Architectural Capture One Workflow with Jeffrey Totaro

we're live i think so okay great we'll just wait a minute or so to let a few more people in the room we'll get started properly at uh like 2 32 sounds good you know or maybe 231 no nine okay i think we're gonna get started here you know good day and hope all is well with everyone and everyone out there is staying safe i just like to take a few minutes to provide a little background of what project lemonade is and also who digital transitions is i'm lance chad and i'm in sales with digital transitions and we appreciate you taking the time today to join us for a very special webinar with jeffrey tataro who is to my right here uh and he'll be sharing with you some of his capture one workflow tips and techniques that he uses uh for architectural photography specifically and uh some of the tools he uses as well that uh helps them you know in the field in the uh the office uh he's been shooting with phase one digital back since 2003 so he's been through uh quite a few generations of them and uh knows a lot about them also if you'd like to learn more uh this is a software-based uh webinar mostly if you'd like to learn more about tech cameras in general the hardware the uses of them um adam elstein had done a presentation with us two weeks prior and that's available in our archives for you to review also on the webinar today will be arnob chatterjee who's one of our technical specialists at digital transitions he'll be moderating the chat and passing questions along to jeffrey when appropriate and i'd also like to thank kate stone for whom without her we wouldn't be here today she has been organizing all of these uh webinars for us also assisting with the questions is brian lauer who is jeff's studio manager and right-hand man uh great guy and very knowledgeable a little background on what project lemonade is and how it all came about it's a variation in a concept that dt has been working on for a while now to provide online services of topical presentations and classes for not only our customers but the whole photography community as well for some time now this is an example of one of the ways we interact with our clients when the whole coven 19 situation became an unfortunate reality we thought there's no better time than now to get it going and that's how project lemonade became what it is today i'm happy to announce this is our 10th in this series so far with um many more presentations and classes scheduled into the future and that schedule's on our website we're excited to have you part of it right now and into the future once we get back to normal you can expect even more of these virtual type events along with our in-person events to start up again for those of you who are not familiar with through digital transitions is we're a company that's dedicated to providing the highest quality digital imaging solutions um that are available on the market today from key partners including phase one whom we're the largest and most diverse reseller partner in the world along with other hardware that's complementary to it along with hardware that we manufacture and design ourselves for some specialty markets that um like museums and libraries we also provide custom software and consulting and training services our relationships with our clients are the reasons one of the reasons we're here going into our 18th year we have offices in new york city la and virginia with reps along the all along the country as well we're split into four divisions commercial and general photography which i'm part of um and then we also have our cultural heritage division which um works with all the leading institutions around the world the cultural heritage institutions such as the getty library congress congress national archives we also recently uh acquired pixel acuity which is a digitization service bureau that has been using uh the phase one equipment over the years that we have provided and designed and uh we just acquired them and now they're part of our family and we're offering services as well and um our websites are a great resource for information um but you know the internet does not replace speaking to us personally and we're always available via phone to chat with you personally so without further ado i'm going to pass it over to jeff and enjoy the presentation and remember you can type your questions over on the right hand corner so go ahead jeff all right very good thanks very much lance and thanks everyone at digital transitions and kate stone as well for putting all this together it's a honor to be here to share some of my some of my uh experience using capture one i've been the architectural photographer since 1996. i was a former architect and instructional engineer before i switched gears way back when uh and i do recommend lance mentioned i do definitely recommend you guys go back and watch adam elstein's presentation he gave i guess about two weeks ago he covers very much the art and craft of architectural photography and using a technical camera and my presentation today is a little bit more about the post-production and getting a little bit into the nuts and bolts of capture one so i think this presentation and adam's go i think should go a long way in and give you some good information about uh using phase one and capture one for your architectural work uh i shot a 4x5 film when i first got started and that's actually what really got me inspired to get into architectural photography was the 4x5 camera and when it came time to switch to digital everyone else went dslr right away and it just wasn't what i was interested in doing so i ended up looking into the medium format system and i've been shooting the phase one system since uh since 2003. thanks very much to lance from way back then getting me getting me all those products to try out so uh just a quick overview what we're going to cover today uh i'm going to go through the uh capture one interface uh for those of you may not be familiar with it i figure some people are tuning in just to learn a little bit about capture one and i'm going to talk then uh in sort of two separate sections about setting up capture one for shooting uh on location on a laptop screen of a smaller screen and also editing down the tools that you may need when you're on location and then we're gonna switch gears and talk about working in a more controlled environment and back in when you're back in the studio and you can take advantage of some other tools that are a little more fine-tuned in terms of post-production and we'll talk about a variety of different editing tools along the way in both those categories and then toward the end i want to show an example sort of a start to finish uh if time allows of using just one raw file that was captured with the uh the iq4150 back just showing you what you can do what you can get out of one raw file and using capture one's layers and things like that and then at the end of each uh of those two or three sections i will leave time for questions so if you have questions about the interface please you know post those up during that section and we'll try and address those uh as we go along and before i share my screen i just want to talk about you know the goals of architectural photography in general and i teach a workshop and i think uh some of my participants would agree that my favorite word in that workshop is control if you don't have control in architectural photography it's a lost cause we need control over many many things during the shoot uh as many of you know but also in post-production we need lots of control as well and that's what capture one can can provide for us for instance color is very very uh important obviously and it's got to be accurate color there are many genres of photography where you can you can play with color and you can make it dramatic or different but when you're shooting for clients and there's the same carpet shows up in five different shots it's got to be the same color so we'll look at some tools today that allow you to achieve that and uh even though capture one has a tool called hdr for high dynamic range we're not getting into it all that look of hdr i think you all know what i mean not beginning judgments i'm just saying it's not necessarily for that crisp and clean and pure architectural photography look so i'm going to just rearrange some of my notes on my screen here so i know where everybody is actually i have to do this first i'm going to share my screen slide this one over there okay so what i have here and just as a reminder what we're going to do is work on setting up capture one as if it's more of a laptop size screen so that's why i'm not using my full display here so i'm going to maybe even shrink it down a little more just to make the point that you can customize for a smaller workspace so what we're looking at here is the default out of the box capture one interface and uh this is something you can customize uh dramatically if you like and just a quick uh walkthrough of the uh interface there's basically four sections to capture one there's the tool tabs over here there's the browser where all your thumbnails are going to be there's the tool bar at the top and then the center piece is is the the brow or the viewer rather so the tools across the tabs uh pretty much the library tool which you can go into to basically manipulate files and folders if you wanted to for instance view it was in the trash folder you could click click here to do that the the capture tab which has a camera controls and anything related to shooting uh tethered and controlling the camera from here we have the lens lens tab uh which has some of the lens correction things uh purple fringing some lens correction things that we'll talk about and then into the color tab there's definitely some strong tools in here we use exposure tab this is the one that i typically customize you can add a special custom tab i usually just come in and just manipulate this one and change it around i'll show you how uh the details tab uh sharpening noise reduction things like that uh this is our knob here sorry uh yeah would you mind just making that full screen so everybody can see um i i understand you're saying about the top screen but just on the screen here sure thank you no problem that makes sense surely uh and then over here is uh i believe they call it sort of the oh that's the metadata this is more adjustments in clipboard this is metadata and then a couple ones about output so what is nice about this you can with it with a control click you can actually add your own tool tab and make a custom tab if you wish to do that but i'll show you more about that in a minute at the top is the toolbars these are all your cursor tools you can't really manipulate what's in there but you can move it around if you like and there's a variety of other tools that will show and then the browser uh so what i like to do and let me just show you how i would go about setting this up from again this sort of out of the box feel uh or experience rather one of the things you can do is you can change where things are are placed so if i go into the view menu customize tools i can place my tools switch them all the way over to this side which i