C, which offers Copy beside them
• See it — in the manual

Lightroom's Copy Settings. Pasting a look across a shoot usually means leaving each frame's crop and rotation alone, and that is a choice to make at the moment of copying.

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Export this photograph as the last one was

• Touch — Press Export in the top bar
• Pointer — Press Export in the top bar
• Keyboard — Ctrl+Shift+E
• See it — in the manual

Every export runs on the defaults in Settings, so "as the last one was" is what the button already does. The chord is Lightroom's and darktable's, kept so hands that learned it there need not learn it again.

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Choose how to export, then export

• Touch — Open Settings, then Export defaults
• Pointer — Open Settings, then Export defaults
• Keyboard — Ctrl+E
• See it — in the manual

The export sheet is the export defaults alone with an Export button. What is chosen there is kept, so it is also what the next Ctrl+Shift+E uses.

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Keep a crop that leaves a mask outside

• Touch — Press "Keep crop" on the notice, or "Undo crop" to take it back
• Pointer — Press "Keep crop" on the notice, or "Undo crop" to take it back
• Keyboard — Enter keeps it; Ctrl+Z takes the crop back, like any other step

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Go back to the grid

• Touch — Press "‹ Library" in the top bar
• Pointer — Press "‹ Library" in the top bar
• Keyboard — G

Lightroom's key for the grid. Escape gets there too, but a step at a time — out of a mode, then out of a zoom — where this goes straight back.

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Nudge the control last moved

• Touch — Drag its track
• Pointer — Drag its track
• Keyboard — = or Plus up and - down, a hundredth of its travel at a time; hold for more

Lightroom's keys for the selected slider. There is no focus ring on a slider here, so "selected" is the last one moved — the same control R puts back — which covers the framing sliders, perspective included, as well as the adjustments.

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Change which group of adjustments is on screen

• Touch — Tap a group in the rail down the left
• Pointer — Click a group in the strip above the develop column
• Keyboard — [ and ] step through them, wrapping round through "everything"
• See it — in the manual

The groups are whatever the operation set declares itself to be about, so there are as many as the pipeline has and no key can be assigned to one of them by name. Stepping is the binding that survives a node being added.

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Look at the photograph at 1:1

• Touch — Double-tap the photograph
• Pointer — Double-click it, or press the zoom readout floating over the canvas
• Keyboard — Z goes in and back out; Ctrl+1 goes to 1:1 and Ctrl+0 back to the whole frame
• See it — in the manual

Noise reduction and capture sharpening are judgements about single pixels, and a fitted view averages several of the file's into each one on screen — so the frame looks softer than it is and the correction goes too far. The point and the magnification survive opening the next photograph, which is what makes checking the same eye across forty portraits forty keystrokes rather than forty pans. From 1:1 on the photograph is drawn as its own pixels, each a hard-edged square, rather than smoothed into a blur.

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Rate this photograph

• Touch — Tap a star in the top bar
• Pointer — Click a star in the top bar
• Keyboard — 0–5

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Pick or reject this photograph

• Touch — Press Pick or Reject in the top bar; again to take the flag off
• Pointer — Press Pick or Reject in the top bar; again to take the flag off
• Keyboard — P picks, X rejects and U takes the flag off

The grid's keys, on the photograph that is open (FR-UI-5, 2026-09-19). Judging here does not move on to the next frame: that belongs to culling, and in develop the photograph in front of you is the one being worked on.

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Give this photograph a colour label

• Touch — Tap Label in the top bar, then a colour
• Pointer — Click Label in the top bar, then a colour
• Keyboard — 6 red, 7 yellow, 8 green, 9 blue; the same key again takes it off
• See it — in the manual

The grid's keys, on the photograph that is open, so labelling while stepping through a folder is one hand's work. The bar names the label in words beside its mark.

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Move to the next or previous photograph

• Touch — Tap a frame in the roll along the foot of the canvas
• Pointer — Click a frame in the roll
• Keyboard — →, D or Space for the next; ← or A for the one before
• See it — in the manual

The edit on screen is saved on the way out, so stepping through a folder is as much a departure as going back to the grid and loses nothing. A and D as well as the arrows, so the left hand steps along the roll while the right stays on the mouse.

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See the photograph before you edited it

• Touch — Press and hold "Before"
• Pointer — Press and hold "Before"
• Keyboard — Hold \
• See it — in the manual

Held rather than toggled, and no split screen: a split halves the working image on the tablet the column was sized for, and the comparison photographers describe making is a flick back and forth. It takes no history step, so checking whether a frame is overcooked costs nothing to undo afterwards.

