An Introduction to Capture One For Lightroom Users - Landscape Photography

[Music] okay so a good afternoon or good morning or good evening wherever you are and what I want to do in this video is have a quick look at capture want have an overview of capture one Pro which I've been using for about nine months now since the late last year then since I've used it I've use it in a couple of videos a couple of my workflow videos and it's probably one of the things that I get the most questions about is my experience of using capture one and how I find it so what I want to do in this video is to give just kind of an introduction and overview to capture one and talk a little bit about my own personal experience with it and and and how I use it in my own workflow what I don't want to do what I can't do is give an in-depth look at all of the different features and all of the different capabilities of capture one phase one have got a fantastic capture one Pro learning hub which is full of videos and pretty much everything that you need to know to get you going with the software so if you want that kind of information that's the place to go for that I shall put a link in the description below for that and what I also don't want to do is to turn this into a comparison video about Lightroom and capture one and which is better and which is worse because from my point of view it's they're a little bit apples and oranges they do slightly different things as they work in different ways and I really can't say that one replaces the other one is better than the other they're just different and I found that in my own workflow I still do use both I use capture one Pro alongside Lightroom I do most of my editing now and capture one Pro but there are still quite a few features in Lightroom that capture one Pro doesn't have for example it can't merge panoramas it can't merge bracketed shots things like that so I do find that I use both of them but what I also what I do find with capture one is that I do much prefer the raw conversion from from my Fugit files it just gives me a little bit more details if you can see this image it we're looking at now if we just zoom in to 200% I just find that the level of detail that it gets me is better than I can get out of Lightroom now again these things are subjective I know a lot of people who use Lightroom who say by using the sharpening and clarity and texture they can get the files looking the same as they didn't capture one and that's great go ahead and do that I'm not trying to convince you to use one or the other from my own personal experience I just find that I prefer the detail that I get from capture one a little bit more than I do with Lightroom so for me it works great as raw conversion and then just some of the tools for contrast and for color again I actually prefer them in capture one but as I said my workflow involves both and I would say that if you're a Fugees and it's certainly worth looking at capture one Pro if just for the raw conversion now the first thing that I'd like to do is to start off by looking at the the workspace because I think moving to any software can be incredibly intimidating particularly when you're used to working in another piece of software or something like Lightroom when you switch over to using something that can be quite daunting just knowing where things are so one of the first steps that I think that helps a lot is familiarizing yourself with the workspace and what I found really helped is trying to make the workspace on capture one as similar to Lightroom as possible because it's very flexible you can move around the different the different sorts of different toolbars and things like that the different panels and try to make the the overall appearance of capture one much more similar to the way that Lightroom works and that I feel has helped me a lot with my workflow I don't have to stop and think where things are quite so much so the first thing that I that I did was move the the toolbar over on the right I think by default it's over here on the left and capture one but I've switched it over to the right so I've now got all of the different tools basically like the the panels in Lightroom so everything is down there on the right and the other thing is that capture one is designed so you're basically supposed to work your way through these different panels here a little bit like Lightroom with the with the viewer panel and then it was the library panel and then the develop panel so this would be the equivalent to the library panel here and then you you work your way across now I found that a lot of the tools were kind of divided among these different tabs so what I did was what you do you can just take them out go to different tab slide them in I've already got lays there so I'm just basically duplicating that and that basically put everything on on one panel here so all of the tools that I need a crop spot navigator layers are all here on this on this panel on the right hand side and I tried to do it as much as Lightroom similar to like them as possible so we've got the histogram at the top and then as you work down you've got the the white balance and the exposure which has got the similar to the exposure contrast moving down through the different contrast tools high dynamic range which is highlights and shadows levels curves clarity and then the color tools at the bottom and then sharpening tools below that and then the more special effects it's like black and white from where vignetting at the bottom so what I found is that this feels very similar to me to the way that I work in Lightroom I just basically worked my what start at the top and then working already down through contrast and then color and as I said it's very easy to move around very flexible you can move things in and out up and down and arrange it how you like and then once you've done that you can go to window workspace and save the workspace here and then this basically you can see I've called it and this workspace it's gonna be set up and that's your default and that's how it's always going to look ok now let's have a look at the way we organize files in lighting so everything is done in this tab here on the left and I use catalogs now a catalog in and caption is basically the same as a library in Lightroom can capture one also have sessions which I tend to not use they're basically for short projects and I find a catalog works just in pretty