Capture One 20 Live: Talks | Edit with Joe McNally

good afternoon everybody or good evening even or morning wherever you're listening from it's a very busy and active webinar today so this one of course is is with my very special guest Joe McNally who will bring on in a second just so you guys know we're streaming this into the webinar room so if you're in the webinar room hello we're also simultaneously streaming out to Facebook and YouTube as well for those of you in the webinar room if you have any streaming issues or you know picture break ups quality or sound like that I've put the just to my left all right I can't tell on the screen up on the sticky message there's a youtube link as well of where the live stream is so you can always pick that up there should should you need to if you have any issues in there but we're going to monitor comments from the webinar room from Facebook from YouTube so we do our best to take care of everybody so that's enough from me right now so let's bring up Joe you're on screen as well hi Joe how you doing good how are you doing very well very well so thanks for for joining us today as I said it's been very popular so we're hopefully there's enough room for everybody involved as well but we are recording this too so if anyone misses out on anything they can always watch it again at a later date so Joe we've known each other for quite some time now I think but more recently of course finally for us it's been great to have you as a as a capture one ambassador but also as you're relatively new to working with capture one as well as I understand yes absolutely and my thanks go back to you David for kind of easing me into this process and teaching me as well as you have you you are a wizard as far as I'm concerned and the one thing that I found about capture one is is the tutorials etc are very explainable and so I have no illusions I'm still in the beginning arc of this program and I know it can get very powerful and potentially complex but where I am I'm very comfortable with it so far which is is fantastic it's a it's a gift really to be able to sit at the Machine and kind of work through some of my images yeah and and what have you discovered so far as well I think is it's good for me to know and good for people listening as well especially for those who have perhaps not yet using capture one as well sure well a long time ago when I when I left school and I first started photography I was actually a pretty good black-and-white printer right burning and dodging and moving you know you know kind of the tonality is of a print right I kind of find it's will sound a little odd perhaps but I kind of find a a similar you know approach almost to a printing aspect of things with right for one the tools are very straightforward exposure contrast brightness saturation there's nothing fancy about that at all if you're a photographer and you have a camera in your hands these are the issues you're dealing with out in the street as you're shooting as well so to me there's a natural flow especially given the fact that capture one is the tethering standard in the industry you know a camera into the program looking at the images selecting and then working with them to me it's very very intuitive I guess would be I would say and when I am you know when I first or when when you first started using capture one and it was you know obviously on me to teach you it was like what I'm gonna what am I going to teach Joe because he gets everything right in the camera so you know it's not like you've got to fix my mistakes you know it was nice to see you and we're gonna see images in the second of course of what you're gonna wet it but it was nice to see how you take you know an excellent shot out of camera and then just add that additional flare to it as well well always being good at the camera that you know let me just issue a disclaimer here depends on the day you get me David Roy I have made many mistakes in my career shot bad pictures galore right that is part of the path of being a photographer and you are you are right I mean you know you know at at you know workshops you know which I'll teach occasionally I always say to people post-production isn't a hospital for bad pictures or nearly dead pictures you know you know it's not an emergency room you know we have to create a good capture in the field and what post-production ideally is is enhancement a tweak and empowering of the image to bring it to a level where it's publishable and will actually attract the attention of the reader got it got it well that's that's good to know because you know as I said I was a little bit worried so you know the fact that that you can still do more with photos is good and like you said with printing as well I started black-and-white printing myself so there's always a little bit of extra you can do anyway yep enough of me making you answer questions let's have a look at your screen so we should be able to see yeah we can see your screen now and we've got a bunch of shots there which we try and edit as many as possible but if we don't get through all of them we've only got 60 minutes essentially so but we do as much as we can so so what what shall we start with sure I thought I'd start with I have a mix of things up here some are really older raw files and some are very current so I thought we'd start with this it's kind of a shot that is chock-a-block with detail and it's my friend George up on Cooper Island and he has been very instrumental in the global-warming community by dint of his studies of a bird colony on this deserted island north of Alaska a little bit of backstory there we've been friends 30 years who spent was it three months out in solitaire solitaire living yeah yes I first visited him for a cover story for the New York Times Sunday magazine in 2001 and then I went back to visit him this past summer with a film crew Ron we did it from entry film on his work there and also obviously shot some stills so this is the interior of his his Shack his his domicile on this deserted island and I love the picture it's really George you know he's a charismatic guy and he's tenacious as hell he is been up there living this life for three months a year on this deserted island for 45 years so it's an act of tenacity and passion so it's an available light portrait it's shot on a Zed camera the the Nikon mirrorless it's 14 to 30 millimeter lens you can see down at the bottom there 18.5 lenses wide open at f/4 very very sharp and it's ISO a thousand which then the new camera systems can easily handle so this is bright light hitting that red shade over on the right and the result was just a rich busy kind of environmental portrait of who Joe George is and what is what is life is like so should I guess I should just plunge in here David yeah yeah go for it yeah I'm gonna keep an eye on the questions coming in from well I'm gonna do my best to keep and other questions coming in from Facebook YouTube and the webinar room so if we don't get to your particular question please don't be offended there is lots of you so we just kind of pick out a few as we go after each each image image edit if that's all right with you Joe sure absolutely and I'll just take this minute just to say thank you to