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Put one control back to its default

• Touch — Double-tap its track
• Pointer — Double-click its track, or right-click it
• Keyboard — R, for the control last moved

The column is 280px wide and the colour mixer alone puts thirty-six of these in it, so a reset button per row would be most of the width. Two ways in with a pointer because right-click is the one a hand already reaches for and double-click is the one that needs no second button. A group's own reset is in its heading; this is the single control.

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See the photograph as a snapshot had it

• Touch — Press and hold the eye beside the snapshot
• Pointer — Press and hold the eye beside the snapshot
• See it — in the manual

The same hold as "Before", against a point the photographer chose rather than the file: "the version I liked twenty minutes ago" is how a choice between two treatments is actually made. It takes no history step and changes nothing; letting go puts the edit back.

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Keep the photograph as it is now, under a name

• Touch — Type a name in the History panel and press Snapshot
• Pointer — Type a name in the History panel and press Snapshot
• See it — in the manual

The history is forgotten with the sitting, on purpose; a snapshot is the photographer saying this one should not be. It is written into the sidecar as a version of the edit, so it survives a restart and reaches the other device. Pressing a snapshot puts the photograph back to it, as one step that undo takes back whole.

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Show or hide one mask layer

• Touch — Tap the ring at the head of its row
• Pointer — Click the ring at the head of its row
• Keyboard — H, for the selected layer
• See it — in the manual

Disabling a layer is the before-and-after a local edit constantly wants, so it is one press away rather than inside the row. It is an edit and does take a history step, unlike holding "Before" — the layer really is off until it is switched back on.

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Show or hide one mask on the photograph

• Touch — Tap the eye on its row
• Pointer — Click the eye on its row
• See it — in the manual

A mask is judged by seeing where it falls, and two are judged by seeing where they meet — so each row has its own eye rather than the panel having one, and the eye is drawn in the colour the mask shows in, so the row says which shape on the picture is its. Nothing about the edit changes: this is how the photograph is looked at, and takes no history step.

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Change how a part joins its mask

• Touch — Tap the + / − / ∩ chip on the part's row
• Pointer — Click the + / − / ∩ chip on the part's row
• Keyboard — J turns the selected part's chip, while masking
• See it — in the manual

A chip that cycles rather than a menu, because a photographer flips a join while looking at the picture, not at the panel: add, take away, keep only where both agree, and round.

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Leave one part out of a mask, and put it back

• Touch — Tap the ring on the part's row
• Pointer — Click the ring on the part's row
• See it — in the manual

The question a correction raises is whether it did what it was for — whether the stroke filled the shoulder, whether the subtracted gradient took only the sky. Removing it answers that and loses it. The same ring the layer wears, one row down, because it is the same question about a smaller thing.

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Everywhere

Close what is open, or go back a step

• Touch — The system Back gesture, or the Back button
• Pointer — The Close or Back button on whatever is open
• Keyboard — Escape, or Back where the device has one

One key for "up one", innermost first: a question before the sheet under it, a sheet before the view, a view before the library. Nothing is left behind a dialogue that the key walked straight past.

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Do what a sheet offers

• Touch — Press its button — Export, or Copy
• Pointer — Press its button — Export, or Copy
• Keyboard — Enter, on the export and copy sheets

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Scroll by the scrollbar

• Pointer — Drag the bar along the right-hand edge of a list, or click the track above or below it to move by a page

A list cut off at its edge looks, to a mouse, like a list that ends there — the film stocks past the tenth read as deleted. The bar says there is more and where the view is in it, and it is the one way to scroll that needs neither a wheel nor a drag on the content, which may be a row that would take the click.

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Collections sidebar

Pick a collection up to rearrange the tree

• Touch — Press and hold it until it lifts, then drag it
• Pointer — Drag it, or hold it until it lifts and then drag
• See it — in the manual

The tree is inside a Flickable, which claims any drag beginning inside it — so with a finger a drag on a row is a scroll until something says otherwise. The hold is that something, and it is what every mobile list already uses to pick a row up. The row lifts the moment it fires, so the gesture says it has been understood before anything moves.