prefer and i'll show you why as we get a little further in why i like them on this side so that's one uh feature i like and is that you can just switch things around you could put your browser film strip at the bottom if you wanted to so what i like to do and again this is for tether capture keep in mind that we're looking at this in terms of uh tether capture uh on a smaller screen for instance as i'm going to get rid of some tools so one of the first things i'm going to do i think you're going to think i'm crazy i'm going to get rid of the histogram tool and you can just do that by hitting these three dots here and just hit remove tool i'm going to get rid of layers we're going to use layers later but i'm not going to use that while i'm out shooting i'm not going to get into that kind of nuance i will keep white balance exposure high dynamic range levels i kind of use that as my histogram even though that's not 100 correct uh and i'm going to get rid of curves i'm not worried about that kind of nuance while i'm shooting i'm going to keep clarity and i'm going to remove vignetting so i've trimmed this down so it could fit nicely on a smaller screen and i'm going to add a few other tools to it so one thing i add because i shoot a tech camera is the lens cast calibration tool and one thing you can do with capture one is you can pull any tool out and you can float it in the interface if you want to keep it there but then you can also switch tabs and you could tuck it in down here if you want to put it there i actually do something not not officially sanctioned by capture one i stick it up here uh i just something i always want to have handy for those of you who are not familiar with what this is for uh we can talk more about it later but it's uh something specific to shooting with a tech camera uh so say remove that remove that i'm going to also add i'm going to float it rather i'm going to take the camera control tool i'm also going to just float that on the interface i don't shoot my phase 1 with this because i can't do it with a tech camera but you can do with the xt camera which is really cool but if i'm shooting my sony or something i like to have that handy and i just leave that just stuck up here on the interface and then i'm also going to add to my exposure tab the annotations tool which we'll talk about soon so there's a couple ways to just add a tool like i honestly don't remember where annotations lives so what i can do is i can just click the control key and click on here and i can hit add add tool to the exposure and i can say annotations and that pops in uh so i could leave that down here if i want but i'm actually probably just going to float that one as well let's stick that over here since we have a little more room and we'll talk about what annotations is good for in a few minutes so i'm also going to add just quickly again holding the ctrl key on the mac add tool i like to add the uh the navigator to the top here and this is pretty much the the set of tools that i use primarily when i'm out shooting uh navigator is good for zooming in and panning around white balance and exposure that's obvious high dynamic range levels and clarity these are things i need to just do quick adjustments on site and just to make sure that i have what i need before before we leave site and so i can show my client what we're doing so i like to consolidate it down and keep in mind on a laptop screen this kind of ends right about here so it's nice and concise now capture 120 they added a scrolling option for the interface in fact it's probably still available one of these other tabs um but you can have a longer list of tools and then just scroll them because before it would just auto collapse them so quickly let's talk about you can also customize the toolbar itself uh let's see here so if i just hold the control key and click anywhere on the toolbar i can get customized toolbar so one thing since i move my my browser all the way to the left i'm going to take the copy and apply tool and then move that closer to here because those things go hand in hand in most cases i already have up here grids and guides which i use a lot i have exposure warning which i like proofing i'm not worried about in this case edit selected most time i don't really need that uh capture i probably will leave auto adjust i'm going to probably pull that over here closer to my tools but you get the idea you can really customize where everything fits another one i like to add if i can find it is battery status and this even though i can't really shoot the tech camera from here i can get the battery status of the digital back it's not connected right now but it's just nice to be able to look at that and be able to tell how much battery life is left on the on there on the digital back so let me just make sure i hit all my points here uh and grid and guide i believe that is down here so these are two tools that are really helpful and we'll show them on actual photos in a minute uh the grid you can adjust under the lens tab you can adjust the number of grid spaces that you have if you want a finer grid you can also use some some other built-in ratios like golden ratio or the fibonacci spiral if you choose so that's really nice and easy to easy to find and figure out now the difference with guides is that these you grab the pointer cursor tool and these are just guides that you can use for reference within your shot if you're trying to line something up if you're trying to make sure something's straight these are really really useful and now they've become nice independent buttons in the toolbar which is super helpful so also i want to show you just quickly there are ways to customize obviously keyboard shortcuts but that's uh something that is pretty obvious in most packing software packages these days but a few to point out is the g key sorry i'm on the wrong piece here the g key will clear out the viewer and allow you to see just your thumbnails pretty quickly which is nice for when you're trying to organize things and i also for the lenscast calibration the only custom keyboard shortcut i do is i assign the x key to this button here for create lcc and so when a new one comes in i just hit the x key it automatically generates it and the lens cast calibration profile you know it's done when you see this lcc tab on the on the thumbnail i won't get into too much detail about that we'll talk about lcc uh in a little while so the next thing i want to show you is i guess i'll do this first in under preferences here there are many preferences that you can define but this this is one i think it was joe at dt showed me this uh very simple thing but under the appearance tab you can change the color of the of what's hot of the highlight box around the thumbnail i think the default is white but the changing that to some color that you prefer like the screaming green is a is quite helpful just to be able to see what you have and then what i'd like to show you just next uh before we move on the next section is the idea of shooting with sessions capture one allows you to do a catalog or a session i've never used catalogs i honestly don't know a lot about it but i do know i like sessions sessions are really really helpful way to organize everything and the basic way it works is that you're going to give it a name of some sort and capture one will generate a folder structure which is consistent every time you do it so you have a capture folder a selects folder and output in a trash folder and i think your naming convention is really important here because it can really make things much easier for you so i use a six digit date so if we were doing today it would be 20 it'd be 04 and that would be 17. and then i do an underscore and i do the client name and underscore and the project name i'm going to put an underscore three because i probably have a few of these already in there uh and so that's going to be my project name or my session name and then i'm going to come down here to where the actual capture name or file name is going to be i'm going to take out all the words and just leave the numerical number and then that's going to be my capture name and so what that does that just generates a new session this is like a new blank session so that is how i generally do it if i were to show you in the finder just quickly list number three so this is how the session looks uh this little file here is the sort of session file you can double click that to open any session and then it just gives you these four folders nice and neat very simple uh one thing i do with the trash folder is to keep my capture folder clean i'll get rid of most things i don't think i'm going to need and i'll put them in the trash folder but the key to that is i don't empty the trash folder until i make sure the session is backed up so when i have a couple of copies of the session on external hard drives then i can go go ahead and maybe empty the trash and make sure i don't need anything that way i'm not not wasting a lot of hard drive space storing things i don't need so uh sessions are really really helpful and you can get it just a quick idea like you know you just put them right in and they're all numerical order it's very very quick and easy and it also allows me to search pretty easily because i can just search by client name or project name and find something from even from many years ago so that's um just a quick overview of the session workflow let me just um switch over here so if anybody has any questions let me switch over and take a look here about interface and such someone's asking do i use any cloud storage for backup i don't i'm not going to get it too much that that could be a whole webinar in itself but basically i deliver my final files through dropbox so at least the finals are in the cloud and all my sort of on-site storage is done with drobos and synology uh somebody's asking what do the color tags signify we're going to get to that that's an important part that we'll talk about and maybe arnold or somebody can answer this one how many guides can you add i think you can only have the two i think you only have one um i actually was just testing this i'm sorry i didn't mark this as answer but uh i have kept on adding guides i'm over 10 and it's not stopping me so i'm going to run into an upper limit if anyone else does please let me know but uh as of now i have not found one okay that's cool yeah i i just sort of stick with the two uh how many guys can you add oh let's see uh someone's asking to share the file with the settings for the capture one workspace uh i guess you can you can share a workspace i suppose right yeah i think you can because i know you can copy them between yeah exactly i'm just gonna look on the system where they are they should be in the library okay and someone's asking about uh capture one default sharpening suggesting it might be a bit too aggressive you recommend dialing it back a touch uh that's really down to personal taste and camera that you're shooting i generally leave it at the defaults unless there's a real special reason not to so i don't find um i don't find that to be i'm not changing that too often in other words and let me just look through here do you create session at