everyone who's tuning in much appreciated and very honored that you would spend a little time here as I begin this journey here so the the you know starting off with the program I always go back to you know my basics here the the tabs that bring up the tools I use most often which would be in the realm of exposure etc also I have a layers panel here too so I start here and you know the first thing I look for overall is you know the the base baseline of exposure you know what is where shadows and the highlights fall I probably because the original capture gets a little shadowy down in the lower areas here I probably would go and put a little bit of brightness into it just not so much you know you know with George as much heat his faces will get a little bright in this overall exposure I can deal with that I think a little bit later but overall I just want to lift the scene and then because of the there's so much kind of in the middle here these wonderful colors etc I'll probably go to my brightness and see how that often times when I bring in some brightness I actually take the exposure and back it down a little bit so if I if I go back slightly in the other direction but still can retain some of those mid-tone values that the brightness slider gives me I might live right about there or so and that is not affecting George's face as much as the overall exposure tab was contrast for sure I would I would pop a little contrast into this you know that's kind of a given to me over the years I mean again you know what I used to teach black-and-white printing I'd be like yeah use a number four filter you know you know contrast sharpens the edges snaps the the reader's attention you know when they're presented with something that's crisp and sort of reliefs out and grabs the eye I always say the eye is a hunter it seeks pleasure it's seeking visual enjoyment and the more you can cater to that need of the human eye the more your pictures would probably you know be scrutinized or reviewed clarity for sure there's a bunch of tiny stuff in here I might put a little bit of clarity in there and also structure just to emphasize some of these my new details we do agree with that David yeah definitely yeah structure will just bring out I mean this shot has tons of you know great detail in it so structure will just make those edges pop a little bit more as well sure and then one thing I'm enjoying is you know the levels I I don't really use levels all that much but here it's it's so simple it's it's just a simple tab and can I can lock on to this and just literally kind of swing it back and forth you know and and see where where things are living and I kind of like it right where it is in the middle I might even take just a tiny bit of black you know back in just a cut tiny bit there's no you know one of my instincts always is to crush the blacks and at the same time try to retain shadows there's a difference you know you can see like I'm bringing back up the the interior the cabin but really retaining the emphasis on the blacks I could work with this a little bit too that might be a little over much and maybe maybe you know block the blacks up but there feels you know feels pretty decent in terms of opening shadow detail etc the Kelvin I would probably leave just about where it is it's a pleasing tone if you the cabin interior has blue on the walls blue bedding and stuff so I slide if I slide it cooler it's gonna I think not be you know particularly pleasing so yeah so there's certain basics that I would do you know for sure right off the top I probably because of the presence you know I want you know I I bull's-eye frame this which is not you know classically compositionally the right thing to do but George in the middle of this just works and I've got a fairly bright you know coffee filter etc over in here so I might introduce a little bit of indebting again pursuing to an age-old practice of burning down your corners you know the the eye seeks bright and light the the eye physiologically is programmed to go to bright areas so one thing I tend to be very conscious of when I shoot and also now in the realm of post-production is to make sure there's not something really bright and annoying or distracting at the edge of the frame because that's an invitation for your your viewer of your picture to just leave your picture you know so color wise you know I think again at my my input to this would be really really minimal I'm pretty happy with it if I wanted to to do anything what I might do is I'm still in the realm of basic and getting to advanced in terms of the color editor but it's very simple if I chose the the color picker and hit the blue tone here I might be able to just play with that a little bit and I don't think I would make it lighter and work you know it might conflict with George I might just take it down just a tiny tiny bit and and it remains a beautiful kind of deeper saturated blue the other thing that strikes me as I look at the having done the vignette it brought my eye to a couple of things and for whatever reason and I you know whenever I'm gonna go to a layers or make further adjustments this tab appears to become a home base for me I assume that probably is true with lots of folks David yeah I'm just gonna come back in here because that's my basic comfort zone that's where the you know the initial darkroom tools I guess yeah and so one of the great things that I found is how intuitive the program is if I wanted to - with the new development with the Healing Brush it you know if I wanted to do that and and click into my Healing Brush I automatically can it's very simple it's very very easy to do so if I right click and I can I can play with the with the size of it I think the size right now is pretty good the flow I have pushed up to a hundred and I do want this this item I'm gonna go after to kind of disappear I was just looking at this down here and wondering you know if I did something like that that's a pretty intuitive choice and if I did something like that just cuz they're they're inconsequential to the photograph mm-hmm and they're right on the edge of where you know the frame ends so just as a super minor thing this was shot editorially so I have to be super careful if I were to render this to a magazine which I did not it was actually background stills for the film but if I were rendering this to a magazine I would not have done that but this is just simply background still material for the for the effort we made in the video documentary realm so for me this is a portrait of George I can kind of without losing the original intent and veracity of the picture I can make a slight tweak like that I feel comfortable about it absolutely yeah it's not like you're removing you know enormous objects from the landscape or something like that or changing the intent it's just a minor cleanup true and here's where you know David will have my back that I could possibly get myself into into a world of trouble here but an adjustment layer it's it's filled right so there's I know that it's filled I would go back here to my probably actually you know what I'm gonna do David I'm gonna - out of that because what I haven't done yet is the played with high dynamic range what I'm a little bit