much exactly the same way as a librarian librarian which is something that I'm familiar with and something that works really well now as you can see this is very similar to Lightroom and this is you've got these three tabs here this this low want folders and that that's basically a mirror of my hard drive if we flip over to to Lightroom you can see here it's exactly the same which is the same as my finder it gets organized in the same way so this is the physical location of all of the images that I've got in this catalog and then up here in the user collections what we've got our projects and folders which I've created which have virtual copies of the images from here so this is a physical location here at the bottom these are all virtual copies which means that I can take images from here and put them in multiple different collections and they won't be repeated because they're just virtual copies you won't be taking up space on your hard drive there's only one copy and that's here in the physical space in the hard drive now what I do when I import and when you go to the import window is you see here and the import to always leave this at current location so that means that the images are going to be left where they are in the hard drive they're not going to be the physical images aren't going to be moved or imported actually into the capture one catalog they're going to be in where they are on the hard drive and as I said you can see it mirrors the way that I've got Lightroom because they're actually pointing at the same images if you use this system you can basically point a both quechuan and Lightroom at the exact same image on your on your hard drive now any adjustments that you make to it either in Lightroom or capture one obviously aren't going to be covered across you won't see those adjustments in Lightroom if you've made them in capture one or vice versa but the image will stay in the same place and it saves you from from duplicating images and just basically filling your hard drive up with more images than you need and finally when you delete an image from the collection it's not going to delete it from the hard drive if you want to delete it from the hard drive then you need to delete it from the folders down here would then happen is when you go to Lightroom that will be showing up is offline or that the the Lightroom can't find it because you've actually deleted it from the hard drive alright so let's move on to adjustments now and you can see as I said earlier I've put all of the adjustments here on the right in this panel which is very similar to the développé panel on Lightroom and a lot of this will look very familiar the histogram crop spot removal that Navigator there which is the same as in photoshop then we have the white balance with Kelvin and the tint exactly the same as in library and then the exposure which is now we would move into like the basic panel that you would have in Lightroom and you'll see here some differences it doesn't have highlights and shadows nor blacks and whites now the highlights and the shadows are here in this next panel down the high dynamic range one of the things that I like about capture one Pro is that it has in my opinion the way that it deals with with pulling back highlights is better than in lighter image it seems to make a smoother cleaner job of highlights particularly highlights that are very close to clipping in Lightroom they can look a little bit dirty and a little bit just messy they don't really look pleasant but I find capture one just as a little bit bit better a better job with with highlights so if I've got an image like this one weather where the water is clipping here I find that Quechuan is better at bringing back those details so then you've got the shadows which again it is a very good job with when we get to things like blacks and whites then we move down to these panels here the levels and the curve now Lightroom doesn't have levels but it does have a curve a tone curve if I show the histogram here if you're not familiar with these tools what you can see is that the histogram is is duplicated here and so we've got the shadows here on the left this is the mid-tones and then the highlights on the right so by moving these sliders here we can we can control the shadows or the mid-tones or the highlights so if we want to remove the black point we can just slide this in a little bit or a little bit and that will change the black point and the white point and one of the things that I tend to do quite a lot with with my images one quick tip I think you'll be able to see on on this layer here is that this is the lab this is the lay of the land is that I always tend to to just lift the blacks a little bit on the tone curve because I just think that gives me an gives me more texture that makes the blacks a little bit less digital a little bit more FileMaker and just there's just a little bit more texture and a little bit more depth there so most of that is pretty familiar with everything that you'll note from Lightroom so what I kept you on starts to get really quite different from Lightroom is in the fact that it uses layers if you've used Photoshop at all then you'll be used to layers and of making adjustments on different non-destructive layers which are all piled up on top of the background image Lightroom doesn't do that yram its non-destructive but pretty much everything that you do is either is on one layer is on the background layer with various filters like the gradient filter or radial filter on top of that but capture one works slightly differently in the data it allows you to create separate layers and then do different adjustments on each one so basically you always start with the background layer this is the core you can make global adjustments on this and you've got access to all of the separate tools just like me it's like these windows so we can see a little bit more but then what I find is that I'd like to use separate layers for separate adjustments now in Lightroom you can make as many different gradients as you like you can do the same thing to capture one but each gradient has to be on a separate layer so every time you want to make you want to add a gradient for example then you click here to create a layer so that's that's create a layer and then double click and hold here to get access to the different layers so you've got draw mask which is basically the same it's brush and you can