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Act on a collection — rename, nest, un-nest, delete

• Touch — Press and hold the collection, then let go without moving
• Pointer — Right-click it
• See it — in the manual

The hold arms a drag and opens this menu, and which one you get is decided by whether you moved — the same fork the grid uses. One menu for everything done to a row, because there is one hold per row: while the hold opened the offline question by itself, nothing else the tree can do had a touch route.

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Take a collection back out of the one it is nested in

• Touch — Hold it, then drag it onto "All photographs" — or let go and choose "Move to top level"
• Pointer — Drag it onto "All photographs", or right-click it and choose "Move to top level"
• See it — in the manual

Nesting is a drag of one row onto another, and its inverse had no gesture at all: "All photographs" refused every drop, which is right for a photograph — it is already in the library — and wrong for a collection, which has a top level to be returned to. Without it a collection dragged into another was in there permanently.

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Rename a collection

• Touch — Hold the collection, then "Rename"
• Pointer — Double-click its name, or right-click it and choose "Rename"
• Keyboard — Type the name and press Enter; Escape abandons it
• See it — in the manual

Double-click is what a file manager and a Lightroom panel use for the same thing, so it needs no discovering — but nothing on screen says so, which is what the menu item is for.

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Review duplicate originals

• Touch — Tap "Duplicate originals" under the trash
• Pointer — Click "Duplicate originals" under the trash
• See it — in the manual

Under the trash because the trash is where the spare copies go, and only while the catalog holds any: a row that is always there and usually empty is noise.

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Duplicate originals

Check duplicate originals are the same file

• Touch — Tap "Check"
• Pointer — Click "Check"
• See it — in the manual

Nothing is moved on the catalog's say-so. The check reads the first and last megabyte of each copy and its sidecar, keeps what it read, and drops any group whose bytes or edits differ.

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Move the spare copies to the trash

• Touch — Tap "Move N copies to trash"
• Pointer — Click "Move N copies to trash"
• See it — in the manual

The one verb, named with its count, and off until a check has proved something. Each group is merged onto the copy that stays and the others go to the trash together or not at all; the trash view gives them back.

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Choose which copy of a duplicate stays

• Touch — Tap the copy's path
• Pointer — Click the copy's path
• See it — in the manual

The rule picks the copy outside a backup folder that still has the camera's name. The path is the evidence, so the path is what is tapped to overrule it.

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Leave a duplicate group as it is

• Touch — Untick "Include" on the group
• Pointer — Untick "Include" on the group
• See it — in the manual

The plan is every group the check proved; a group you want to keep in two places is taken out of it rather than argued with.

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People

Pull a face out of the wrong person

• Touch — Tap the faces that do not belong, then "Split off"
• Pointer — Click the faces that do not belong, then "Split off"
• See it — in the manual

Grouping over-merges on siblings, on parents and children, and on the same person a decade apart, so splitting is as prominent as merging. A tool that can only merge makes its own errors permanent.

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Rule on a suggested face

• Touch — Tick to confirm it, cross to reject it
• Pointer — Tick to confirm it, cross to reject it
• See it — in the manual

A face is either the system's guess or the user's judgement, and the two are never conflated. A rejection is remembered, so the face is not suggested for that person again. The gesture note above is the whole label: a tick and a cross are only "confirm" and "reject" to someone who can see the suggestion they sit beside, and IconButton's fallback would announce them as "check" and "cross" — two icon names that say nothing about which person is being ruled on.

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Move between people

• Touch — Tap a person on the rail
• Pointer — Click a person on the rail
• Keyboard — ↑ and ↓, along the rail

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Name a person

• Touch — Tap the name field over their faces, type, and press Enter
• Pointer — Click the name field over their faces, type, and press Enter
• Keyboard — F2 puts the name field under the keys

The rename key everywhere else. Enter finishes the name and hands the keys back to the rail, so naming a run of people is Down, F2, a name, Enter, over and over.

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See a person's photographs

• Touch — Choose them in the rail, then "Show photos"
• Pointer — Choose them in the rail, then "Show photos"
• See it — in the manual

This is the point of having identified anybody. Without it the screen is a filing cabinet with no drawer handles.

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Change how faces are grouped

• Touch — "Grouping…", move the dials, then Regroup
• Pointer — "Grouping…", move the dials, then Regroup
• See it — in the manual

The right match confidence is a property of your library, not of the model. "What would this do?" answers for this library without writing anything; names, confirmations and the groups you have set aside are kept whatever the dials say.