concerned about is just this over here if I turn on my exposure warning tiniest little thing right there maybe I can don't need to do a layer maybe I can just go into my high dynamic range I would have to go into my background so that gets active if I feel highlight does that come down a little bit now I did a layers lesson that you have up on the on the Internet and you were using with the exposure warning you were using your white slider a fair a fair bit yes yeah so the the white slider is really it's kind of the upper critical part of the the histogram so if we look at the histogram in this shot there's not a great deal of bright bright bright whites so the white slider probably wouldn't do a huge amount whereas the highlight slider would have a bit more of an impact but if we had you know polar bear in the snow kind of thing then then the white is going to read the target that as as well so that takes a little bit of the edge off of it and that's a really small thing so I probably to be honest to be efficient about things I probably would not go to the trouble of making a lair out of that just to pursue that tiny little bit it is what it is it's an it's an editorial II shot picture I'm gonna let it go it's not right on the edge of the frame its flanked off by you know rich detail all around and so I don't know how you would feel about that David if but I would probably be just about done at this point with with this photograph absolutely yeah yeah shall we see that before you can hit the before-and-after button so yeah so there was my before and there's my after if it's pretty subtle you know but there's you know a little bit of richness to some of the saturated colors little bit more richness to his face elimination of a couple of tiny details that were sort of mildly annoying and yeah I mean you know it was shot pretty reasonably so I think there's not a heck of a lot that I'd have to go further on for this good excellent we've had lots of questions coming we can spend the next 45 minutes answering questions but what we do is I just pulled out i've been scribbling away in the background on a notepad so i can't remember who it was so apologies to onto the question because they're whizzing by on youtube and facebook but someone asked what do you feel about the the default colors that come out of in to capture one so obviously you're shooting Nick on and so you know tweets wise and we're seeing more edits of course but this shot on the z7 I see like we don't really do a lot of color correction it was more enhancement I would say yeah I mean I you know they if I go back to my grid and I look at these original imagery they're there all Neffs there they project in to capture one very true to the remembrance of how I shot them yeah so what I hope for whenever I shoot is that just like a Kodachrome you know you would take your your picture that you made in the field and pretty much that's it yeah you know now I totally accept the fact there's a whole art form devoted to post-production and people who are on marvel at it and we use those services sometimes I get into the realm of fashion and my assigning work and that needs skin work and you know real a heavy duty degree of expertise I would refer to for instance pratik who's a another capture one ambassador who - just a genius you know I'll never be that I think as a photographer you have to make choices now about what are you good at what keeps your your operation alive what keeps our operation alive as me in the field generating work and I am loving the fact that I have this capacity now but I'm also cognizant to the fact that you know I'm never gonna be a retoucher by trade you know so this suits our workflow I mean I mean if I can launch another picture I could kind of this picture here yeah found files here's a here's a prompt as a photographer I belonged to a couple of you know consortiums you know of represented representative agencies for photographers and they'll shoot out stock requests so a stock request came across for an extremely well-known author for a book cover right it had to have majesty and looked like it was in the forest and no people and the payout was five figures nice there's money in photography this is a rare thing yeah we'll probably never hear back we submitted a couple images and that's just the way it goes and if you ever ever get something like that it's like you know the odds are similar to that of a lottery but it you know the it seemed reasonable it and I thought okay I'll submit all I'll dive into my files they wanted no people which automatically eliminated 98% of my archive so the search what's actually sort of simple and I found this old picture of a redwood and it's kind of flat and but I had I was on deadline and if you look behind me this is our workroom in the studio you know we're still in pandemic mode and there's nobody here you know so I was like all right I got to get this in I got to do it now and there we go I'm gonna start you know so can I take a plunge at this one David you think yeah go for it I asked for a couple more quiet or should we deal with more questions um let's let's edit this one and then I'm just scribbling down a couple of questions on my notepad so yeah let's edit this one and then or throw a few more with you okay I was playing with this earlier so that's a cool thing that you introduced introduced to me David was the whole idea of double-clicking on your on your sliders just bringing them back to the to neutral again yeah yeah that's a handy little hidden shortcut yeah double click anywhere on the slider bar resets to zero so it's it's it's good especially if you have you know fussing about with something and just want to return to zero it's definitely the quickest way to do it yeah no it was definitely um a good you know shortcut so you can see you know the pictures you know somewhat underexposed that much I have to admit my whole archive sort of leans heavily this way on the histogram I I tend to shoot for rich saturated colors just kind of the way I see I rarely am in the realm of blowing a picture out or working in absolute high key occasionally but I would say most of the time I'm going for a level of power and saturation in the color realm so in this instance you know I'll bring this back up a little bit you know somewhere so we kind of identify some of the the greenery I'll go after some of the mid-tones and open up the bark a bit saturation would be a good thing to to do here for sure and certainly a bit of contrast would be helpful so that seems to be pretty reasonable it's a it's a thing it's not a skin tone so I don't have to I think fear too much about pushing the clarity slider a bit but do you agree with that David yeah you know clarity you can get away with quite a hard push actually really but it's you know I think as you've said it there it looks look spot-on but people should not be afraid to go to the maximum with with clarity if the picture can handle it just because it's a you know big scary number it doesn't mean that you've overdone it okay no real highlights I could I could you know play with that a little bit but I don't think it's gonna have all that much effect you know the shadows again the the detail on some of that greenery is probably a