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Image 6 - Landscape

Lesson 46 from: Get The Most Out of Your Photos With Capture One Pro 12

David Grover

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Lesson Info

46. Image 6 - Landscape

Correct a landscape image, using tools common for the category like the Keystone tool, saturation, radial gradients, and more.
Next Lesson: Image 7 - Portrait

Lessons

Class Trailer
1

Interface Overview

04:08
2

Customizing Your Workspace and Keyboard Shortcuts

15:55
3

Making Your First Catalog

07:02
4

Importing Your First Images

11:51
5

Virtual Organization

20:21
6

Basic Tool Behavior

13:32
7

Starting Approach to Editing

24:02
8

Next Level Editing

20:10
9

Color Tools Overview

16:28
10

Basic Copy Paste Workflow

10:40
11

Basic Export

13:32
12

Getting Started on an Edit

05:13
13

Adding Layers to Your Toolkit

10:25
14

Radial and Linear Gradients

08:21
15

Luminosity Masking

10:12
16

More Advanced Layers

22:44
17

Removing Simple Objects and Local Adjustments

14:52
18

Advanced Color Edits

05:31
19

Using the Color Range to Select Just What You Need

05:45
20

Editing Colors in General

03:48
21

Editing Skin Tones

14:30
22

Combining Color Selections with Layers

08:58
23

Creating Masks From the Color Editor

10:28
24

Color Grading with the Color Balance Tool

16:34
25

Intro to Second Day

01:37
26

Session Overview

05:47
27

Tethered Basics

05:04
28

Setting Up Simple Sessions and Setting Naming Conventions

10:11
29

Controlling the Camera

05:08
30

Handling Next Capture Adjustments

07:39
31

Using Live View Focusing and Overlay

19:40
32

Selecting Images and Using Smart Albums

14:55
33

Saving a Session Template

03:51
34

Overview of Process Recipes

05:28
35

Tokens Overview

26:21
36

A Simple Round Trip

14:04
37

Sharpening Workflow

08:06
38

Creating a Recipe for Web Output

15:50
39

Selecting with a File Name List

11:46
40

Using Plugins and Sharing to Clients with PRODIBI

06:06
41

Image Review 1 - Sometimes Simple Works!

08:44
42

Image 2 - Radial or Gradient Masks, Object Removal

07:28
43

Image 3 - Keystone Tool and Aspect Ratio

09:11
44

Image 4 - Using Styles in Capture One

10:04
45

Image 5 - Black and White

09:13
46

Image 6 - Landscape

07:22
47

Image 7 - Portrait

05:06
48

Image 8 - Action in Lowlight

07:46

Lesson Info

Image 6 - Landscape

So this is El Capitan. I think in a certain point in the year you get this sunset or sunrise, see if the meta data time is correct. 2 30 in the morning, apparently so. I'm not sure if that's correct, but I the sunrise or sunset, you get this effect on the side of El Capitan that looks like it's on fire or a red waterfall. So first of all, we're going to go back to our keystone to, and we're just gonna manually do it because obviously we're standing on the ground or the photographer is and we're looking up eso. It's kind of making the mountain fall over a bit, so it kind of reduces its drama. So if we take the vertical spider and then we can go in this direction and then that will essentially spread out the image like so so it looks a little bit more imposing. So that's before, and that's after, like so if we look at our crop, you could see what it's done. It's just stretched out the top of the image once again. If we wanted to crop outside, we could take that box and then you could see...