see these have the same keystrokes OB will give you a brush you've got a linear gradient which is G or radial gradient so if I want to select a radial gradient then a linear gradient then just then I just pull it down and these dots just like Lightroom are the different different gradients that I've already got on there but each one as you can see if I click on one if you look over on the right here will take me to a different layer because each one is on a different layer which I've named so the first the first layer here was just a gradient filter that I put on sky and now if I hit em that's going to show me the mask so I can see what area that I've affected the next grading I carried created was for the land so you can see that there again click em to turn the air to turn the mask off so basically each different gradient each different radial grading each different mask that I create using a brush is done on a different layer now one of the things that's great about capture one is that when you use a gradient on in lightroom you're limited to the amount of toys you get you only get access to the basic panel and even then some of the things are removed so there's no vibrance for example but in capture one you've basically got access to all of the tools on every single layer so if you want to use for example I don't know the color editor tools on a on a gradient mask or if you want to use the curve or the levels tools which I as you can see I've done quite a lot so this layer is is the land this was me working on the foreground there or wanting to touch the sky and I've used the the levels and did I use the curve and also the curve tool there which is something that I can't do in Lightroom I'm limited to just the regular sliders of blacks whites the exposure and things like that I don't have the nuance of being able to use curves on something like a gradient filter from the sky or a radial filter or something like that and what this also allows me to do is that I can turn off and just with one of the filters now that's one of the things it's always bugged me a little bit about Lightroom is if I've added a gradient filter and I want to see what it looks like on and off I can know that the or not the the activate switch for the filters there turns all of the gradient filters on off or and on or all of the radio filters off and on again but here like in Photoshop I can turn individual layers on and off and see how each one affects the overall image so here we have a radial filter that I've use if I hit I mean you can see what I where it is this is it here now the radial filter is working pretty much the same way as in Lightroom you pull them you stretch them like that you can rotate them you can make them fatter in a bigger smaller very much the same way is to them off so we can see the mass now this is what what I've done here with this is there's a trick that I do on quite a lot of images I'd like to shape light and I use radial filters and gradient gradient filters to shape the light so here what I've done is just created this radial filter and just increase the exposure a little bit and then I usually warm that up a little bit just to give just the idea of the light moving across the landscape if I turn that off you can see there the effect that that's actually had and the same thing with the vignette in the bottom here you can see that I've got a vignette and the bottom left there and this one is a bottom right and these were done with gradient filters now the idea of vignettes and using this radial filter it's all about shaping the light it's try to move the eye in a particular way through the image to kind of make parts of the image slightly brighter and to give some direction to that using the radial filter and then just a vignette and some of the less interesting parts in the bottom of bottom corners of the image there just to pull your eye through the image to the two what I really want you to focus that when you're looking at the image so let's have a look at a different image to have a look at the luma range future which is over here above the levels in capture one Pro now the luma range of luma masks are basically the same as the luminosity range mask in Lightroom which you can add to gradient or radial filters or luminosity masks in Photoshop now in brief what they allow you to do is to target a particular tonal range so you can select just the shadow a part of an image or just the mid-tones or just the highlights or you can remove part of the tonal range from an image so remove the shadows and have the have the adjustments that you make affect just that specific part of the image so as I say you can do them in Lightroom on the filters but in capture one you can apply them globally or you can apply them on the filters so just to give you an example here this one is applied on a filter I made a gradient filter at the top and then I just hit luma range and you can see that that I by sliding this up and down basically if you look at the shadows over here in the in the top and top right on top left by sliding it up and away from the shadows I was deselecting the shadows so the adjustment that I was making would only affect this part of the sky so I wanted to darken the sky but what I didn't want to do was to darken down this part of the mountain here that would be almost like having a a natural gradient filter across a physical greater physical Grad in front of the camera which would also darken the bit of a landscape that it covers so using the luma masking what I can do here is just make it so that these shadows aren't affected and the adjustment that I made which was just by pulling down the tone curve here in the pan India in the curve tool only affected the brighter part of the sky but you can you know you can slide this up and down and just affect you can say you remove the highlights and changing this angle here moving the bottom basically affects the feathering or the fall-off so how gradual the change between the the tone that you the your effect that you're selecting and the terms that are not selected is so yeah like feathering or something like that but on this particular on this particular image what I chose to do with let's do some luma masking just on the bright part of the sky there so now let's have a look at color adjustment now color adjustment is usually one of the last things that I do that's why I've got it below the the different contrast tools