BLACK & WHITE Portrait Edit: Start to Finish Capture One 20 TUTORIAL

hi everyone kasia smokwa from digital earth classes here today we will take this raw file and we will work towards black and white conversion this might seem like a lot but believe me the workflow is pretty straightforward so let's get started okay so let's begin let me just switch off the before and after and let's actually take a quick look at the before so this is the original image i have recently played quite a lot with my archives and as you can see this image has a lot of potential but to be honest the white balance is totally off the image is very badly lit i haven't used any lighting this was only the natural light i have taken this image in the evening this was pretty spontaneous image so i really like the moment i like the atmosphere i like the memory but basically the image is bad so i was playing around i was working with those old images and with those portraits what i really like doing is creating black and white conversions so that way i don't have to focus that much on color in fact i don't have to focus on color at all and i can focus entirely on luminosity adjustments i can take a look at all these beautiful textures and i can play with light and shadow and this is what we are going to do exactly today okay so let's take our image i'm going to create new variant and we will start from scratch from the very beginning okay so the image disappeared it will be here so known and let's just grab the original one and let's mark it with blue okay so now if we go here we will have two images so as you can see first we have to turn the image to the left so i'm hitting alt command and l on my keyboard and we will start working with this picture so as the very first step i'm just going to apply auto levels so we don't need to worry about color at all we can apply the automatic black and white conversion right from the beginning but super important in case of black and white conversion specifically and always is setting the luminosity levels just right so the very first thing i'm going to do is to just jump here to the exposure tab and i'm just going to apply the auto level so here simply click on the second icon and that way capture one automatically adjusted levels and the next thing i'm going to do is to take a look at base characteristics so by default capture one will always apply the auto curves so it recognized the camera and it applied the auto curve and i'm going to take a look how it will look like with the portrait so there's not much of a difference but i feel that the portrait is a little bit softer and there is a little bit more nuances in the skin if we go for auto this is a little bit more contrasty so typically i would start with portrait so these two adjustments i'm applying on the background layer there is no need to create new layers at this point and the very last thing and actually the crucial in case of this tutorial is to turn the image into black and white so let's move over to the color tab and here at the almost very bottom we have the black and white tool and all we need to do is to just tick this little button so we have the automatic black and white conversion this is what we got straight out of the box this is the black and white representation created by capture one and this is where all our fun begins so if we just compare so this is the automatic conversion and if we just put beside the black and white conversion that i have created manually with a little bit more adjustment so if we take a look at the layers panel you can see here that beside turning the image to black and white which i have done in the background layer if we take a look here you can see that this is enabled here i was manipulating with the red and yellow colors but apart from that i was working with hdr i was working with curves and this is what we are going to do with this image so that's the difference basically between just a black and white conversion which you can do either in capture one or with any software so as you can see the image is quite flat it's just boring and not appealing at all and now the whole artistry is to just focus on the most important on the most beautiful elements in the image and play them so they will be stronger and put their ass in the background so this is a creative process and it always requires some steps but the effect is very dramatic this is something completely different comparing to the automatic black and white conversion so let's just get back to our image and let's get back to our black and white tool so as i've mentioned before apart from switching this option on turning the image to black and white i'm going to manipulate with these sliders so let's for a moment again switch it off and let's see what kind of colors we have in the image so which sliders i need to touch to manipulate with the black and white conversion what will make sense here so typically when i'm working with portraits obviously the red and yellow sliders are important because the mixture of red and yellow creates the skin tone so the skin tones live here so i would go for brightening the red i will just move it towards the right i think something around 20 should be sufficient so this is before this is the after very subtle difference and when it comes to the yellow i'm going to go to the opposite direction i'm going to go to the left and i think this might be a little bit too much something about negative 71. so this is what happened when i was manipulating with these two sliders there is not much of a difference because in the image we have actually plenty of blue and we might go and correct the white balance but i don't feel that it makes any sense in case of this picture because when we move forward we will take care of the background on a separate layer and i don't need to take care of color at all this is something very special when you are working on black and white conversion and it's something different because capture one is known for its color editor and for the beautiful amazing colors you can produce and actually you are getting beautiful tones color tones just right from the box but in case of black and white conversion of course this is