What's Possible with Capture One: Quick Edit
Lesson 2 from: Get The Most Out of Your Photos with Capture One Pro 10David Grover
What's Possible with Capture One: Quick Edit
Lesson 2 from: Get The Most Out of Your Photos with Capture One Pro 10David Grover
Lesson Info
2. What's Possible with Capture One: Quick Edit
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
What's Possible with Capture One: Quick Edit
So what I thought the very first thing that we would do is just basically look at within a couple of minutes the potential that Capture One can do, just to get you thinking about when you first look at your file out of the camera, not to disregard it, not to chuck it away, but to really think how can I shape this image into my, sort of, end result? So we have this image here shot by my friend Drew, also working at Phase One, but it actually began life looking like this as it came out of the camera. So it's kind of wonky, it's underexposed, you know, the white balance is off and so on. You might think, you know what, I don't think that really makes a very interesting shot. I'm gonna toss that in the bin. But before you do that, I would really urge you just to spend, it could only be 15 seconds just on a shot, just seeing what's possible. So, just to run down with this one for example. As I said, we notice it's a little bit wonky, so I can grab a cursor tool up at the top here and we can...
just draw along and straighten up the horizon. So a simple fix like that. Personally, before I really start doing anything else, sometimes I like to just get the crop or composition to where I think it might be useful because then that helps me visualize better the end result. So now we're getting somewhere. And as I said at the start, we can tell that, you know, the exposure's a bit off, looking at the histogram we can tell, you know, it's a little bit dark, so it does make sense just to grab our exposure and just lift that a little bit until something is looking good. Now white balance wise, it's always tricky in Antarctica because it can fool the camera with all that bright, white light around, but I'm guessing the iceberg is probably pretty neutral. So grabbing my white balance picker, you can just pick off the iceberg and neutralize it quite nicely. Now there's no such thing as the correct white balance as such. We can have the mathematically correct one but if perhaps you want to add a creative vision in there again, I might personally just make that a little bit colder, just a touch, just so it's a bit more realistic to the situation. So that's already a hell of a lot better than it was before. So now we can tell it's looking a little bit flat. So a quick fix of the levels, which we're gonna talk about extensively, so don't worry, all this stuff that I'm doing here we're going to go into lots of detail. So already that's looking much better again. So a little bit more contrast, and then finally add some clarity, and clarity is a great adjustment just for giving an image that extra pop. So we're nearly there. Last few steps, local adjustments, as I said in the introduction, really great for just picking at parts of the image to really adjust those individual zones which is fantastic especially as you have all the flexibility of the raw file. So if I grab my gradient mask and just draw on the image like so, which is gonna give me just an adjustment in that red zone at the top of the image, then I can darken my sky to make it a bit more dramatic and even more clarity to up that as well. Last final thing, again we can make use of local adjustments once more. This is our subject, spiky iceberg, so I'm gonna draw an actual mask roughly, I don't have to be super critical, so I'm just gonna draw a mask, whoops. What I meant to do before that was to make a new layer and call that iceberg. So let's just mask on our iceberg. So gonna do it just pretty rough, like so, and then that will give us the ability just to work specifically on that. Now, a quick shortcut, I've drawn 'round the edge. I can just fill that mask in. So that gives me my iceberg like so. And then add a little bit more clarity into that as well. So not only did that have my base adjustment of clarity that we did to the whole image, we've now got a bit more on the iceberg and if I turn that layer on and off you can see the effect that has just to bring out that structure a little bit. If we zoom into a hundred percent, and we can see it's got some pretty nice detail, but using our structure slider just a little bit on the image itself will just help bring up those cracks, crack and nooks and so on, to make it look even better. Last thing to do, Drew obviously didn't clean his camera while he was out in Antarctica, so we've got a couple of spots which we can just take out with our spot removal tool. I think it's just those two. Yeah, and pretty much I think I'll throw in a little bit of vignetting just around the edges and we'll call that I think just about done, like so. Let's hide my tools, that's command-t. So really, I don't know how long I spent on that, probably two minutes, but we went from, if you remember, let's bring up, um, original, so let's just make a virtual copy of that so we can look at them side by side, and see where we came from and where we ended up. So it's, as I said at the start, it's pretty easy to sometimes disregard an image we think is too dark or white balance is no good, I didn't get the right composition, the angle wasn't quite right and so on. So we've got so much flexibility in that raw file. I mean this is shot with a Phase One camera but any modern day camera these days really has incredible dynamic range which we can really pull around and create the file that we want. You know, ten years ago we were restricted with megapixel size so we couldn't crop so much, high ISO was kind of difficult to work with, but we're blessed now with modern technology to really give us the power to do these things. So that was my, kind of, quick edit and I hope that inspires you that, really without much, kind of, trouble, you can go from something like that on the right, to something like that on the left, with just a few simple steps.
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
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Fundamentals