Tool Basics Part 2
Lesson 20 from: Get The Most Out of Your Photos with Capture One Pro 10David Grover
Tool Basics Part 2
Lesson 20 from: Get The Most Out of Your Photos with Capture One Pro 10David Grover
Lessons
Introduction
08:11 2What's Possible with Capture One: Quick Edit
06:50 3Capture One Versions: Installation Basics
02:19 4Interface Introduction and Customization
27:16 5The Power of Keyboard Shortcuts
09:27 6Image Management Basics
10:38 7Organization Best Practices
09:53 8Building your First Catalog
19:47Image File Management Automation
06:42 10Advanced Catalog Organization
17:41 11How to Add Meta Data
12:42 12Searching and Filtering Techniques
11:31 13Further Catalog Strategies
07:09 14Basic Selecting, Rating and Culling Techniques
15:31 15Advanced Selecting, Rating and Culling Techniques
20:54 16Basic Composing Techniques: Cropping, Rotation, Straightening
09:29 17How to Correct for Perspective
12:35 18Basic Tool Behavior
11:04 19Tool Basics Part 1
22:44 20Tool Basics Part 2
06:34 21Converting to Black and White and Adding Grain
10:13 22How to Apply Image Adjustments Globally
08:02 23Sharpening and Noise Reduction
09:58 24How to Create and Save Styles and Presets
07:40 25Why Should You Shoot Tethered?
02:26 26How to Set-Up Your Tethered Hardware
02:15 27How To Set Up A Tethered Photoshoot Project
11:07 28Basic Session Workflow Organizing And Making Selects
21:45 29Basic Session Workflow Exporting
05:44 30Advanced Session Workflow
15:00 31Creating Selections With Smart Albums
06:20 32Advanced Exporting
09:03 33Saving Session Templates
03:14 34Collaborating On Set With Capture Pilot
17:45 35Using The Color Editor Basic Color Adjustment
15:26 36Skin Tone Adjustments
09:30 37Color Grading Using The Color Balance Tool
12:54 38Image Processing Demo Perfecting Color
08:11 39Create Masks for Local Adjustments using Brushes & Gradients
12:31 40Advanced Local Adjustments using Masks
17:15 41Dodging and Burning in Capture One
11:30 42Creating Local Adjustments with the Color Editor
07:15 43How to Use Local Adjustment Masks for Color Editing
03:43 44How to Remove Objects in your Image
09:07 45Image Processing Demo: Local Adjustments
05:57 46Exporting with File>Export
08:07 47Export Strategies and Proofing Previews with Process Recipes
11:49 48How to Export for Social Media
05:11 49More Clever Tricks with Capture One Pro 10
05:57 50Final Q&A
13:11Lesson Info
Tool Basics Part 2
So clarity is kind of like a contrast adjustment, but if we go back to fantastic Sketch so let's draw a nice histogram, zero, 255. So what clarity does it's still a contrast adjustment but it's really only dealing with this part. So we're gonna avoid doing much to the shadows and we're gonna avoid doing much to the highlights. So it's purely a mid-tone adjustment and the benefit of that means you can push it quite hard you can get a nice pop from the image, but without horrible shadows and horrible highlights. So if we take this image and we do contrast for example and we push it and we push it and we push it we've got no detail left down here we've kinda got no highlight detail left, saturation's gone a bit ugly, it's not necessarily what we wanted to do, but if we take clarity, we can push that relatively hard and it gives us a nice mid-tone pop, but still maintaining pretty good detail in shadows and highlights and so on. Now there's four methods of clarity, which might sound excess...