not needed you can focus entirely on luminosity adjustments on textures okay so let's get back to our workflow we have changed the base characteristics to portrait we have adjusted auto levels so now let's create new adjustment layer where we will target luminosity adjustments i want to have them on a separate layer so i can fine tune them and i can switch the layer on and off to see my before and after which would be a little bit more tricky if we would do everything on the background layer so let's create new field adjustment layer and let's quickly rename it to luminosity okay so here let's first take care of the background we want to have the subject as prominent as possible you want to have the face especially the right part of the face and the hand brighter and we want to push everything towards darker tones so that way we will add depth to this image and this is very clearly visible that that bright background is very very destructive so let's just make it darker and in order to do this i'm going to actually use the advanced color editor so we can maybe let's just jump back to the background let's switch off this and i'm just going to super quick take the advanced color editor and sample the color in the background because i will create a mask for the specific color and then i will darken the area that will be inside the mask so here this color is quite strong it doesn't appear in the face so i can fine tune the mask but this is very quick way of darkening the background so i'm just going to click here and let's just click on this icon to include all the saturation and that's it so now i'm just going to click on those three dots and select create mask layer from selection so capture one is calculating my mask and this will be visible here so if i hit m this is my mask so of course it includes a little bit too much so actually i'm going to make it one more time so you can learn from my mistakes okay so let's just switch this one off and that's sample again so i'm just going to switch off the mask click here and let's have a preview so this one i'm going to delete let's hit on this little minus icon again let's include the whole saturation range and let's have a preview so everything that is grayed out is not included in my selection everything that is in color is included so you can see that all these areas all those parts of the hands are included here so let's try to manipulate a little bit so if i go this way this helps a little bit so we will have to refine the mask and probably work a little bit off manually okay that's fine let's again click on those three tool dots create mask layer from selection and now our mask is calculated let's hit m this looks a little bit better let's zoom in and i'm just going to use quickly eraser so let's hit e and right click let's make the size bigger flow we can go for almost 100 percent because i'm 100 sure that i don't want to have these areas included in my mask i don't want to make these areas darker so what is visible now in red word is highlighted in red will be darkened so of course i want to just get rid of everything that is visible over the face and over the hands okay i'm working quite fast for the sake of this video i would be way more precise if i would be working on this portrait for print but i just want you to get the idea okay here i need to be careful because i want this part to be darker this is part of the background okay so i have removed the mask from here and now we are going to use super cool feature available in capture one i'm just going to right click and select refine mask this is super super powerful just remember to switch on display mask so you can see what is going on so you can see if you go to the left the mask is as we have created it at the very beginning now if i push it towards the right it gets more and more precise it gets refined so this is calculated by captures one algorithm so i can hit apply and let's now jump back to our luminosity layer and let's just copy the mask from the top layer so i'm right clicking and let's select copy mask from adjustment layer one so now we have our mask here and let's get rid of this layer okay so this is our mask for the background let's just hit m to switch off the preview of the mask and let's switch off the preview of the selected color range now we can go back to the background and let's switch on our black and white conversion okay so this will be actually our background let's just rename it to background here on this layer we will darken the background so again this is our mask and let's use curves i just want to get rid of the mask from the eye i've seen that there is a little bit of red highlight so let's get rid of this overlay and make sure that the face is not going to get darker we don't want it we can get rid of this here as well okay let's zoom out and let's hit m again and now let's move over to curves so we are on our background layer actually i have created the same name as underneath so this is quite confusing let's just add the word darken okay now this is way better so here i'm going to go to the curve and it doesn't matter if you would go for rgb or luma because we are not affecting any colors this is going to be only black and white conversion okay so here having our mask added to the layer we can create just one control point and drag it downwards so that way we are making the background darker and you can see already how dramatic this change is how much it affects the portrait so now the subject stands out way stronger than before creating this layer okay so this we have ready let's just add a little bit maybe of the mask here let's just fill in because actually it's not red at the bottom let's just go for the brush and oh no let's reverse and we need to zoom in just to get rid of this little darker color here so which means that we are not covering this part so i'm just going to fill it in paint with the brush okay let's zoom out and let's again hit m so that way we have switched off the overlay and this is our image before and after darkening the background okay let's move over and let's start working on luminosity in our portrait in our black and white conversion so i'm going to add new field adjustment