good thing to you know keep in play no real whites in the picture so I'd probably emphasize some of the blacks that maybe a little too much you have to go with the flow in terms of the psychology of where this picture is going to report to this so this writer is a murder mystery writer right and mayhem and death and destruction occurring off it would be del Camus D yeah you want a moody tone to it it's not gonna be a happy picture perhaps on the cover of his this this gentleman's books so vignette Obinna adding tool here and come in on the edges because you know you want that concentration to stay kind of in this and who knows you know I'd love to see this as a cover I probably never will but it was fun sort of rummage through the archive and pull this out edit it quickly and deliver it that was a beautiful thing and I'll talk about the process button in a little bit but that is also a gift I think of capture one so so I don't know I think that be kind of it in the in the realm of you know basic adjustments this is an older picture you can see it's a Nikon d3 and found the older camera processing I found it to be tremendous in fact we could if you wanted to we could tackle a really old digital file that has stuck with me throughout the years it was shot for National Geographic it was the first all-digital story in their history and it's shot at a Nikon d 1x yeah capture one just really does a great job with it it really does so I could tackle that for short during the course of this class you know but that that's kind of where we we are there with this I mean would you do anything else here David or what's going on and lay one was that when you were messing around earlier but rid of that I guess just beer yeah because I remember when we chatted about this shot before you took down some of the the brighter branches I think to keep that meaning of you look going on yep you know definitely true I've been practicing I've been like okay yeah so so yeah so if I if I went over into the color realm again you know that the the green obviously is predominant and poppy you know so I would probably again probably you know at this point in my my career here with this I probably would it's a pretty straightforward picture I might stick with just the basic you know color editor and and go into something where I would pick out a solid green tone and then I had pushed up saturation let's see where we are on that I don't know aesthetically you know the the amazing thing about these tools is you can go so many different directions with them but I think I'll stay on the on the side of staying saturated and for lightness I'd probably bring them down a bit and keep it as as you know we've talked about in terms of the moody realm you know which is it's starting to look pretty good I think actually reasonable good well what do you what do you think David yeah I think so let's let's see-oh before and after sure so there's before there's after okay so it's it's a case of control steps and but it's relatively flat out of the camera but now it's it's jumping off the screen much more yes definitely I mean it you can look at this and say I've overplayed it a little too much and that I probably should take the overall exposure maybe back down now that I have some increased values in the realm of contrasts and whatnot so you know if I wanted to maybe just make it a tiny bit moodier tiniest bit mm-hmm you know if I I guess you know I could do something here again this invites trouble David so here we go stick with me if I did a filled layer you know checked out that it was in fact filled and then really kind of brought down the the brightness say of of the trees around mm-hmm you know and then and then I cleared that mask and then went into my brush here and so it might be a little bit tricky you know for me to do this but you know I'll give it a whack you know and then just kind of took some of the mid section of the tree down just a tiny bit but then really kind of concentrated on some of the aspects of the the greenery in the background I tried this before and this is not the way I did it so this is actually kind of cool in the sense that capture one presents you with a lot of options you know you know like there's no like really one way to do this so much and I'm actually thinking this is like a better path than I was on before to be able just to kind of selectively darken some of that just a little bit again I'm very cognizant or try to be anyway of the edges of my photograph the flow is pretty high but I think you know with this again I'm not dealing I'm not in the eye and the face I'm dealing with you know that all this scraggly stuff out in the woods so I don't really have to be surgical about it I guess you would say in terms of precision you know maybe take a little bit down in here and up at the top what do you think about that David yeah it looks good you still got you before-and-after on so you can just slide that slide there left the left slider over yeah there we go yeah that's it that's a big difference see maybe I'm naive okay and I'm and I'm you know but the fact that I can do this like you know kind of on my own you know because historically you know you know I've always had a crew chief or a first assistant who would far better at any sort of post-production than I I wa would be but Callie who used to sit over there at that workstation go figure you fell in love got engaged moved to Virginia I'm without a crew chief at the end of the arrows without a crew chief and I hit the road on January 5th and we haven't hired anybody and then the pandemic started right right oh I'm by myself in the studio here for now yeah I remember when we because we met out in Vegas didn't we briefly WPP I and and then the conversation then was that of course you were going to be on the road until around this time I guess and then it would have been your earliest opportunity to dig in to capture one so yeah so yeah I guess at least you've had the ability to get to know capture one of it yes I'm thrilled you know and I'm home so yes the idea of learning this program has been tremendous excellent I have a light-hearted question which I think a couple of people asked or it's the same person who's just sneakily Elstad twice said and I don't know there must be a backstory to this but but Ryan said would you ever get on a bus with David hobby again so I don't know what happened on the bus with David hobby but actually that was a very fun trip probably not to be repeated yes I did I did fall into David's bunk right Phil our driver took a hard turn and I fell into David's bunk about three o'clock in the morning which was not a good event at all and he's never let me forget it clearly and what we've already got a Melissa has said she's going to be volunteer to be your crew tree crew chief so I think you've got some new candidates watching already now so there you go I'm just scrolling through the myriad of other questions as well a couple of people asking about file management as opposed to editing now now when you and I had our sessions we talked about cataloging versus sessions and and all those kinds of things but what we settled on was kind of a hybrid I guess because you have all your work stored on a rate system and then