ive but they all have a slightly different action on adjusting that. So let's just zoom in that a bit closer so there's these four methods: natural, punch, neutral and classic. Most of the time you're probably gonna stick with natural. If we stay at say max points a hundred and then we go to punch you might be able to see a tiny shift in the color. So punch just gives you a bit more of a kick in the pants for saturation adjustment. So if we go back to neutral and look at the warm tones, here for example, let's just ever so slightly, pop. And it's a bit of a stronger clarity as well. Neutral is sort of somewhere in the middle as you can see if we go back to natural, there's not really much between neutral and natural. The main difference is that natural does kinda a better job, when you want to push it harder. So quite often if you think of a building in front of a blue sky and you add lots of clarity you start to see halos around things. So natural works very well if you need to push that adjustment harder. The last one classic, is actually a really old kind of algorithm from catch one six and you can see it's worlds apart from the latest one. Some people still quite like to use it so again, experiment see what you think. But personally I'm sticking with natural most of the time. You can see it's really the kind of magic slider for any image it works, works really really nicely. Underneath that we have structure, which basically does that it enhances structure. So anything with sorta fine detail like this rusty metal, if we just bring this up then you see these scratches. I'm kind of being obsessive so you can see what it does, but if we just preview that and then let go. Anything with sort of edge definition gets an increase. In terms of other sort of examples, also with whoops, fur structures quite good at increasing fur definition, or anything with animals. If we take one of Drew's penguins for example. Then a little dab of structure, we look at the feathers, are they feathers? I think they're feathers and helps to just increase that structure like so. So structure is not a contrast adjustment, it's boosting that edge definition and such. So let's drop that down yeah so again, no right or wrong to what you should use here and if we probably look at the penguin, if we do relatively hard clarity adjustment, let's go to a 100% and then switch to punch. Then you can see, it's just a bit more aggressive and if we look at the saturation of the colors here. Probably on the beaks a good place to look and it just ups it a little bit more. The last one to look at in this particular tool tab is vignetting, and this is actually really, really simple to understand. So if we just reset that, for example. Vignetting just applies a creative vignette to the image. There's very sorta little influence you can have over it. Except, darken or lighten like so. Personally, I think it does a really nice job of adding a vignette, 'cause it's a really nice blend from the outside in, it's got a really nice roll off so it's not like an obvious vignette. It's a very natural, nice looking vignette. It's not like you see a big kind of bright halo in the middle, and everything goes to black on the edges. You've got a few different methods so elliptic on crop means basically it will follow the crop. So as I move the crop, then the vignettes gonna follow that. We've got circular which just gives you a slightly different shape on the crop. So you might prefer how that vignette looks to the elliptical for example, and you've also got circular which kind of disregards the current crop and I can't really think of a good use, (laughs) why you would use that. But it's there so elliptical or circular tends to give you a really nice effect on there. So if you only ever spend your time in the exposure tool tab you can actually take images a very long way. When you saw earlier, that even just with white balance exposure and levels. You can take a very dull, flat image into something pretty punchy. Inviting clarity as well, you've got that extra mid-tone boost and then really you're on the way to some really good image processing.
Class Materials
Bonus Materials
Bonus Materials with Purchase
Ratings and Reviews
Stef
This is a good overview of Capture One 10. The course is well structured and presented logically and progressively with clear and concise examples. The software is intricate and the amount of details presented will benefit from a second or third viewing, along with sufficient practice. David is an excellent teacher, slow enough to follow, fast enough to keep the listener's interest. I would agree with a previous reviewer that the shooting session was uninspired but the tethered demo was thoroughly useful nevertheless for someone to become an assistant, for instance. If you have ever used LR in this role, you will appreciate the power and stability of C1 for tethering. With regards to the comment about this class being non-creative; before you can run you have to walk and this course is all about understanding how to operate the software not about what you eventually want to do with it. Capture One is well designed, speedy and its homogeneous interface makes it easy to get to a result once you have a good knowledge of its layout and principles, compared for example with LR which is all over the place with modes, inconsistent and slow operations. Likewise, the C1 color editor is miles ahead of LR color functions, in simplicity and overall efficiency. This class is about mechanics for a reason; creativity is a parallel stream. It would have been beneficial to have a module highlighting major differences with LR for people migrating to Capture One as the word on the street is that C1 is hard. I would suggest to listen in to convince yourself of the contrary. All in all, I recommend this class; it is time well invested if you want to become more comfortable with Capture One and discover its potential.
Maria Baptiste
I recently purchased Capture One because I needed a RAW converter that was more dependable and also more reliable when it came to shooting tethered. I also noticed that many of the photogs I follow really enjoy using Capture One and rave about its efficiency. After looking at a few YouTube videos I decided that I needed something more thorough and of course CreativeLive delivered. This is an excellent course and David Grover is a superb instructor. His in depth and thorough knowledge of the software is obvious but his manner of speaking and the simplicity with which he provides directions makes it easy to learn Capture One and lets you appreciate a sophisticated and expertly engineered software. If you're working with Capture One 11, layers is a little different than in version 10 but otherwise everything David discusses is the same. I thoroughly enjoyed the course and will continue to refer back to sections as needed. Thank you Creative Live and David Grover!!
user-b05602
The course is excellent and David does a nice job. However, I'm an advanced armature, not a professional. I had my own personal color darkroom, then Photoshop/Bridge, and NIK which I still use occasionally. My intention is to rely on Capture One which I purchased about 90 days ago. I would have appreciated a SIMPLE, here is how you load (Import) an image, "save" or "save as" and how to simply export an image (Variant). Yes those items are covered but, David has a tendency to casually and very quickly jump from Tool Tabs or Cursor Tools or the Tool Bar and then magically it's done and he has moved on. How did he do it. Based on David's training, I love the results I get with Capture One Pro. Yes, I know this is not Photoshop - it's much better. I never used Lightroom. I added variant to my vocabulary and I understand all the tools. I still struggle with the simple import, save, save as, and export of a image I worked on and cropped, then trying to consistently open that image as I see it in Capture One Pro. Sometimes it works, sometimes it doesn't and I don't know why. I will continue to re-review the course materials and I will figure it out. I know there is something simple I missed as David navigated the various tools and pull downs. I recommend this class but it does little for the armature. Capture One Pro is second nature to him and he knows all the ins and outs. I would help me a lot if he just add a 5 minute intro, importing an image from a folder, just crop it, then export the variant and open it in Photoshop.
Student Work
Related Classes
Fundamentals