shooting or post processing i create a session at the beginning of each shoot day so even if i'm doing a four-day shoot for instance i try to do a new session for each day uh that way they're um it's that way my backup process is consistent and i'm not writing and rewriting over a session that's already backed up i have it all backed up that way and that way just everything is nice and organized so that's that one was this one where are sessions stored uh you can point to wherever you want the session to be stored so for instance just quickly here you can tell the location right here so this is on in my office but if i was on if i was on my laptop years ago capture one recommended storing your sessions in the shared user profile folder i don't know if that's still the case but i still do it that way so but you could pick anywhere that you want to store this session all right i'm going to go ahead and move on to some of the next things here so let's see show the sessions okay so i'm gonna um we're gonna still assume even though we made the screen bigger let's still assume we're working on the laptop and we're on location i'm going to switch back another nice thing about sessions you can just go to a previous session under the file menu open recent and i can go right back to my webinar one here so just switches right through so i want to go through somebody asked about color tags and you could see very clearly that i am using a color tagging system so i'm going to show you guys that so i just hit the g key just to get rid of my viewer again so i can see all my thumbnails so what i like to do is identify primary shots brackets and pieces so what i have here is a recent shoot that we did and so i use red tags you can use whatever color you want some people use green for go but i use red uh i use a red tag to signify that that's the primary sort of starting point for any given shot and this range of shots has actually two red tags so this is one that we shoot that we did where we had people and not people so the first set of shots is where there are no people so i chose the red tag and we'll zoom in and look at these pictures in more detail in a second but in terms of just organization so i have a red one followed by two yellow and i use yellow to signify brackets so these are each one stop brackets which is really overkill with the phase one back you could probably do two stop brackets without worrying about it but that's just generally how i do that and then the next red one is where i start to get into different people options for this shot and then so that's sort of the primary starting point for people and then there are several blue tags that follow and that means that there's something in these shots that we want to add into this red one and and you know likely in photoshop but there's probably a person and in this case they're all just different people options but it could be a strobe pop it could be people it could be some change in the furniture uh anything like that so i like to at the end of a shoot ideally it doesn't always work out that way i like to see that there are no files that don't have a tag on them so that way i know what everything is for and there are many times where we might get into trying to find that this is a lighting piece and this is a person piece so it might start using different colors but these are my three go-to colors in the beginning of a shoot and if i need more i'll find more so the way you tag is just uh just click on the square below the photo and you can choose a color tag there are also keyboard shortcuts if you go under the adjustments and there's color tag and you can see the the pre-populated uh keyboard shortcuts here the red the red one is easy with just the dash key the yellow and green are if you're again on a laptop screen these don't work as easily because they're two key strokes so you need to shift eight to get that one but if you're an extended keyboard in your office you could just use the numerical keypad to find these and you could uh go ahead and identify other keyboard shortcuts if you want to do that so there are a couple different ways to do it and also when you're you can also color tag from the bottom of the interface below in the viewer so color tagging i think is very important it seems super simple but i found them in the workshops i teach and people ask me that you know how do you call or tag why do you call or tag and if you if you go out and do three exposures in a day it's not gonna matter you're gonna remember what all three of those are for but if you're shooting a lot of shots like we did on this one shoot here because there's so many different people options it's very helpful to tag things and sort and be able to also at the end of the day for instance my client might say well could we see uh all the shots again and i can i can quickly come in here and sort by color tag and then i can see all the red ones end up next to each other so i could quickly scroll through and you could also use star ratings so if you wanted to use uh just at the five key so you could add star ratings to things if you want to do that and you can also sort by those so it is really um very very simple but very powerful so it's like anything else with computers the more the more you put in the more you get out of it in terms of organization so let me show you something i use in conjunction with with the color tags quite often and that's the annotations tool uh i didn't have that up here but so we floated this tool earlier and in order to see actually let me just back up one step before i get to that so let me just show you it looks like something got out of order here i'll just move these back over here okay so just quickly to show you this so this red tag is a primary one and then two brackets following that the other red tag is where we start to see the people and then there are a variety of different uh people options that we're going to go through so before the annotations tool came along it really was down to a color tag and try to remember which one of these people did i want to put in and and then try and communicate that that to somebody else who might be helping me with the post-production but with annotations and i'm just going to turn these on here you can just turn them on so these are all notes that i made uh these were actually after the shoot but there are a lot of times where i'll circle people during the shoot as well so it looks like a lot of just scribbling which it is i use a wacom tablet to make a lot of these adjustments but just to walk you through some of the how i use some of these so in blue i'm just telling my retoucher that there are two versions with this shot and start with the other one for brackets so that meant to start with the one without people and then so what these notes tell him is uh start with these folks in the middle we're going to use those uh those people and then each other little circle are other people we're going to add from these different ones so now you can see with the annotations like these folks are going to be added right here we're going to add the person from there this person so you can see with the annotations and color tags your life becomes a lot easier especially on what i call a shoot like this which is kind of a live shoot where we don't have control over the people we're just shooting as people move through the space so those are really really helpful and notes in red just to make it clear you can change what you're drawing with in terms of color some of the red notes are ones that are just minor retouching things to to address as well so i find that to be um a really really helpful thing annotations are relatively new i want to say three versions or so ago um and it was something i jumped on right away i just thought it was really really really helpful so again uh sticking with the idea that we're on location and we're capturing photos to the laptop i want to show you just a quick example of just basic adjustments that i might be making again with the set of tools that we set up over here so this was a photo i did this is on the phase one xt camera and i did this um down in palm beach this was the night before my workshop started uh this past february which seems like ages ago at this point with all that's happened but this is a good example of do i have what i need and did i did i miss that cool sky because there was a lot of traffic going by here in this shot it's like you know right around 5 p.m 6 p.m and a busy streak so i couldn't get a very clear shot all that often uh and i got this i saw the sky was changing very quickly so this one shot seemed to be a little overexposed so just with this quick set of tools that i have here i can i can grab for instance the white balance picker which is right here i can see i think this is already pretty well white balanced but you could easily i'll throw it off but you could easily quickly check your white balance exposure let me just see if i pull this down yeah it looks like i have plenty of room in the sky i still have some color and detail in there i can maybe just boost up the saturation a little and these are just quick adjustments i'm doing on the laptop to say yeah i have it i have what i need i'm feeling pretty good and i can play around with some of these other tools quickly uh contrast i honestly don't use that much if i want to use add contrast i'll probably bring back the curve dialogue and work with it that way brightness i use on occasion it's it's targeting more of the mid tones so you could get a sense of that you could i think i don't know if it's the same exact math but you can get similar result maybe from moving the mid-tone slider in the levels palette saturation is kind of obvious but what i want to point out is the high dynamic range tool and this is really powerful and very well done it's not at all like the hdr that you know from five years ago and in capture 120 they added two new sliders a white and a black slider uh previously only had highlight and shadow and previously you could only take them in one direction so for instance the if i overdrive the highlight slider you can see how much room there is and keep in mind this is already pulled down eight tenths of a stop so there's loads of dynamic range in these phase one files uh so the highlight slider is kind of obvious the one the nuance of the white slider is it's really just targeting the very tip of the highlights if you can imagine so using them in conjunction can help because sometimes if you go too far you may start to get some halos in places i rarely would use any of these tools at 100 percent and the shadow tool just works brilliantly it doesn't get too funky it doesn't shift the color some shadow recovery tools really play with the color too much i like to do a little shadow recovery and maybe a little bit of clarity it adds a little bit more punch back in there and maybe some structure that's why i like to leave this here and the black slider is nice if you slide it to the left you're actually adding some black and that makes it really nice when you add shadow and a little bit of the black slider and a little bit of clarity now you can preview what any tool is doing if you just do a long press on for