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Library grid

Start selecting several photographs

• Touch — Press and hold a photograph, or press Select in the header
• Pointer — Ctrl-click, or press Select in the header
• See it — in the manual

Touch has no ctrl, so without a mode there is no way to select a second photograph — the first tap would open it. The hold is the fast way in and the button is the one that can be found.

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Add or remove one photograph

• Touch — While selecting, tap it
• Pointer — Ctrl-click it
• See it — in the manual

While selecting, a tap never opens. That is the whole point of the mode: one meaning per gesture at a time. Press Done to get tap-to-open back.

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Leave selecting

• Touch — Press Done in the header
• Pointer — Press Done in the header
• Keyboard — Escape, or Back; an open sheet closes first
• See it — in the manual

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Pick a photograph up to drag it

• Touch — Press and hold it until a ring opens around it, then drag
• Pointer — Drag it
• See it — in the manual

A finger on a photograph might be starting a scroll, and for the first half-second the grid assumes it is. Holding says otherwise, and the ring is the grid saying it heard — from there the drag cannot be lost to a scroll. A mouse never waits: the cursor is precise enough that a sideways drag is unambiguous from the first pixel.

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Select a range

• Touch — While selecting, press "Select to…", then tap the last photograph of the run
• Pointer — Shift-click the last photograph of the run
• Keyboard — Shift with any key that walks the grid — Shift+←, Shift+→, Shift+↑, Shift+↓, Shift+Page Up, Shift+Page Down, Shift+Home, Shift+End
• See it — in the manual

This replaced a double tap, which had no visible state and could take forty photographs by accident. The run is resolved by the catalog rather than by what is on screen, so the grid can scroll between the two taps — the ranges that hurt on a tablet are longer than a screenful, which is exactly where a finger sweep runs out.

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Take the blinks out of a burst

• Touch — Narrow to a person, then tap "Eyes open" beside their name on the filter bar
• Pointer — Narrow to a person, then click "Eyes open" beside their name on the filter bar
• See it — in the manual

Face indexing reads each face's eyes. The chip drops frames where the chosen people are caught blinking, and leaves sunglasses and eyes it could not read alone.

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Find photographs with two people in them

• Touch — Open the People chip on the filter bar, tap each name, then switch the chip beside them to "all of them"
• Pointer — Open the People chip on the filter bar, click each name, then switch the chip beside them to "all of them"
• See it — in the manual

"Any of them" is a union and "all of them" is an intersection. The tray is where both terms and the choice between them live, because a filter belongs on the filter bar.

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Show only photographs with one colour label

• Touch — Tap its chip in the filter bar
• Pointer — Click its chip in the filter bar
• See it — in the manual

Each chip is the label's mark and its name, so the one you want is found by reading it; tap the lit chip again to show every label.

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Export the selection as the last export was

• Touch — Select them, then Export in the selection bar
• Pointer — Select them, then Export in the selection bar
• Keyboard — Ctrl+Shift+E, or Ctrl+E to see the export settings first
• See it — in the manual

Lightroom's and darktable's chords. Every export runs on the saved defaults, so the plain chord opens them beside an Export button and the shifted one skips straight to exporting.

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Paste copied settings onto the selection

• Touch — Select them, then "Paste to N" in the selection bar
• Pointer — Select them, then "Paste to N"
• Keyboard — Ctrl+V
• See it — in the manual

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Keyword the selection

• Touch — Select them, then Keywords in the selection bar
• Pointer — Select them, then Keywords in the selection bar
• Keyboard — Ctrl+K

Lightroom's keywording chord. The sheet opens with its field ready for typing, so the keys that judge in the grid are out of the way until it closes.

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Show only photographs with some number of stars

• Touch — Tap a star chip in the filter bar
• Pointer — Click a star chip in the filter bar
• Keyboard — Hold F and tap a digit, 0–5, for exactly that many stars, or two digits for everything between them; tap F alone to show every rating again
• See it — in the manual

The chips say "this many or more". A range with a ceiling — the twos and threes still to be decided — is the keyboard's alone, and the bar says so in words while it holds.

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Give photographs a colour label

• Touch — Select them, then Label in the selection bar and tap a colour
• Pointer — Select them, then Label in the selection bar and click a colour
• Keyboard — 6 red, 7 yellow, 8 green, 9 blue, with the pointer over it or on the selection; the same key again takes the label off
• See it — in the manual

Lightroom's keys, so hands that learned them there need not learn them again. Purple has no key there either, and is on the bar. Every mark carries its label's initial, so the label is read without telling the colours apart.