basically you're just using a session to browse your raid system because it's already structured exactly how you like so that was I think you know a super simple solution to to achieve that yes that was a thing that you were extremely helpful with just in turn in terms of labeling a master session which gives me the ability to look through the entire archive including my current desktop and then so I can pull up my my raid you know over in here then we have all of those things that are happening in the raid back up stuff you know my externals all of that kind of you know way some of the stuff is really really old and some of the stuff is very recurrent so I have a lot of work to do on our raid system but in but basically this was my starting point which you coach me on which was wonderful yeah and and it's kind of one of those known features which not everyone knows about but if you if you don't want to sort of deal with importing into a catalog and you don't want to you know work in sessions like as into individual projects then just this browse ability is is a nice sort of third option as as well yes yeah I mean if I can just say too I mean my history here is long in terms of finding a solution yeah I know I mean guilty as charged many years ago I was an aperture user right and I thought that was the solution well apertures was a great great program and an Apple did a fantastic job of the asset management side of it in editing way ahead of the curve of everyone else but you know it's not around anymore so no which is good for us but it was obviously disappointing for aperture users I've hoped in a rudimentary way at Photoshop I never used Lightroom I was never comfortable with any of that stuff it was to me it was always time-consuming and the deep end of the pool which I did not need to be involved in so the the grace of having being able to become a acquainted with capture one fitting everything from shooting into the field to browsing here in the studio looking at overall files and then finishing them man you know it sounds silly you know after being in the field for as many years of I had but I'm I'm really tickled good an appropriate adjective yeah what should we add it next dog keeping all my questions and and fire few more after this one and then we keep a bit of time at the end for from all questions as well sure how about we try this I have not tried this yet okay let's let's you know go in in at the deep end as it were yeah so I've always I'd like this picture a shot in Birmingham in the UK an old jewelry Museum this gentleman Maharshi is a wonderful actor and so it was just a lovely man to work with a very expressive and attentive and an amazing face obviously an ability to inhabit the role of a craftsman so but it's a busy picture right um I lit it from the outside there's a kind of a frosted glass window with a diffuser I shot this for the lastolite corporation actually we were testing some some new light shaping tools and so this was wonderful things sort of to do near their home base so I have not popped this up or practiced with it at all so let's see what happens here my first inclination would be that you know if if I if I hit exposure I'm gonna lose the background of the picture probably a little over much you know and this is a classic this is probably a good thing to work on because you know if I if I brighten the whole thing I'm losing him a bit so I might just leave exposure sort of by-and-large alone a little bit here and just try you know a brightness tool if I take that down for him that does a really nice job for him now maybe later on while I'll come circle back to and I would do a layer mask and then work on exposure on the background would that seem reasonable for sure yep that's that's and there's there's no right or wrong way you could you could do exactly what you've just said that works great you could do the opposite and then you know dark and him down and leave the background as it was but as it's all non-destructive it really doesn't matter so whatever way you're comfortable with with doing it works which is good all right well let me let me do then he seems pretty reasonable now I don't think I would you know go any further I'd pop the contrast which is just a tiny bit here that also is going to you know maybe give the appearance of more darkness in the background and saturation you know just sit just a little bit I'm always very leery of you know you and mentioned big numbers before and that is I think it's a great point to make because I do get Leary's of big numbers that I think I'm like you know what did I do wrong here you know that I'm to save this picture clarity you know tiny bit probably structure with all the little stuff probably helpful then getting you know maybe just a tiny bit because of the level of brightness over here on these pipes that might take that down it is again here I go I've always preached the rule of thirds and I'm showing pictures right eyeballs like most everything you know white balance I'm pretty happy with I mean you could swing it you know and but you know it feels like that loses some of the charm you know what I was trying to do here on location was keep you know the original intent of this was to show kind of a craftsman at work in a period kind of setting and the lights back in those days were all tungsten filament lights and they all were they all burned warm so now I have a question for you David if I use the on the high light recovery well I'm sort of answering my own question I was wondering about there's a little bit of flash hit on his forehead and the high light recovery really handles that pretty well yep yep yeah cuz that's kind of in the realm of that top end but not the very very top end so that yeah that would take it down quite nicely so I'll just use that all the way up you know I open up my shadows for sure you know and then I would probably crush the blacks a little bit and you know kind of it's already better right yeah ready better you know so that feels you know really pretty good just in terms of a couple of baseline moves that overall you know I mean when I shoot in the field I'll go into the color I I apologize you know I'm not using the color shift all that much because you know when I I'm very fussy about the color of what I'm shooting I I she did an F and a JPEG when I'm combo file when I'm in the field and so when I see that JPEG come up in the LCD I want it to be the right color even though I'm shooting raw and I have a lot of ability to change it afterwards I want the experience in the field that's the same way when I shoot monochrome I shift into monochromes on producing monochrome JPEGs but color Neffs what the experience I have in the field is that the LCD comes up as monochrome because I think it makes you a better black-and-white shooter at that point you gonna catch the dye you place your bet I'm shooting monochrome I don't to often come back to the studio and say oh that would be a nice black and white though having said that this would be [Laughter] heck with all this color stuff yeah but let's let's stick in this realm and you know maybe I would take a little warmth out of this area just a tiny bit would that be advantageous perhaps David if I did a color possibly yeah