instance the highlight the long press on the shadow you can see how much we got recovered out of the shadows very very easily whites is probably really super subtle over the internet if i can't see that too well and the black slider also kind of subtle but makes a nice difference on my screen uh real quick can you just go over again a little bit about uh the difference between using exposure and brightness somebody asked about that oh sure uh exposure is and i'm just gonna remember where i was here at point minus 0.79 exposure is just what you think it is it's it's a global adjustment on the overall exposure of the whole photo and brightness as far as i understand is targeting more of the mid-tones so it's going to be you can see like the sky sky is changing but not nearly as much as it did when we when we use the the exposure slider so just keep in mind brightness is a little more mid-tone so if you're it's a good tool to use if you're trying to change i think of it as almost the mood slider you're trying to keep it a little bright and cheery or you want it to look a little heavier the the brightness slider is a good one for that and so we've covered that and that so another tool that i think is super helpful to talk about and we're going to come back to this tool because i want to the back of this photo a little later on because i want to show you some lens distortion correction things that we can do there but that's uh something i consider more of uh back in the studio kind of adjustment so this is the last tool i'll show you in the sense of out shooting tethered to the laptop so this is actually a handheld shot that i did on a covet 19 walk recently in valley forge park so i thought it was a good example of the keystone tool so uh this was added i wouldn't say maybe as many as five years ago or more to capture one and it it's super simple and super powerful so what's nice about the keystone tool is that if you if you don't have a perspective control camera or lens you can make this keystone adjustment uh on location and do it once for a given composition and then every subsequent capture that comes in will have this will have this adjustment already pegged to it so you can feel confident that even though you're doing keystone correction or perspective correction and software you know exactly what your edges are going to look like you're confident where your crop is going to be and it's really cool so the way the tool works is there are three options for it there's a vertical keystone adjustment a horizontal and then a combination of both and i'm going to show you two examples here so it's super simple you just grab these four handles and i'm just going to rough them in for the moment and this is a really old building so it doesn't have the straightest lines but the way i use it is i would i would rough in those then uh here's the the zoom in slider i just click the the magnifier once and it'll go 100 and then i'm just gonna make sure that i'm [Music] pretty close to the edges here and again this is not the straightest of buildings so you just want to make sure that you are not too far off and now this this apply button shows up when you activate the tool and you just click that and boom it's done it's very accurate but i want to show you some other subtleties of it under the lens correction tab is keystone and rotation and flip it's a combination of these two tools that are making the adjustment so it's important to keep that in mind if you want to undo it so if you wanted to undo this you would have to undo keystone and undo rotation flip you can see there's a value here so one other thing that capture one does with this tool uh they decided that the default value for the amount of correction should be 80 not 100 so what that means is you know for a building kind of standing in a field it's probably okay at eighty percent and fifth this this looks pretty good at eighty percent but you could start to get a little more fine-tuned if you want you could bring in your grid and look a little more you could bring in a guide and take a look and see if you're right where you want to be uh i find that if your edge of your building is at all close to the edge of the frame of the shot then 100 is required almost all the time because uh it's too easy to compare the edge so it's something you can experiment with and you can actually uh overdrive that up beyond 100 if you think it needed more uh it's something you can do and then i'm just going to grab like my guide here and i can see that it's a good example of how to use a guide but that is pretty dead-on and so even for an old shaggy building it looks pretty darn straight uh the ridge line straight the eve line not so much old building but you get the idea that this is super helpful and if i was shooting this tethered the next shot i brought in would come in with this correctionary applied which is huge so let me show you one other quick example with this this is another handheld shot this is down in san juan so this time i want to use the keystone the sort of dual direction correction so we can correct both for horizontal and vertical at the same time and works exactly the same way except now you have dashed gray lines in both directions and the way i like to use it is again i just like to rough in where i'm going to be so i'll just roughly put these in and then we'll zoom in go back to my navigator and just wanna so the more precise you are with the with the placement of these uh handles uh the more precise your correction is going to be so and i chose this photo because it's just a nice simple grid sometimes it's not that not that easy so i've targeted those four corners there and i'm going to hit the apply button and let's go back and just double check what capture one's doing so in this case it is giving me the 80 100 correction which uh i think is pretty dead on and but let's just take a look with the guides one more time so placing a guide there it's pretty darn close i wouldn't say it's 100 correct but it's really really close but let's look and see what happens if we were to change this to 80 you can see if it was the default 80 this is a good example of where 80 is not enough you can see quite clearly here how that diverges away from the guide so 100 would be a good one for that so this again very very powerful tool i don't use it that often but i will rely on it if if i don't have time to really fine tune the camera position and the lights changing too fast or the people are moving away too fast or something if i know i can come in and fine tune it with this tool i won't bother so much to get it perfect in camera if i know this tool is here for uh here to help out so uh if anybody's any questions about this this is sort of the end of the shooting to the laptop section and we're going to move into shooting in the studio so let me just take a look at the questions here tell me about classes i'll go back to the top here is there a way to have it apply a keystone adjustment a 100 every time i don't know if you can peg it that way but after i did it once because i had this i had every image defaulted back to nothing but after i did it on this image and change it to 100 and then i did it again on this one it came in at 100 so i think it within each session if you do it once it probably will come in at 100 i can't speak to that if that's for sure or not uh someone's asking is there an equivalent of the y key in lightroom showing before and after of the entire image uh i do i don't actually use lightroom but i get what you mean i don't uh believe you can do an entire before and after you can do it per tool and only on certain tools but it does seem to work on keystone as well i don't think you see if i long press even just on the name of the whole tool it doesn't get it only allows me to do it on each individual piece just to kind of hop in here um we answer the question in the chat but there are a couple of ways that you can do that um so you yeah no worries so if you hit uh command r um reset everything and then you can just hit command z to go back and then as steven pointed out there's also a reset arrow on the top right sorry top left of your screen next to the undo button and so if you hold option or alt and click on that button uh to the left of that the reset okay yeah and then that will reset it and then if you let go it'll go back to it and then the other thing that i do sometimes is if you uh click on your right click on your image uh in the browser and just clone in the browser exactly you can reset one variable and see them side by side too so that that's the way to emulate that that's a good idea yeah so so here's here's what he's suggesting is uh under image you can clone which i haven't showed you guys yet but so now we have two uh virtual copies of the same image so you could come in and then reset this entire image and then you could see the difference here that's that's probably yeah quick easy way to see before and after yeah that's a good one thank you arnold the next question was jeffrey use one session per day or one session per view because if you read color tag all your finals you still have a red file and every session uh yeah they're wondering if um how would i show the client uh red tags if if there's more than more than one image so the answer the question is i do use uh one session per day not per shot and if i do have a red file in every session suggesting that it's difficult to show a client the finals and say 20 shots or 20 folders in a full day shoot so yeah that's why i use one session and then if we go back into this view for instance then i could sort i could sort this by red tags uh but you could also like i said before do uh star rating if you had multiple red tags that weren't all just one shot for instance if you have multiple red tags within one shot you could pick one of them and give it a five star rating and then you could sort over here by rating so that's another way to to do it so that's good and we're using cpl for interior shoot i'm not sure what that is circuit uh no i don't use polarizers very often at all when i first got into digital they weren't working very well at all thanks to the blue channel it's getting too muddy but i should probably revisit them as you can tell it's been a while uh someone says i said photoshop do you do post in photoshop instead of everything in capture one i do as much as i can in capture one because i think there's a lot to be said for making as many adjustments to the raw file as you can before you actually turn it into pixels and then take it into photoshop but there's plenty i would say at least 50 of the work is done in photoshop and depends on the shop but it might be more or less than that but there's there's plenty to still be done in photoshop uh let's see anything else uh do you ever use the aspect ratio do you ever use the aspect ratio once uh you apply for verticals or horizontals uh meaning the crop i'm not sure um you could change the uh aspect ratio in the crop uh because the keystone tool will apply some kind of crop and i suspect that it's going to apply whatever was your last crop in terms of aspect ratio but you can then change that if we were to go back to here you could switch your crop for instance