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Pick or reject a photograph

• Touch — Select them, then Flag in the selection bar and Pick, Reject or No flag
• Pointer — Select them, then Flag in the selection bar and Pick, Reject or No flag
• Keyboard — P picks, X rejects and U takes the flag off, with the pointer over it or on the selection

The keys every culling tool uses, so muscle memory built elsewhere works here.

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Move photographs to the trash

• Touch — Tap the bin at the start of a cell's stars
• Pointer — Hover the cell and click the bin before its stars
• Keyboard — Delete or Backspace, on the selection

The bin acts on one photograph, so a stray click cannot trash a selection; the key acts on the selection because that is what every file manager's Delete does. Both are undone from the trash view.

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Open this list

• Touch — Press Help in the header, and Done to put it away
• Pointer — Press Help in the header, and Done to put it away
• Keyboard — F1, and Escape to put it away

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Rename the collection the grid is showing

• Touch — Hold it in the sidebar, then "Rename"
• Pointer — Double-click it in the sidebar
• Keyboard — F2

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Move through the grid

• Touch — Scroll, and tap a photograph
• Pointer — Scroll, and click a photograph
• Keyboard — ←, →, ↑ and ↓ move one photograph; Page Up and Page Down a screenful; Home and End to the first and the last

The cursor selects what it lands on, so walking and judging are one hand's work.

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Resize the thumbnails

• Touch — Pinch the grid with two fingers
• Pointer — Ctrl and the scroll wheel
• Keyboard — = or Plus for larger, - for smaller
• See it — in the manual

There is no wheel on a tablet, so without the pinch the cell size could only be changed by a control a finger cannot reach.

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File photographs in a collection

• Touch — Drag a photograph — or a whole selection — onto a collection in the sidebar. Starting a drag stops the press becoming a hold, so it cannot leave you in selection mode.
• Pointer — Drag a photograph — or a whole selection — onto a collection in the sidebar
• See it — in the manual

The selection is what the drag carries, which is why selecting several is worth the mode: forty photographs file in one gesture.

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Open a photograph

• Touch — Tap it — a single tap, any length
• Pointer — Click it
• Keyboard — Enter, on the photograph the arrow keys have walked to
• See it — in the manual

A tap opens; a tap that moved does not. Travel is what separates a deliberate tap from a hand brushing past, and it is the only thing that does: the two are the same length. An earlier version required the finger to dwell 120 ms instead, and that rejected ordinary taps — a real tap is often quicker than a brush.

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Rate a photograph without opening it

• Touch — Tap a star on the cell
• Pointer — Hover the cell, then click a star
• Keyboard — 0–5 with the pointer over it, or on the selection
• See it — in the manual

A star has to take the press without it also reaching the cell, or every rating throws the user into develop.

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Choose the frame a folded burst shows

• Touch — Open the burst, then tap the ring on the frame you want
• Pointer — Open the burst, then click the ring on the frame you want
• See it — in the manual

A folded burst draws its earliest frame, which is a fact about the clock and not a judgement about the photograph — nothing in this application ranks a frame (FR-CULL-5). But the point of a burst is that one of the twelve is better than the other eleven, and the photographer is the only one who knows which. So the choice is offered on the frames themselves, while they are open and side by side, which is the one moment the alternatives are on screen to be compared.

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Drop the selection but keep selecting

• Touch — Press Clear in the selection strip
• Pointer — Press Clear in the selection strip
• Keyboard — Ctrl+D or Ctrl+Shift+A
• See it — in the manual

Distinct from Done, which leaves the mode entirely. Clearing keeps it, so the next selection can start straight away.

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Select everything the grid is showing

• Touch — While selecting, press "Select all"
• Pointer — While selecting, press "Select all"
• Keyboard — Ctrl+A
• See it — in the manual

A scoped grid of two hundred frames is two hundred taps otherwise, and "all of them, except those three" is a far more common shape than the taps it took to say it.

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Take photographs out of a collection

• Touch — Select them, then "Collections…" in the selection bar
• Pointer — Select them, then "Collections…" in the selection bar
• See it — in the manual

The badge on a cell says a photograph is filed in three collections and never which. This is the sheet that names them, and the only way out of one the grid is not currently scoped to.

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Settings

Review duplicate originals

• Touch — Tap "Review duplicate originals"
• Pointer — Click "Review duplicate originals"
• See it — in the manual

Beside the other whole-library passes, because it is one; the sidebar offers the same page under the trash.

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