and that comes up with miss tonality range and I just drained that just a tiny bit makes him stand out from the background wall yeah yeah just a tiny bit and maybe I pull down that lightness just it just to hear okay mm-hm right and you know I guess I'll go back to home base here and I guess I would give a crack at this point I think to bringing up a little more detail in the background would you agree David yeah yeah because of the the brightness correction has pulled down the background also then you can do the opposite of that as you as you wish yeah okay check that and so if I go into my exposure and bring the background up a tiny bit overall I don't want to go too hard on it that feels maybe a little much maybe somewhere is in there so now with I would clear that mask and go to my brush here and probably I probably start back over in here because I I might leave this alone you know but the but if I started back over in here and had a flow at a pretty healthy rate you know and started to bring some of this back a little bit am I doing this properly yeah perfect and maybe because you know we're running out of time here a little bit off and now it goes quickly yeah you don't want to see me like moving the brush for the next 20 minutes so something like that perhaps just bringing up some of that detail maybe bringing up a little bit of the detail of stuff like this you know these old wooden blocks and tools back in the days when people really did work with their hands it was pretty pretty wonderful and so that brings that up and then the other thing I might do just really quickly because the brightest thing in the picture is a small thing back in here it's a it's a it's a burning tungsten lamp here right so if I just did that that kind of takes the distraction out yep yeah just eliminates that little bright just like a shiny you know thing is you know a shiny object in the distance you're like oh you know at least I have anyway because and maybe maybe if I go back to my adjustment layer here just a little bit just maybe I could actually I'm in the I'm in the realm of brightness so I if I if I touch him in the face he's gonna get brighter so I'll leave that alone if I wanted to really just take down this tiny little bit of highlight on his forehead would you create another layer Damon yeah yeah I would yep yep so so if I do that check it out and then take probably a bright brightness down or deep probably I'd say good question sometimes I just experiment and see what's what's working for me so I probably guess or it could be a combo sometimes it's you know a mix of various different sliders so even though you've got highlights down on the background you can still double up as you're doing with with the next layer so already that's had a positive result yeah so don't forget to select your adjustment brush not the healing brush it will jump back to the healing layer healing layer which is actually just a really wonderful economical thing to do when you pop that healing brush on it automatically creates that layer yeah as you just saw like I lose track you know and so that the program is really quite an intuitive on that level mm-hm so now I just clear that mask and come in and right click that and make this like fairly small and make the flow really kind of low and see what I could do here that's about as far as I would go with that yep because you'd be in danger of maybe just kind of getting into the hair and stuff like that and that would be you know probably not a smart thing for me to engage in so overall that would be kind of where I might leave this would you be in agreement let's see the before and after yep this is really cool I mean this is really handy so there it is before there it is after yeah before after that feels more vibrant yeah I don't know like it's got an ability to hold hold gravity a little bit better and from the way it was shot to the way it presents now excellent I'm gonna dig out some more questions so quite a few people were asking about the session side of things so so a few people asking you know when when are we going to do a session webinar again or tutorial or whatever just so you know if you look on our learning hub learned capture on comm there's a session on sessions how hard coming up I can't read what it is I think it's next week actually I should know I'm the one who did the date but I think it's June 11th where where I'm going to do a webinar about sessions and then we're also talked about the method that Joe is using just as like the the hybrid workflow of being able to browse your existing network of hard drives you know network attached storage all that kind of stuff so tune in for that which you can find on our learning hub and any other upcoming webinars as well okay so that was a question for me Joe so a question from your guys for you rather vieille says love seeing Joe's idea on color in action that's great that was just a common someone else I saw earlier apologies that I didn't mention sorry I didn't pick up their name is your workflow the same for the mirrorless compared to the DSLR as far as I remember we haven't spoken specifically about needing to do things differently for the mirrorless cameras no I I don't find you know any difference maybe again just referencing someone like pratik might have his approach is so nuanced and so advanced maybe he has thing there but for me color is color light is light contrast is contrast and no matter how dense no matter what camera I shot yeah yeah exactly and I guess the benefit of the numerous cameras like you touched on with the shot of your friend in the hut you know shooting entire server fails and is you know easy now really it was a couple of people asked about noise reduction and sharpening and we spoke about that last week I think and and as I said to you capture 1 optimizes noise reduction in sharpening for each camera model that we support so Nikon said might have different treatment - like a d1 in terms of noise reduction and sharpening so it's kind of optimized along the way so as I said to you Joe I think you know kind if you don't really need to play around with sharpening and noise reduction a great deal as it's pretty good on default so it's rare I touch it but I haven't done a great deal of sessions on sharpening and noise reduction because it just kind of worked seamlessly yeah I I happen I have followed your lead on that you know I mean the the imagery if your sharpen camera you know what what gets introduced here and the program is a complement to that yeah so exactly that clean I feel like I'm very safe and I haven't I'm not in danger of over sharpening you know which you can easily do yeah so yes he's definitely don't want to over sharpen Paolo was was saying I used to watch when your podcasts are they coming back no that's my that's something for the future something to consider for the future absolutely we are you know given the this stay-at-home status you know we've converted this little area here in my work station into a little bit of a broadcast area because um the camera is a Zed six I have a halo reflector or diffuser up and the LED and you know we kind of turned the the work room it's getting a little dark because I have a big window here so give me one sec here