layer i'm going to change the name to luminosity and here i'm going to start luminosity adjustments with the hdr tool this is a super powerful tool and it can work really miracles so first of all i want to recover maybe some detail here in this brightest areas in the face so let's touch a little bit on the highlight slider so i'm going to the left and if i go to the right it will make the highlights brighter it doesn't actually make such a big difference so i'm just going to keep the highlight somewhere around here i would say that i'm making these adjustments to be honest quite automatic because in case of there's portrait they are not bringing me any difference so okay you can skip it typically this is really important to visit the hdr tool and see what can be done here we don't have any super strong highlights if you take a look at the histogram you can see that we have plenty of shadows the left hand side of the histogram represents darker stones blacks and shadows in the middle we have mid tones and on the right hand side we don't have very strong highlights so that's why we didn't get any difference when we have touched the highlight slider but it is important to remember that it is there and always try to see what is happening what is this slider affecting for sure we are going to go and use the shadow slider because i would like to just introduce a little bit more of contrast in the mid tones so i'm just going to make the shadows brighter here so i will push my shadow slider towards the right hand side not much just a bit just to get a little bit more contrast so those darker parts are getting brighter so this is before and this is after adjustment you can see that the difference is very little i went just for nine and already this is again before and this is the after now let's jump into our curve and this is the most important tool always when we are working on luminosity adjustment so here we can work with really high level of precision and we can target super precisely all the luminosity ranges so you can use the picker if you would like to work on particular ranges in the image i'm going to work quite intuitively and i will just create the classic s-shaped curve and then i will readjust so if you would like to be super precise and for example if you would like to increase contrast between let's maybe zoom in that part that is brighter in the image his forehead this darker and this brighter part you might use the picker and you would create the first control point sampling in the darker area and second control point sampling in the brighter area so here you have created two control points the one that is on the right is for the brighter part and the one to the right is for the darker sample now if i push this point lower if i push it down this will darken the selected luminosity range and if i push this one slightly upwards this will create contrast because i will be pushing those tones towards brighter part i will be brightening them so you can see that if you want to be precise this can really make huge difference because typically if you are just working on a general picture and if you are sort of in a rush it always works if you would go for the s-shaped curve you can as well use a ready preset this is a tip from me so here you can go and capture one provides you with ready presets so you can go for points on all channels you can go for contrast luma and now i'm not even clicking i'm just hovering over and i see the result that capture one is generating so contrast rgb this is contrast on luma curve mid tones brighter midtones darker so you can use these presets without even creating any control points manually and to be honest i quite like the contrast that i am getting with the contrast luma if i just get back to what i've done it's quite similar if you compare the shape so if i go for contrast luma this is just a little bit stronger and i'm going to go for this so i'm not showing you those presets just for the sake of showing them they are really useful and they can save you plenty of time so i'm just going to go for this one and we have our s-shaped curve so i quite like the result so let's just zoom in let's put our curves back here and i'm going to revisit my background layer and see if it makes sense to make the background even darker actually not i might just remove some of the darkening effect here from the hair because i don't like that it's darkening that much the hair and this is not true it shouldn't be like that so let's hit m and i'm just going to go for eraser we can maybe go for slightly bigger size and let's go for way lower flow so we can just gradually very smoothly remove the darkening from the hair so we can switch off the preview of the mask and just work directly on the image so that way we can actually see what we are doing here i'm working with a mouse at the moment i have a tablet just beside but it's easier for me to scroll with the mouse and just for this moment it's enough so you don't need necessary a tablet if you are working on general adjustments like this if you want to be fast sometimes a mouse is more than enough so tablet i would use definitely if i would be working on something precise if i would be working on dodging and burning but in case of this image we can see that just the classic s-shaped curve is enough so we got this very beautiful contrast we got the very beautiful light we got the shadows so there is no point to add another layer and work on dodging and burning and the the other reason for this is that this is male portrait so i i really like working with portrait of men because here i don't need to worry about the wrinkles there are no skin imperfections that i would feel that i need to fix that i need to remove if that would be a portrait of a woman i would probably work on those little marks on the face and i would just feel to be honest a bit of a pressure from the side of the model and when i'm working with men there is no need at all so they are always happy when they look masculine this is a portrait of my friend kristoff i hope he doesn't mind what i'm saying but basically that's true i've done a lot of male portraits and as long as the shot is nailed as long as they