here the color editor and color balance are down here and I usually use color tool later in the in there in my workflow because contrast any adjustments to contrast will also adjust the color if you're increasing contrast in an image you're going to increase the saturation if you decrease contrast and you're decrease saturation so it so any one I've actually got the contrast finish that I really feel that I'm in a place where I can start to seriously properly look at the color and I usually do that with this toy here the color editor which has various different panels there's a basic where you can see the color wheel is split up there but I tend to go with advanced because I like to use as a color dropper just to work specifically on a particular tone so here the greens what's really important so I just select the greens there and you can see it shows me here on the color wheel exactly which part of it that I've selected I can even blank everything else out by clicking this if you selected color range there that will make everything else go black and white go monochrome so the only the bits in color are the pots and I'm working it now and you can see that I can slide the earth the hue up and down to change the actual tone of the greens to a more yellowy orange a green to a much brighter more bluey green there let's just take that off so we can see it in context and I can also open open this out here which just gives me a bit of wider leeway with the huge saturate with the hue tool there and then the saturation which it again this is a very similar to to the tools that you enlightened desaturate that tone or increase the saturation and then like this which is the same as and slider so that just makes it Brad makes that particular color tone brighter and that makes our particular color tone darker I can also expand this out by clicking that there which increases the range of smoothness that I can get within the color so let's just try and put that back because that's just looking a little bit stronger I can't quite remember where it was but it wasn't anything like that desaturate it I think is a little bit more green a little bit less saturated somewhere around about there looks right so another thing that you can do this is as you can go here to these three dots and create a mask from the selection so the color tones that I've got selected they're just these greens what this is gonna do it's gonna create a mask from that which if we got some layers and we'll see here that now we've got this layer 1 and if we hit em to show them that that's the mask that it's created so it created a mask just from that particular color tone that I was using and I can now use any of these tools so I can now apply levels or curves just to that particular tone so I can darken it and it gives me a lot more control than the just the luminance tool gave me in the in the color editor there so now I can just work on the mid-tones within that I can go to curves I can put an S curve in there so again it's it's a really nice tool which I'll which again I use quite a lot and I do find that the color tools in capture one are really quite powerful so when you finish editing your image when you've done all the adjustments that you want to make to it that contrast and the and the color then the final step is to export that image now exporting on capture 1 is done over here in this with this little cog in the processing panel and in the way that Lightroom has presets exporting presets this has processing or recipes so you can create different ways in which you'd like to export your images if you want to a smaller version for the web or if you want a full resolution now as I said earlier any editor any any adjustments that I've made to the raw file in capture one Pro on not going to be you're not gonna be able to see them in the light room so if you want to have a copy of that file of those adjustments stored in your Lightroom catalog what I do is that I've created a processing recipe here where exports a full size uncompressed TIFF file to this folder here this destination folder which is called Auto imported folders on my hard drive and then I've got Lightroom setup so it automatically imports any folders from there so if I click process you can see that it's just processing it there and then if we flick across the Lightroom you'll see that it will appear here there you go in this folder it's been automatically imported into that folder because I've got Lightroom set here if you look at auto import photos and able auto import and you basically just create a folder there so anything that is that appears in this folder is automatically imported into my Lightroom library and the processing recipe that I've got in capture one basically imports for the imports images to that folder so it kind of does a circle and now it appears in Lightroom so what I can now do is then just drag and drop it anywhere on my hard drive so I would put it wherever the original raw file is stored and if I drop it there then it's going to appear next to the original raw file in my Lightroom catalog and also actually on the hard drive of my computer what I won't be able to do is if I go here I won't be able to see it in capture one because I haven't imported it yet but if I want to do that then I would just click import and Riaan port the image it's a little bit pointless because you just be importing a version of a TIFF version of the file that you've already have the raw of so there's no point in doing it there unless you want to be able to view all of your files and capture one alright so that's pretty much it for this video as I said at the beginning this wasn't meant to be a really in-depth look at all of the different features and aspects of capture one Pro it's just basically an overview of how I've been using it and what I found that I particularly liked about it some of the features that I find very useful in it so I hope that's been interesting I hope it's been useful if you've got any questions at all just drop me a line in the comments box or send me an email and I'll get back to you and as ever thanks for watching thanks for all the support and take care [Music]

Channel: Andy Mumford

Views: 19,119

Rating: 4.9527826 out of 5

Keywords: capture one, lightroom, porcessing, landscape photography, tutorial, photo editing, photo processing, fujifilm

Id: -qDrcbdibSc

Length: 26min 14sec (1574 seconds)

Published: Sun Sep 08 2019