this to do to bring it up a little bit so we also have you know LED bounces that we can put up if we're really going to you know go to town or have to do something at night you know so yeah we think about it right now we're you know as everyone you know please you know just stay safe and be well and that's what we're doing here Annie and I are kind of at home and trying to learn stuff the studio is the cleanest it's ever been yeah everyone's house garden yard etc Zoo is all perfect okay let's I'm just calling out through a lot of the questions oh that's a good one from Daniel actually what do you put your attention to mostly when you shoot for editing for post-processing you know there's a phrase in video editing that you're shooting for the edit so that you actually know what you're going to do when you get to the editing station I don't know how that does that translate to your workflow with still imagery or or is it almost separated in that respect I think it is a bit separated unless I'm doing something which is a high-end commercial job which I have done where there are things that are happening that I know are going to be left to the realm of post production and I have a plan around that most of the time when I'm shooting I'm shooting for impact I'm shooting for emotional informational impact you know I for Geographic for 25 years and there were three cylinders that your pictures had to fire on all the time if they were ever going to hit the pages of that magazine and that would be informational we had a moon story long emotional involve the reader and pictorial it had be a successful picture how to look good it had to look strong or nice or pretty or whatever you know particular adjectives you would throw at it excellent that's great answer I'm just gonna have Oh Miranda says yeah Jo so I just put that phone screen very very promising up-and-coming young photographer in New York he is actually running the online operations for Adorama that's right yeah of course yeah yeah he goes by the moniker of last ex witness lost yes he has put Seth Miranda also known as lost witness yes he's great he's got a great twitch if you want something mildly informal right he you know potentially profane his twitch channel is is quite fun to dial into cool there you go Seth you got got your plug have you got one more ready in you in them weird weird take a couple more questions someone was asking if there was anything for that's not geo on the screen Kaley yep that was yep so this is from an older camera as well wasn't it this is an older camera yes so and and I should say you know is capture one improves then support for old accountant cameras improve everybody benefits so you know when a new version of capture one comes out then the benefit of new features or whatever you know rolls back to any supported camera so something like a d1 picks up all the benefits as well as a brand new you know said seven or something like that yeah I had played with this quite a while back and I was really impressed so I can't remember what I did I just checked through things here so I'll start from scratch this was a d1x camera shot about this was shot about 4:00 a.m. at China Lake naval air station it remained unpublished so I was sort of like my head tilted a little bit but hey no not my magazine and so yeah so the we were blessed with this right untamable sunrise coming up in the desert and this formidable-looking piece of machinery so I would probably brighten this a bit you know come up in that realm the lighting on this was very specific there were two large flashes on either wing and then a bunch of small speed lights under the carriage in the wheel wells and I am on a tripod with you know old-school lens I think it was like a 12 24 or something like that on a d1 X and you know this is this is you know to me this was amazing I mean far enough fast we've come shooting you know all this modern digital technology at the onset of digital I was like stunned like wow I can actually shoot this way so yeah and I would hype the contrast on this for sure you know a little bit and then you know I'm mostly concerned about some of this getting a little bit muddy so I probably make that some of the mid-tones a bit brighter you know and definitely I mean this is this is not a picture that would look as good in black and white color so I'm I'm happy to push the saturation here a little bit and you know you can get in the realm now that I'm past the idea of publishing and the geographic I can do whatever I want with this I mean I can make it look like little green men are coming out of it you know and then the you know go the whole kind of extraterrestrial kind of way here do that I might even push the Claire more that make that thing work even more menacing that it already is and then definitely take it down yet another bullseye picture from Joe so don't have me teaching composition to anybody for sure the highlights where I did kind of you know you could call it a goof you know I remember some of these are a little bit blown out but now with this with the idea of the the highlight tool in high dynamic range those come within reason quite quickly and that is really pretty cool open the shadow up a little bit and definitely crush the blacks a little bit and that feels pretty good to me you know uh we were just you know pure lucky with the sky you know I mean the sky stayed and register and the thing that I did not know total accident happy accident was that the skin of this plane was highly reflective right and so it all of this this is not lighting up in here that is angle of incidence angle of reflection kind of pick up off the sky you know and that that was pretty nice coincidence a very nice surprise very nice surprise yes in this instance I might you know just I mean just for you know the sake of doing it you know I could take this guy down here and that's too small sorry and come back up in here and I could get rid of these guys you know I could go I mean those are just obviously distant lights on the air base and [Music] I won't go through all of these you know but but capture one is making good decisions here so so you could go along and just get rid of all that if it ever annoyed you which it never has I've never I've never done that I've never taken those lights out of this picture it is what it is but yeah you could you can mess around if you liked one of the things that go back into the background we are here we we did the highlight etc I guess David I could do excuse me a an adjustment layer if I wanted to and go into overall exposure and bring those highlights on the ground down to a more subtle level mm-hmm does that feel possible yeah it's it's one of those shots which you could go either way I think that's why there we go there you go folks you know I should I should label my layers because I just forget where I am yeah someone said earlier Joe always name your layers and and it's something which I never do unless I'm in a webinar because I always trip up at some point so I've I've learned in webinars that I must name my layers otherwise I really do forget what I'm doing so here I'll take the brush back down and I have the flow pretty low so I could kind of start taking in this stuff a little bit if I