look confident masculine they are happy and then they don't care if there are some wrinkles they actually add a main character okay so on this layer we've been working on luminosity adjustments we have been working with the curve we've been working with the hdr tool so now i'm just going to take it a step further and since as i said i don't need to be afraid of adding texture and i'm actually tempted to add a little bit more clarity so on this luminosity layer i'm just going to play around and push my clarity for positive value so i'm just going to keep natural and let's go and add some mid-tone contrast so with the clarity you will always add punch to the image you will always strengthen the texture and you will create stronger contrast in the mid tone so this is before and this is the after so all these little things under the eye here those lines this is getting stronger but it adds beauty to this portrait in my opinion so again this is before adding clarity this is the after so i went for a quite a strong value let's maybe go for something lower 25 and let's see if we add a little bit of structure as well so i feel that it really works in case of this image this is always very subjective you might want to have this sort of images softer and definitely i wouldn't recommend adding structure when you're working with portraits of women so just remember you can add maybe to some fabrics if you would like to emphasize texture of the dress or maybe especially jewelry or hair but never do this to the skin but in case of male portrait you don't need to worry about this in general and this works here very well so this is before applying our luminosity adjustments and the after okay i'm going to add another new adjustment layer and i'm going to target specifically eyes of the model this is what i do sort of as a routine and i wouldn't do this if he had very bright eyes or if the eyes were very well lit but as we remember if i just hit y we are working with a really badly lit portrait with very bad light the image is actually not even sharp so this is 100 i'm on a retina display so i can take a look at 200 percent so the image is really really soft it's not sharp and it's badly lit so i'm going to spend a little bit time actually it's just going to be few minutes but i will target specifically the eyes okay so let's just do this i'm going to add new empty adjustment layer and i will quickly paint in the mask so let's just rename this layer to ice and let's zoom in so i'm still working with the mouse let's just hit b for the brush let's decrease size of the brush and let's go for quite a high flow and let's paint here over the eye let's hit m to see the preview of the mask okay we have a little bit of lag here but the computer that i'm working on is quite strong so i should be able to do this typically i would have about 10 or more there is a limit for the amount of layers you can have in capture one i believe this is the number of 16 i don't remember right now but something like this so you can have max 16 layers in capture one and normally when i'm working i just like keeping things tidy and organized so i would have about 10 12 layers so that way i can just fine tune the image very very quickly i'm very often changing my mind about the adjustments i'm changing my mind about colors and i'm creating always endless amount of variance so this sort of workflow when you have adjustments on separate layers is very very helpful if you would have everything on the background layer that would be just a mess so that's just a tip from me okay so we have our mask and typically what i would do here is to go for the hdr tool and push shadows to the right hand side let's zoom out we just want to see the whole face never be tempted to okay you can be tempted but don't do this don't just work on the eyes where i looking at such a big close-up because it just doesn't make sense because then the eyes will look fake so okay this is already too much something like this and i like adding a bit of clarity this will darken the eyes so i need to find a balance between shadow and clarity so if i go for stronger clarity this as you remember will add contrast in the mid tones so this makes those eyes a little bit sharper sort of crispy and now i can go for a little bit more in the shadows let's see before and after so this is very bad if you go and overdo this if the eyes look fake but i feel that now they are looking quite good the overall image is quite dark so it works really well to have these nice highlights in the eyes so again before and after and as you can see this is really helpful having all these adjustments on separate layer i'm just going to push it a little bit further and i can always get back and fine tune it later if i decide that the eye is too bright okay and now i'm going to actually quickly change for the tablet because i want to quite precisely add a little bit more brightening here in this area so the the eye is quite dark here and i want to very softly paint with the tablet so i'm just going to right click okay there is something strange happening so let's go for the brush right click and i'm going to increase the size and go for very very little flow i want to be very subtle with this sort of adjustments so let's just paint a little bit here remember that we are now working with the hdr adjustment we are brightening the shadow so i've just done a little bit of touches here so this is how the mask look like and if i switch this off you can see that there is already some difference visible of course i'm not going to retouch this completely i'm not going to make it very brighter but just a little bit so there is a little bit more light here in the face okay maybe if we zoom in that way it makes the work easier because i'm looking in the whole face and this has to work in balance it has to be treated as the whole portrait it has to be treated as a whole face not just the close-up of the eye okay so i'm quite happy with what i have achieved let's again take a look before and after i will just add a few touches here as well so i'm using the left square bracket to decrease size of the brush and let's just very very slightly move over these areas and maybe over