, I can actually speak outside of the image and fill that in him. Photoshopped. Later. If I wanted to selects Look at our crop. Gonna do something like this h on the keyboard. It's probably a little bit under exposed, I'm guessing. So if we look at our levels, yes, it is because the hissed a gram is lead over to that left hand side. Eso. Let's brighten it up ever so slightly. Not too much, because it's the sunrise or a sunset. So we don't remove that drama side of things. So just a touch and we go a for all time and we want to bring up the saturation for sure. So let's bring that up. That looks better, I'm told. It does look pretty impressive in real life, a swell. So this is really the focus of the shot. So we want to kind of, you know, concentrate arise over in that direction. So let's add a new empty layer on Let's go for a radio, Grady, a mask. So let's start drawing here, and we're going to sit there right on top of our fiery goodness there. Remember em so you can see the mosque on. I'm going to darken down the outside a little bit and also the brightness as well. Now that feathering is a bit too harsh. I think you're agree. So let's soften that off to some extent as well. So that's a little bit better. Um, if we go back to my background, one thing that we didn't do is play with a bit of clarity, and I'm sure this will lend itself really well. Toe having some clarity. Let's name this one is our radio last radio mosque like so? So that's this one. Now are quite neat. Thing you could do is that you can copy layers so you can duplicate it. So we use that radio mask, this one to darken down those different areas. But I want to get the opposite of that, and just to maybe play around with this area a little bit more so I'm gonna make a new layer, and then we call this the for every bit for one of better expression. And if we right click on that layer, you'll see the option called copy mask from. So I want to copy my radio mosque, so that's going to give me an exact duplicate of that one. But now what I'm going to do is right. Click and invert it, so that gives me the opposite. So it's just this bit in the middle. So now I don't if it's gonna work. But I think if we go for contrast and maybe a bit of clarity, we can make that a little bit brighter. And also where maybe got a bit too much highlights stuff going on. So if we grab our highlight slider, weaken, darken that down ever so slightly and we're still on this part. So that's just this one Here are fiery bit, so why don't we see if we can use the color editor? So let's go to the color editor. Pick on here and I won't make this a bit ever so slightly darker and a bit more saturated as well. So it looks much more orange and so on, so that's looking pretty good. I think now this fir tree in the foreground is maybe a bit distracting, so let's see if we can get rid of that. I'm not sure if it worked, but let's try. So let's add a new hell layer like. So let's call that tree. Grab my dramas brush to make it a little bit bigger, not too soft on. I want to try and pick a source point that's relatively close to it. So if I do option click, let's go here and then see if I can just mosque my way around the tree like so and see I might have to adjust my source point. So let's hide my mosque. Yeah, we just see clipping the edge of the rocks there. So if I pick this up on DSHEA, shove it over a bit, then we can almost almost almost get rid of that. Maybe I've got to go up here a bit. Say, I thought it was maybe a slight risk. Yeah, not too bad. Let's struck back down there. We might be out to get rid of some of it. So let's try that. Why? It's got rid of a little bit of it, but it's not perfect. Maybe if I just dropped capacity down to some extent on brush in a little bit more, there may be my brush was too hard. A swell said to make it softer and then just fill in some of those edges, so it can be a bit hit miss some time. So I think I'm gonna chalk that one up to experience and say, Let's keep the fir tree in. Do a round trip to photo shop Something like content where will probably work really nicely anyway, I think I'm pretty happy with that. So our radio mask is just darkening down those edges. And then the fiery bit that's the inverse of the other radio mosque is just making that a bit richer, more saturated as well. So option key reset. So that's before and after. Like so, if we look at the original by cloning a Berrian, Sorry, let's reset that theory. Genel. When we do the reset, it doesn't reset the crop. And it doesn't reset the Keystone Corrections because that would be kind of irritating to see the image jumping back and forth with that keystone correction. So the research avoids any of those competition composition tools

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Ratings and Reviews

Leon
 

This is a superb course. David is an excellent teacher. I'm coming to the end of it and have learnt so much. I've been using the software for a year, self-learning as I went along. I had watched the odd David Grover video on YouTube, but never got much further in my understanding of the software. Capture One is brilliant software and to do it justice you need to learn it properly from an expert. Highly recommend this course if you want to produce professional results.

lakiut
 

Excellent course and a very engaging speaker. If you are starting with Capture One 12, this is the best class to take. The lessons are presented and explained in an organized way that it shortens the learning curve. Thank you, David. Cheers!

Jino Lee
 

One of the best course I've purchased. Very helpful and I learned so much more with this course and in a short period of time, than all the official Capture One You Tube videos put together! Anyways David Grover is the same guy who does the Phase One C1 official YouTube videos, so there's no better person to conduct this course than him! Truly excellent and if you think you know all about C1 Pro 12 interface, wait till you watch this course.

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