to a different different ratio i think the way the keystone tool works is it makes these uh adjustments and then it goes goes through and says all right what's the maximum extent that i can apply this crop that he's already told me to use so yeah i think he's actually asking about if you look in the keystone tool there is an aspect slider okay uh yeah that is i i think is going to be it gives you a little bit of a stretch back and forth so you can use that if you need that i have used that from time to time i think you get the sense of what what that is doing here as i move that around so if if part of your perspective correction you think well i want it to be a little a little more stretched out uh because a lot of times what happens with a keystone correction is it does change obviously the perspective of the shot things can look a little squished or stretched as a result of it same thing in camera perspective control uh so let's see am i missing any other important questions there do you stitch images uh very very rarely i try and avoid that at all costs i just don't think with 100 megapixel back there's much advantage to stitching uh some people like to stitch and that's fine that's just uh i shoot a lot of shots in a day typically and trying to think about stitching them and doing all this post work on multiple pieces would be tough uh so i'm going to switch gears i'm going to actually switch my workspace it's not going to be as big a switch because i am still working on the larger screen here but i'll find things a little more where i i'm used to finding them so let's let's switch gears mentally here and say that we're now back in the studio or office i want to show you quickly this is my setup in my office this is where i'm sitting right now and the reason i want to show you this shot is because just one reason why i keep my tools on the right hand side of the interface is that when i use the second monitor that i have in my studio i keep the tools on that monitor to the left so all my tools are in the center pretty much between those two displays and i don't have to go reaching all the way over to the left side of this one or the right side of that one to find the tool and you can even see that the toolbar uh it's minutia at this point on the screen but the toolbar has most of its tools squished over to the left side and the same on the other side squished over to the right a little bit so it just keeps the mousing down a little bit and so the basic setup here in the office is uh two uh the one screen's all thumbnails all the time and the other one's just the viewer all the time plus some tools and uh so this is very luxurious amount of landscape to work with here so but i can't show that today on the webinar it would be too small to show two screens side by side so i've shrunk everything down to essentially this one screen and a little more about the office setup um working with the new mac pro which is really nice and uh this is a laptop i use on location so everything gets shot to this and then copy to the mac pro we could do a whole webinar about digital file workflow uh i'm also using a wacom tablet pretty standard and i used i got a few years ago this tangent element control surface which is a little more you'll see it more often than a video editing suite but it does work well with capture one and photoshop um just for i use a lot for brush size and i use a lot of these knobs for a lot of the control tools in here so let me move on to well i could talk a little bit about these iso monitors because these are exceptionally color precise displays this is one that i've had for a while and i just recently got the second one when i got the uh the new mac pro and i think i took this particular photo before this one had warmed up they're a little more neutral in color but this one takes longer to warm up uh this is the new one the 279 x i think it is uh dt sells these and i highly recommend them they're they're self-calibrating and they're very very accurate and they're warrantied i think for five years for the panel itself so it's um super super nice and you know you're very very confident that your color is leaving your office as it should be so i'm going to move on now i'm going to show you the normalize tool this one i don't remember when it came out but it's it's a tool i use all the time and i mean all the time so this is a very simple shot this is actually the final version of this after it was assembled in photoshop but what i want to show here is without the crop this um this client likes everything is a hospitality client and they like everything just lit with daylight as much as possible so we're just using window light from the right side and that window reflects in the shower glass and is a little bit hard to get rid of that would be hard to retouch in post and you could cover the window but then you have to sort of re-light the whole room uh and that can be a little tedious and try and get it right so i thought the simplest solution excuse the gross color here was actually to reduce the ambient exposure way down to down here it's a 45th of a second versus two seconds in this one you can always see your exposure and iso information down here in the viewer which is helpful that's where i was looking for that so and then we relit this with a with a pro photo uh b1 but now uh even on location the i've exaggerated the color here but uh even on location the color was different but i'm like ah normalize that'll be fine so what i'm going to do is show you how this works i'm going to use the command key and click these two files so they're both selected and with the shift key i'm going to click the the plus magnifier and now we have both of them zoomed into the same pixels essentially and i'm going to use my navigator holding the shift key down to just slide over to look at us find a similar point here so let me float this normalize tool down here so you can see it better this is a looks exceptionally simple and it is you can you can try to match color and exposure from this file to the other file and you could tell it which one you want to do do you want to do just white balance and exposure or one or the other i'm going to use both in this example and the way that you use it is you just grab the sample picker and i'm going to find i want to pick a common point as best i can so a point here and a point over here so i'm just going to pick once i don't even have to have that particular thumbnail selected it'll automatically select it and sample it and then i switch over to the apply picker and i'm going to come over here and again i've selected white balance and exposure so it's going to try to match both of them and it takes a little bit of time even on a mac pro because partly because the files are big but it's also doing a lot of math so we'll see that and boom i think that's worth the price of admission right there this is definitely one of my favorite tools and it works beautifully almost every time this used to be part of the white balance tool and they called it skin tone and it at least for what i used it for it was meant to do something like this but it didn't work as well it's maybe 50 excuse me maybe 50 of time at work but this normalized tool is spectacular so i'm going to hold the shift key and hit the minus magnifier and zoom back out uh and you can see these much what's deceiving and you'll see in the next example is that your eye fools you like when you zoom back in they look really really close together when you go back out some of the other colors may fool your eye into thinking that these don't match very well but trust me they probably match really well and then this is an example where you have to take these two files output them out of capture one and blend them together in photoshop and just a quick so you get the idea that was pretty much the end result there i think i tweaked this slightly darker and i added in a tiny bit of the green to make because otherwise the glass looked like it was a little too clear i'll show you one other normalized example before i move on to layers so this is a pretty typical kind of office interior and we try and control the daylight since we're not really seeing many windows here we closed all the window shades on the left and but you can still see a lot of blue spilling on the carpet because these are just sort of cheap mini blinds they're not they're not opaque lines so this is an example where a client is not going to be at all happy with a shift to their carpet to blue like why is my carpet blue over there so the way i would deal with this and it's a sort of two-step process partly in capture one and then partly in photoshop i would first do uh like we showed before a clone of this particular shot so i'm going to use clone variant new variant is basically a reset image so if you do new variant you would get one that doesn't have anything applied to it that you've done here but clone variant so now we have two identical shots here i'm going to select both of them and i'm going to use the shift key again and the plus magnifier now i'm going to let go of the shift key and i'm going to look at actually let me look at this over here just a piece of the carpet there i'm going to pick the other shot and let's look at a piece of the blue carpet so here you can now you can really see the vast difference in color between these two shots and but normalized to the rescue in this case i only want to use the white balance i don't care about i don't want the exposure to change at all so i'm going to uncheck the exposure box i'm going to pick the sample picker and i'm going to pick a piece of the carpet that i think i can find similar over here something in the darker gray and you know the success the sample is successful when this little box changes color so that is the gray color and it's giving you the values if you want to use those and then i'm going to use the apply picker come over here to some part of the blue and just apply that and again it takes a little time but it's well worth it so there you can see again really really well that the color is super super neutral now it's going to look really weird when i zoom back out and you're like there's no way that this color gray is the same as that color gray but it is so it's just the human eye fooling you so by the numbers it's correct but from here i take it into photoshop and i use something called lumensia plug-in by greg benz which is really good for doing luminosity selections and color selections uh i want to in the interest of time just move quickly through this example of layers so capture one let's hide in the firmware there uh they introduced layers several versions ago and they keep making them more and more powerful uh so in combination with a layer and a mask you can do a lot of different things so in this shot it's uh it's all lit with daylight but there's definitely a big color shift on the on the right side it's more green than the left side so the way uh i would do this shot first i have to make a mask the first step to make a layer so i can just hit plus and you can add layers a new empty layer new filled layer there's a lot of different manipulations you can do with layers but first i want to add a mask to this