his brow okay something like this so let's go before and after so eyes are super super important when you are working on a portrait as you can see just anything you do that brings the viewer attention towards the eyes will strengthen your portrait if you manage to capture some beautiful lights in the eyes then half of your work is already done or even more but in case of this picture we have to put a little bit more work okay but i think this is enough so again before and after okay so on this layer we have targeted the eyes and our black and white conversion is almost ready so i'm just going to go for one more layer when i will add film grain simulation and sharpening and on the very last layer as some super touch i will add a little bit of color tint so this would be the classic black and white conversion but i want to show you how super quick super easy you can use the color balance tool to add a color tint to black and white conversion so let's very quickly add one more fill adjustment layer you could actually do this on the background but let's just have it separate so i'm going to rename it to sharpening and let's just jump quickly to the detail tab and now it is important to take a look at the image at 100 percent or 200 so depending on your needs if you would like to export the image always remember enable your process recipe and then use the proofing tool so right now i'm just going to let's maybe go for 200 percent and let's sharpen the image first so here i'm just going to go for quite a strong sharpening because as you remember the image at the very beginning was super super soft and we already are getting some artifacts here but i don't mind this at all i want to go for the classic look and the image already has a bit of a vintage look so i will add i will just balance those artifacts that are visible here by adding the film grain simulation so here underneath we have film grain i like using silver reach a lot it is actually the algorithm that is standing behind the silver ridge is better is more precise comparing to the fine grain comparing to the first one so you can experiment but i like using this one with quite strong values so you can see how it very very nicely balances the sharpness that i have added so this is at 100 and now i can have a preview if i just switch off the layer if i would add the sharpening and film grain on the background layer actually just sharpening because you can't add the film grain simulation on a separate layer it will be always added to the background layer let me just quickly show you so if i'm here i'm here on the sharpening layer and the film grain is visible here there is the impact that i have added but if i go to the background it will be visible as well so this is always added by capture one to the background layer there are certain things that cannot be applied on separate layers so as you know you can't add black and white tool to separate layer this is always happening on the background layer the same goes for the film grain and the same goes for vignettes so i'm just saying quickly out of my head what i remember so film grain is on the background but sharpening was added here on this additional layer and i can now have a quick preview so this is before sharpening and this is the after so when i have just applied the sharpening it might have looked like a little bit too much but actually if you now switch it off the image just looks a little bit too soft to my liking and i really like going for this a little bit stronger contrast and we can of course revisit our luminosity layer and we can go to our exposure tab and here we can even touch the contrast slider so here it is exposure and here let's maybe add a little bit of contrast with this slider so the fact that you are using curves doesn't mean that you can't use contrast this works quite well this is not an option as some of you might be thinking that the pros are using curves don't even touch doesn't even go close to these sliders exposure and so on no they can be used as well they are very very useful and especially if you are working on color it's quite a useful side there as well saturation because you can just decrease saturation and won't work on colors you can do this much faster than if you would go for creating separate layer and changing saturation over there for the whole image that was just a digression okay so i have added a little bit of contrast here and i think it works quite well so just to show you that you can use those tools as well okay so on that layer we have added sharpening and at this point we have added film grain simulation i'm not saying on this layer because it's on the background layer so we have already our classic black and white conversion if i hit y this is showing me the original image and this is what we have achieved after our luminosity adjustments i want to take it step further and i want to show you super super quick how you can add a tint how you can tint black and white image with color balance tool in capture one this is super easy super fun and i'm sure you will like it let's add new field adjustment layer and let's just rename it to tint so here all you need to do is to just jump over to the color tab and let's find our color balance tool here it is we can pull it out so we will have a little bit more precision and i want to go for the super classic combination that is typically used in color grading so i will add a hint of blue i will inject a little bit of blue into the shadows and i will add a little bit of orange yellow to the mid tones i want to keep the highlights neutral so let's maybe start with the mid tones and here i will go for something like this i want to add a little bit more of those creamy nice warm tones to the mid-tones very useful thing is here you can use those sliders that to the right and to the left so basically the color balance tool is sometimes treated as something that can be used for very quick color grading and if you want to go serious you would go for the advanced color editor and this is actually not true because color balance tool has this very specific feature for this tool and this is the slider to the right with the slider to the left you can control saturation of the color so i have sampled something like this and if i go now here you can see that this little circle is moving towards the outside of the circle so i'm increasing saturation i want to just leave it as it was before somewhere around here but the super important super helpful feature actually is in this slider and this affects the luminosities so if you would go now towards the bottom of this little slider this will affect remember the selected luminosity range so here you have shadow midtone highlight we are working now with mid tone so if i go down i'm darkening the mid tone so you can see that in this portrait this is not really helping because we've already done a lot of work and we have adjusted luminosities in the face we have already that very beautiful three-dimensional effect we have added depth to this image so by darkening the mid-tones i would actually work against of what i have achieved so far but i just want to show you that this can be super super useful when you want to work with color and for example very classic use of this slider is if you want to make a skin look more tanned so you would go for orangey sort of golden tone and to make the skin look tanned you would darken the mid tone so this will basically darken the skin tones okay so let's just go to the initial position if you would like to do this just double click on the slider so we have added by now this or marathon to the skin tones to the mid tones and now let's jump to shadows and as i've mentioned at the beginning i want to inject a little bit of blue to create color contrast so as you can see just by moving this circle towards the blue very very slightly it already created this beautiful color contrast so again this is before this is the after and maybe the mid tones are a little bit too strong so i want to be precise so i won't be moving i won't be dragging the circle i will just go to the slider at the left and i will adjust saturation here so i want to go for a little lower saturation always remember that you have the option of manipulating with opacity of the whole layer so we have now our color routine here this is before this is the after so apart from manipulating with the mid tone shadow separately i can just go lower with opacity value and now the tint is almost invisible so let's just go back to 100 and now i feel that the image is still a little bit too cool let's zoom out and let's just go for master so here this will unify if i add any color with the master slider this will add sort of color cast to the overall image so now you can see that in the mid tones we have this warm tone in the shadows we have this cooler blue and maybe it is harmonious but i feel that the image will benefit by adding another color in the master top so let's go for something warmer and let's add maybe a little bit of this yellow orange as you can see this is very subtle but this affects mostly the background so maybe something like this so i feel that this unifies nicely both the shadows and mid tones and here we can in the mid tones we can move back so the face won't be that yellow okay so we are basically done let's just go back with our color balance if you would like to see your tinted black and white conversion beside the classic one all you need to do is just right click and create clone variants so now you have both of them and so now at this point they are identical they are the same so all you need to do is to just switch off the tint layer in the one to the right so you can see that this is the original version black and white without any color grading and this is the one with a tint so okay i can do this just forever i'm never happy with the colors and i will just manipulate really for ages i really enjoy this i love working with color in capture one even if i'm working on black and white conversion so i feel that this will be a little bit more effective if i go for those purples yes this is more harmonious before there was a bit of a clash in my opinion so now i think this creates still depth this as still color contrast but it's way more harmonious okay so we are done this is our black and white conversion let's maybe switch off the tools so we don't need them at this point so this is our classic black and white conversion we haven't added any tint to this image and this is our black and white conversion with some tint on it so you can see that super super quick you can create several versions of the same image so now you can just take it as a start and you can continue you can create another clone variant and you can continue working on the image okay so that's it as always if you have any questions just feel free to ask under the video in the comments area i would really appreciate if you subscribe to my channel if you enjoyed this sort of tutorials i'm very very happy when i hear from you if you would like to learn more about capture 120 i have a comprehensive course on capture one so the course consists of four modules and i'm covering everything from the initial setup you don't need to know anything about capture one there is the setup there is organization there is editing and there is batch processing as a bonus section i have included the hands-on training so you have more tutorials like this i'm working on female portrait i'm working in depth on color grading i'm working on landscape and i'm working in a different way with the use of luma masks on another black and white male portrait so feel free to check the course the link is under the video in the description area and thanks for watching this was kasia's mokwa from digital art classes see you soon

Channel: Kasia Zmokla

Views: 2,261

Keywords: Kasia Zmokla, Digital Art Classes, capture one black and white conversion, capture one black and white portrait, capture one black and white with color, capture one 20 black and white, editing black and white capture one, portrait, black and white, how to, capture one tutorial youtube, capture one tutorial 20, how to edit in black and white in capture one, capture one, capture one 20, photo editing, capture one 20 tutorial, black & white, capture one 20 tutorials

Id: Ct1YQZlcoTo

Length: 49min 11sec (2951 seconds)

Published: Sat Aug 01 2020