and i'm going to use you could either use a brush or you could you could draw a mask in uh let's see what's going to show me yeah you can either draw a mask in which we're not going to do there you could also erase a mask that you've just drawn or a portion of it and you're going to use this tool which we're going to use right now as a gradient so i'm going to select that and i'm just going to drag across if you hold the shift key it'll keep the gradient perpendicular to the shot so i'm going to go to about here oops let's just do that again holding the shift key down so if i toggle with the m key and for mask you can toggle on off the mask to see where it is and then once you are let me pull out the white balance tool for instance here once you are on a layer you'll see a small brush appear on any tool that can be manipulated on that layer which is helpful to know not every tool like for instance normalize can't be done on a layer which is unfortunate maybe we'll add that eventually so what but what you can do now is basically make an adjustment i'm going to use the white balance picker and i'm just going to come over here and just see if i can so somewhere in there and again i would spend a little more time on that but just in the interest of time so you can toggle the layer on and off and you can see the effect there now the color along that wall is more consistent you could also i'm still on that layer no i don't see it i can tell by the brush tool here i can also start to bring down some of those highlights in the window i can add some other refinements we can you know do whatever you think you need to do and it's super quick and easy the gradient ones that i use probably most often and for a case like this where it's consistent color change or exposure change across the shot so let's just look one more time at that so you can see very quickly there how easily that was corrected and that's exactly how i did it in the final shot i didn't just make that up for this so let's look at the next example here i want to talk about the color editor which is helpful excuse me second the color editor tool in combination with layers so in the color tab we have the color editor i'll pull that out here this is one of the few tools that you can actually sort of oops expand to make it bigger so that's often the case where we might do a shot like this that is something at dusk but maybe you want a little more punch out of the sky let me get rid of this one actually so make sure there's no other layer so what you can do is you can grab the picker and pick the color you want to adjust and it's going to constrain the adjustments to just that that particular color as best it can and let me just make this really big for you what you're seeing here is you you can actually grab these handles and expand the sort of width of that color sample and you can also expand how much of this how saturated the color is looking for so i'm actually going to expand that slightly like that and the dot in the middle is as far as i understand some sort of midpoint uh if that's important somebody will tell me so just to show you that you can really manipulate this in a fine-tuned kind of way so the tool then gives you simple sliders here that you can again i'll just overdrive them so you can see the example so you can play with the saturation you can play with the lightness i use this all the time when i have the iq260 back because it renders skies a little too red so you could shift the hue which is nice too so sometimes that was really helpful but the trichomatic back is way cleaner in that regard so i like the idea of what's happening in the sky but what's not great is i don't like all the metal panels that are turning more richly blue i don't think that that looks natural especially when you look on this side so what i'm going to do is i like the sort of sample if you will of where it's holding that but what i'm going to use the color editor to do is to generate a mask so under the little three dot part of it you can say create masked layer from selection so it's going to generate a new layer with a mask that is just that blue selection and it takes a little bit of time so now i'm going to put the i'll leave the color here for a second but if i hit the m key you can see uh that mask now again i'm targeting that layer so but you can see all of the blue that's now hiding uh in the in the building itself and on the ground i don't love that so much so what's a little tedious is now you actually have to redo the color editor manipulations as far as i know you can't because i want to go back here and actually turn this off and sort of delete that correction go back to the layer get the picker again and again i'm just going to make sort of gross heavy adjustments so they show up on the web so now what we can do now that we have this on a layer we could say well let's look at the mask again there's the mask so i don't want it on the blue i can grab the eraser and bring the mask on and i can start to erase the mask but you know what's going to happen as soon as you get close to the edge of the building you're going to be like oh wait wait i can make the brush smaller but wait that's gonna take three days and it's never gonna look very good so i'm gonna undo that uh it would work fine down here you know you can come in and erase some of this and we'll maybe leave that erased but uh it'd be great if you had some other way to manipulate this mask so what we can do a few versions ago they had something called luma range which i'm going to show you here this is very powerful sort of a luminosity selection kind of a adjustment so you can try to constrain the mask that you've just generated with this tool so when you open the tool you have shadows on the left and highlights on the right no big surprise there's also radius and sensitivity i won't get into that the angled portion of the of the tool here is sort of a feather as to how quickly it's going from selected to not selected so what i want to do is i want to maintain the things that are bright and i want to get rid of some things that are dark so i'm going to bring the the shadow part of the tool closer to the highlight side and you can start to see the mask is starting to you know be eaten away but we're starting to lose some up here so i'm going to go back a little so right in there is is pretty nice because now i have a really fine edge between the building and the sky where i need it the parts of the mask that are remaining i could either leave them there or i could easily erase those and so it's done a really great job in constraining that mass so i could just go in now and i would zoom into being a little more careful but i could go through and just erase the parts of the mass that i don't need anymore and hit the m key again the mass goes off so now i think that looks more natural because the building color the metal panels are more similar color but the sky has gotten more dramatic and then you could also like most layers you can you can manipulate the the opacity of the layer if you want so you can slide this down some if you think it's too heavy-handed so it's very very powerful tool a combination of color editor and layers uh this is let me see what we're doing on time here yeah this uh this is another one i'm going to use color editor turn off my annotations this one uh this is something we did during the workshop in palm beach and i thought it was a good example and uh it was a ulf in our workshop that suggested this technique so i'll give him credit for thinking of it for this example i'm going to make this a little smaller so we're not going to use uh well actually we are going to use a layer again so what i didn't like about this particular shot was that there was a again daylight sneaking in from the left side and it's actually contaminating a lot of the shot you don't really realize how much so i'm going to pick a little bit of the blue that's sort of hiding in this shot over here and you can see by what the colorado selected that it is in fact pretty blue and you can also use color editor to say well let me see where that color lives you can check this box and let me over saturate it just so you can see it so you can see there's blue hiding in the glass here it's in the workstation panels it's in the carpet down here it's up in here everywhere but it's also in the artwork so if i were to manipulate this and then what i'm actually going to do is desaturate that color to take it out uh is the the effect i want to have but now i'm starting to desaturate some of the artwork which i don't want to do so same technique as before i'm going to create a new mask based on the the selection that the color editor gave us and it'll be there in a minute yep okay so now we have that let me make sure on the background i have to sort of undo this one come back to the layer resample it and again i'm going to desaturate it there but let's look at the mask itself and i can zoom in and look at some of the artwork and i can grab the eraser tool from the layer and i can make my brush a little smaller and now i can i can take away the effect from where it's affecting some of the artwork so this is a good example of just trying to constrain the tool to do something to only work in the areas that you want it to work in so i think that that's really helpful and then when you see that mask i mean look look at how much is on this workstation that you didn't maybe not even realize it's there and again if you toggle that on and off and turn the mask off here you can see it once you once you see the effect and again all i did was desaturate that color so it worked really well in this case sometimes you need to manipulate other parts of it but it just worked perfectly there so that's um that's the color editor tool and it has other parts to it capture 120 made the basic part of this tool not so basic anymore it's pretty powerful uh the skin tone portion of the color editor i've honestly never used but advanced works great and basic is definitely worth exploring there are plenty of tutorials that you can find or you can take one of dt's great classes on capture one to find out more about that so let me just check my notes here before the end of this section uh real quickly can you just go over uh your different crop options uh there's a note about using uh it's they had seemed to think that you always use square crop but uh maybe talk about why you use different versions sure i i mostly uh if you look at the crop tool and the cursor tools you have multiple different options here i try to stick to three different crops two to three which is a like a dslr native proportion four to three which is phase one native proportion and four to five which is like a view camera native proportion so those are the three i try and stick with but on any given shot i always pick the best crop that fits the shot there are a handful of clients who like every shot to be the same crop and i kind of understand that but at the same time it doesn't always work that way so i try to deliver to them what i think is the best version of that particular photograph and hopefully they can make it work within their within their um their materials uh every now and then we'll do a square uh i like square back from the hasselblad days and uh more and more clients are coming around the square i think because of instagram but you could also do unconstrained you know you could do any any variety of aspect ratios for the crop and they've manipulated the tool i think now if you click how did it work now maybe the modifier key there it is yeah if you hold the control key and click one of the crop handles you get the fly out menu for the proportion which is nice i think that's new in capture 120. is that good brand um yeah so one one more piece here and then i'll address any questions that may have come up i want to talk quickly about the uh the what the one advantage of this new xt camera and because i really like it i think it's very very cool this i've shot tech cameras since i started shooting digital and uh and any lens can use a little bit of correction uh and it was always a little bit difficult with a tech camera because you could shift the lens and you had to sort of record somehow record the the amount of shift up or how much shift up how much shift to the left or right and it was always a little bit tedious and then you had to go and put those values into capture one but what's come up now with the uh with the xt camera which is super cool and this tool can expand only to the right uh is the camera which is the first time ever that a tech camera knows what lens is on it it knows what um what exposure it's giving you and the camera actually knows and can tell the digital back it knows how much shift you've applied to the camera which is crazy uh it's really really helpful and it's kind of like magic so this is a good example of where i would use the guides so i'm just going to grab a guide and i'm going to place it here next to the vertical part of the building there and i'm going to grab this other guide and bring it down to where that canopy is and just for fun this is the 23 millimeter on uh it's the roanstock 23 hr lens mounted for the xt and the x shutter and you can see i've shifted this thing way too much because we're getting a lot of vignetting but i knew that it would work out okay because i was gonna crop it so much but uh so you can just see how how much movement you do have still with the lens like that excuse me so what you can do now if you look uh this lens correction tool has two tabs has a for the lens itself where it can correct chromatic aberration diffraction and a few other things and in the movement part of the tab of the tool the camera has automatically uh populated these fields of an x shift of minus 1.5 millimeters and y shift of plus 10. and so all i have to do to correct distortion it already knows what lens it is uh and i already know how much i've shifted it if i just type in 100 here for 100 correction it's done it's that easy it's um and now if i just adjust that guide you can see how precise that is and if i just wiggle this guide around that's remarkably good and i think that's a that's just a really nice feature of this new camera system and they're rolling out some new new lenses for it as we speak i think there's another two or three that just came out so this is a feature that's exceptionally cool and has never been done before in a tech camera so i want to show you that but there are other lens corrections if you're not familiar with the lcc tool in capture one uh arnov i don't remember if um i got a reply about uh can you shoot lccs on dslr cameras any camera you can okay okay cool so what i was at so this this again is the extreme example i put a filter over the lens and shoot this because uh when you take away the color cast and the uniform light this is what that exposure looks like before you tell it to make an lcc out of it so again the color cast let me do the uniform light first so this this part of the tool is attempting to to equalize the entire frame in terms of exposure and it's using the depth of the raw file to do that and then you can still see some color casts in here so every time you were to shift the lens you would have to shoot an lcc and but i believe that even that's being automated in the xt camera if i'm not mistaken uh you can work from the library of lcc's i think but you can this chunk of dust here is not going to go away but if you had small dots of dust that the dust removal works pretty well for that and if you're shooting a dslr and you have a lens that maybe vignettes more than you like you could shoot one of these and just just use the uniform light uh portion of it uh which would clean that up nicely and you can also use this exposure for white balance just general white balance so it's um i use it because i i shoot a tech camera but it does set uses beyond that so uh the next thing i'll do is an example but let me just uh run through any questions here uh someone asking shooting at arka swiss with a phase one that's prone to light flare uh i probably want to know more about the lens itself because some lenses the ronstock hr lenses are exceptionally prone to flare um the schneider the symmetrically designed schneider lenses the the digital xl's for instance uh are much better controlling flare um someone asked do you use a color checker target sometimes if there's an unusual color that we're trying to replicate that we need a good reference for that one is sometimes i'll use that uh someone asking a little too detailed question about some lighting stuff uh do you use normalize for most oh i just lost it just keep moving around you use normalized for most flash and ambient eliminating correction in photoshop um not 100 sure what that means well the color correction i do only in capture one there will be some subtle color changes i'll make in photoshop maybe after i have a group of five or ten photos together that need to be similar color i might make slight color adjustments in photoshop but most of it's in someone asking about the new apple xdr displays i would definitely get the nano texture i saw those in person they're awesome uh how many shots deliver that's for a different webinar sorry about the psd and tiff one i'm not sure about the answer to that one okay color shifts oh someone asked about color shifts caused by led i'd have to see an example of that but a lot of times i'll try and desaturate a rogue color or use a brush tool in in photoshop to try to address that see where we are on time okay i think i have uh enough time to go through and show you one example here this is back at the norton museum we saw the front of this building this is the front of it and this is a shot we did during the workshop in february so what i want to show you here is trying to combine some of the tools that we just went over to try and use not that we have to use this but just to show you the the latitude of these raw files that how much we can get out of this one one raw file uh with using layers and some color adjustments and other things so the first thing i want to do and i have the grids and guides still up here you can see that there's definitely a little bit of distortion lens distortion happening so let's go right into um the movement part of the tool and pull that back out again if i look at the lens it's telling me that this was the 32 hr lens this lens has a lot more movement available to it it's a really nice lens and what i'm going to do so the movement that we had is minus 6 millimeters in the x direction and 6.5 in the y direction and i'm just gonna add 100 distortion correction and i think you could see that pretty easily that would do it let's do that one more time go back to zero and 100 so that's really really nice the way that works and again you can just sort of check with your guide there's a slight difference in the ceiling and sometimes you have to wonder if it's a construction difference or if it's a real difference and if you need to correct it but we could put a slight tweak with a keystone on here if we wanted to to make that absolutely parallel but i'm confident that the the barrel distortion is taken away by that tool so let's look next uh we'll walk through right exactly how it approaches this shot so i corrected the distortion let's look next at the color i think the color is a little funky in here clearly it's picking up a lot of green from the grass outside so i'm going to grab the white balance picker and that's not bad that was just a lucky stab but i might warm it up slightly so you could you could just put your click into the the value box here and just start using your up arrow keys if you wanted to do a little more precise kelvin adjustment and we can tweak that i find it's helpful to to get your exposure a little more nailed down first and then look at color so i'm just using the exposure slider here i'm just sort of bumping that up slowly i'm not too worried about the outside at the moment we're going to come back and fix that just looking at the inside at the moment so the interior the shot's looking pretty good and pretty clean in terms of color might make it slightly cooler so i think that that's looking good exposure is nice i'm not going to mess with the contrast or brightness or saturation in this case i'm going to go right to the high dynamic range tools so i'm going to pull down i'm going to start with the white slider and you can see if i really pull that all the way down you can start to see some blue in the sky uh but it gets a little funky around the edges here um and that's because we've sort of overdriven that too much so i'm gonna do a little bit of white a little bit of highlight now you can see the highlight slider is affecting the inside of the building too so we could target that on a layer if we want but for the moment i'm going to leave it where it is and i always put just a little bit of clarity think of clarity as more of a mid-tone contrast adjustment and there's multiple algorithms you could choose from natural i'd seem to think works best every now and then punch is good but it's a little heavy-handed and levels you can hit the auto adjust on levels just to bring in the toes of the curve a little bit uh so now we're in pretty good shape there i think for color and we corrected distortion and we've adjusted the exposure at least for the inside of the building now why don't we look at what we can do about the outside uh i don't like too literal of a of a window view but i think in this case we can try to get just a little bit of the blue sky back in there so we're going to add a layer so i'm just going to do i'm going to do this new empty layer uh one layer workflow that some people do i learned from dt is a good idea is to set your opacity on the layer initially to 50 and that way any adjustment you can make you can then increase easily by changing the opacity and that's a fine way to do it uh i'm going to just stick with 100 because i've worked it out that way on this particular example but so now what i want to do i have a layer but there's nothing selected for that layer to do any work on so i'm going to select the brush tool if you click these left and right arrows you can get the adjustments for the brush in terms of size hardness opacity i'm just going to stick with 100 opacity because we're going to adjust it a little bit later on and i'm going to try to increase the size of the brush a little so i'm going to hit the m to show the mask and i'm just going to try to without spending too much time trying to refine it i'm going to just try and target the sky here and maybe part of this building we'll see how that goes so you can also i'll show you when we do the inside but so i just want to capture whatever sort of whitish in the sky and again i'm not worried about the too much about overlapping the edges at this point [Music] and then you can say well that's a pretty sloppy mask but we're going to try to use uh luma range to refine the mask and let me let this settle in a second because it's going to do something funky see it's thinking about it here okay so you can see it made some weird adjustment with the mask here that's because this portion of the shot is so white that the way that the mask comes in and or the tool comes in and its default stage is this feather right here so i'm going to peg that all the way back over to the right to get full selection of the white sky and i'm going to start bringing in the shadow side of this tool this way and i think we have to get pretty close to the highlights to get this to there now we're starting to see the difference so now you can see it's really starting to refine where that mask is active and it's starting to come off the building there which is nice so maybe right in there and from here you could you just hit apply you could decide that maybe you want to take a little bit of that selection off of this building or maybe you want to add some more in uh but you can see it constrained it pretty nicely there's a couple spots where you might have to clean it up but let's look next at uh what we can do with that so i'm gonna take a little bit of the highlight and again we're just getting a little bit of the blue sky to come in there we don't want to go too heavy with it maybe the white slider is where it really starts to come in but i think that's pretty nice quick quick adjustment there we could do a similar one on the pavers if we wanted to let's do one other layer again i'm going to do a new empty layer i'm going to do kind of just the opposite of what we just did there i'm going to do sort of these darker trees and there's a quicker way to do this i'll show you in a second here um we're coming up close on the 90 minute mark so after this example do you want to take some final questions and then we'll wrap things up yeah perfect that's right where we are anyway yep that would be perfect thanks can you export this file with that mask to be used in photoshop i don't believe you can but yeah okay i don't believe you can no that would be nice to be good you might be able to do some work around to get a similar effect but i don't think that you can actually do that so in this case there's my mask again what i'm going to try and do is target the tree so i'm going to try and target some darker denser parts of the shot so let's um we have the mask toggle on and off let's see let's look at luma range again and so this time i'm going to try and move the highlight slider the opposite direction and see if we can just end up with a mask that's going to give us mostly darker tree bits that's not too far it takes a minute for the mask to catch up so you can start to see it there and and then there's a few pieces here we might want to just go in and erase where it's a little harder to control but just for to show you so i'm going to go back again to the tool and since i'm on a let me just float the layers palette for you since i'm on a layer here i can see that the all these tools are available to work on layer so i could do this i'm mostly just going to pull the exposure down slightly on the trees just to make them a little richer you could also play with a black slider if you wanted to but just with those two layers you can see we're getting a little much more richness outside without having to cut a bunch of tedious paths i would clean up the mask a little bit more but you can definitely get pretty far along with that so let me just switch to a different one so you get the idea of how to use layers on this shot so let me switch to a different variant of this same shot so this is a another variant of this one where i have all these layers already already done so you saw let's do the sky right i also did one for these pavers outside just to darken those down a little bit i did one for the trees just like we just showed and did one for the grass just to make that a little richer and greener that i used uh the color editor tool to make the mask and then on the inside of the building i made one that i call whites which is just to give the the white a lot more pop to it so it doesn't start to look gray so let me just show you the dramatic well i think it's dramatic difference between these two shots so this is on the left is the the same exact raw file you can tell by the file name it's number 130 and number 130. so we're able to bring being around significantly and not that much time it probably would have taken me another 10 minutes or so to get it to this point and some of those tools might be you still might want to refine some other things in photoshop but this this gets you a long way there and i think with excellent results and the um this again with the iq150 and which has the tremendous amount of dynamic range which helps the shot a lot so not only the shadows but the highlights as well so let me take a few more questions here for any closing uh comments uh someone asking what percentage of your workflow happens in capture one as opposed to photoshop on any given image someone not familiar with c1 seems as you're doing quite a bit in capture one yeah you can do a lot in capture one and i think they keep adding more and more very useful tools so it's becoming it's i am doing more and more i think in capture one but i roughly i'd say 50 50. i definitely do color anything sort of raw file related color exposure things like that excuse me are really should be done in capture one because that's the raw editor so that's um that's really really important i think and then things i'll say for photoshop are things that are more complex layering things or like i said before i use this tool called lumensia which is a really helpful luminosity masking tool so there are some things that that does really well and uh but their capture one's getting more and more and more advanced every day and so i think there'll come a day where photoshop is is less less less uh needed a lot of questions on that um that a couple of people have been asking so yeah um there have been a few questions about kind of the round-trip workflow uh in terms of you know right do you do that personally i don't do that often i'll do a lot of my stuff in capture one do my base edits my color edits exposure sharpening that sort of stuff and then into photoshop do you ever bring it back into capture one afterwards yeah the only time i do that is if i were i'll come back to the five shots with the same carpet kind of shot uh kind of uh shoot where if i need uh the color to match really well between a certain number of shots i i might finish them in you know i'll put them out capture one finish them in photoshop have them all pretty much done and then i'll bring them back into capture one as tiff's and then i might make small color tweaks i'm talking you know five or ten points of warmth or coolness or a little bit of tint adjustment or a little bit of contrast adjustment just to make them all match across the set better because i think the and um i think that that is just helpful because it's you say why you do that in the raw file conversion but you don't always know exactly how it's going to look until it's completely done and how much contrast you've added or whether the things you've had to adjust in the shot so that's the only time i really sort of do that round trip kind of thing let's see uh someone asked me did i have the i don't actually own the xt i work with a different tech camera and you can only they're asking why we'll stick with 100 megapixel you actually can't well no i guess you can the the trichromatic is now available as an iq 4. even iq 4 100 trichromatic and then the iq 4 150 non trichomatic and the color differences is just very my mute between the two of those um so the 150s color range is phenomenal right yes i don't have it i don't know the next t let's just say yet so let's see any other questions oh uh where's your opinion in the is the most important thing in order to get crispy shots with great contrast well um i think just that uh having some sort of uh goal in mind really in terms of how you want it to look and just understanding your tools and which which tool is best to use where that's something i find that when people don't know a lot about post-production like well where do i start there's way too many tools i always start with the simple ones of color and exposure like those two tabs can get you a long way and then then you see where you are from there it's like well the highlights are still too bright well let me go to the hdr tool or there's not enough mid-tone contrast let me see if i can get a little bit more out of it with the clarity tool so i would always start with sort of white balance and exposure and then ask yourself well what is it i want to change and is there a tool to change that before because some people just see all these sliders and feel like they have to touch every slider in order to do something and i think that's uh that's not the case and a lot of times people don't know where to stop with an image as well so that just comes with experience and trying to understand what you feel your vision and your style is let's see a quick chance um if people want to contact you or they want to do a workshop with you or some kind of you know private tutorial lessons that sort of thing uh what would be the best way to contact you uh directly sure uh go to my website it's jeffrey totaro.com that's uh j-e-f-f-r-e-i-t-o-t-a-r-o dot com uh there you can send me an email you can also find me on instagram at jeffrey totero you could contact me there as well and the workshop i give is once a year down in palm beach florida through the palm beach photographic workshop and their website is workshop.org we don't have the dates set for next year but they should be up probably within a month or so once we see what's happening with this covid nonsense uh but yeah if anybody has any questions uh once you get in touch we'll be happy to talk yeah well thank you jeffrey and thank you everyone for coming out today um you'll be receiving an email shortly then we'll have a link to the replay of this but also to a survey that we'd hope you'd fill out and help us better provide content for you in the future also you know in the survey let us know if there's any sorts of topics you'd like additional training on or things like that because um we're always trying to uh get people educated anyway again thank you jeff and thank you for coming and um hope to speak to you all soon and be safe yeah take care everybody yeah be well in all this nonsense thanks you

Channel: Digital Transitions

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Id: Con72cfAJpQ

Length: 99min 51sec (5991 seconds)

Published: Thu Jan 28 2021