wanted to you know which it's actually the program is doing quite well with these guys here so you mean to say this the debate doesn't have a fancy underwing lighting like we're seeing here it was it's down to you yes he's you know talk about not fancy these are all Nikon SB 2279 Horizonte long and skinny like the wings and put them at the same angle that the wing presented right so from either side almost like making a copy and then these were the little accent lights that I worked on down you know for the for the undercarriage because one of the things you have to do to create drama like this is you have to separate the machine from all that blackness in the background mm-hmm so I think just the small adjustments there probably are doing pretty well yeah absolutely you know you could go further but I would say you know I've already gone further with this than I have with this picture before so and and the program I mean this is an a this this digital file is 18 years old wow that's amazing yeah yeah and you can still work on it and and it you know 18 years ago so when was that 2002 so I'm trying to think what version of capture one that would have been so hope but it's great that you can still go back in and edit okay I'm gonna pull out a couple of questions good one from David actually I think it was a David so what advice would you give if you wanted to shoot for National Geographic the the be-all and end-all question I think yeah it's a tough tough hill to climb unfortunately the there the rungs of the ladder to the National Geographic are tough to find nowadays because classically what you needed to do was log you know maybe you know five ten years as a really excellent newspaper photographer and develop your craft become versatile become a good storyteller and know the elements of what you need to do in the field very intuitively quickly and be able to turn on a dime and those are the kinds of portfolios that would be presented at the geographic that could gain you know admission to doing a small story or a piece of a story or something like that which is the way they generally started you off now I think probably you know again storytelling skills are paramount reading a great deal current events trends you know history where we are going where we have been those kinds of things in forming your decisions as to a kind of project that you might want to tackle and present at the geographic that is a long shot I'll be honest with you on long shot I might get a lot of submissions and requests they have a stable as they always had and it's it's hard to crack into that though the opportunity is there there are a bunch of new faces and new names at the geographic I see in the pages I have not known of their work prior so there was an instance really of being a good storyteller I just tweeted about it a photographer who lives outside of Atlantic City he went home to his family home in the pandemic and so he did a black and white story on the destruction of Atlantic City right the casinos are all closed and now the pandemic it was very strong so pick something accessible pick something that moves you and start to work on it that could become a body of work you could present there and I mean capture one is no National Geographic but of course we get tons of submissions and requests and you know feature requests and so on you know anything you can do to stand out and the same goes for National Geographic I'm sure just because of the pure volume of people wanting to work for them it's got to be unique and and you know not just two times better than the next person but ten times better I guess so Oh VA was asking was the hump in the landscape matching the cockpit of the plane deliberate it almost follows the silhouette doesn't it I'd love to say I was smart enough to do that yes I cannot it was where we put it what I had tried to ascertain from very very early morning glow was the core of the sunrise and where it would come over those mountains and then the gentleman who brought out the plane on a tow truck he put it where I asked him to you know on the tarmac and they would never do this nowadays no and he left us with it Wow there's multi multi-million dollar fame and he just said you know I'll be back in a couple of hours and I'm like okay amazing well you know and so it was just there and I love to you know claim great smarts but I cannot well it's it's a story I had similar story long time I heard from a photographer at the van Gogh Museum in the Netherlands and he took van Gogh sunflowers home on his bicycle to show his next-door neighbor which of course now it's in a vault locked underground and super secure to get in there but it's the the photography I was chatting to have been there for 35 years or something like that and JEP just took van Gogh sunflowers home to show his neighbor so yeah it's not it's not that fun anymore unfortunately okay Nick on question I think Philip was asking how do you compare Zed 6 to Z 7 I'm not an iconic spurt at all I would admit so over to you on that one um you know be wrong of me to say apples and oranges because there are identical bodies identical form factors but to me they have a have they live in a very different realm the the Zed seven is a high-resolution camera I have used it quite frequently in the studio for portraiture under control etc the Zed six has a enhanced ISO response and it is doesn't have the same resolution as the Zed seven it also has tremendous video capability you can shoot video with the z7 but the Zed six is probably a preferable machine for a video so they kind of live identical form factors but living using the same lenses but living in different spaces in your workflow if if you can you know kind of embrace that you know I I do have I used the Zed seven for for portraiture and studio work when I'm on the streets I'll go to the Zed six right next question from let's see I said was frantically scribbling down some other options how Philip says no cop it's an autonomous aircraft someone asked if their keys were left in he in the ignition that would be fun to take that for a joyride wouldn't it it would have come after us yes definitely I don't think it would have got away with that with that Joyride let's see Kenny was just saying thank you Joe for another session with the fun photographer so thanks to you Kenny as well for your nice comment and how are we doing for time oh we've actually well and truly over overrun on time I looked at my watch it like five to the hour and now I looked at it again and we're past ten past so I would take one more question or I'm just going to put one comment up which was a nice room from Ralph he said you guys are doing an amazing job especially during this crazy times I watch every ribbon Isles because there's always a lot to learn and having guests like these yourself and others makes it even better thank you very much and definitely Joe it's been a pleasure having you on and seeing your insight and your images and you know even when something is great at a camera there's little subtle nuances that you can do to just bring it there one step further as well well hats off to you David you're a terrific teacher and anything that anyone saw on the screen here I've learned from either talking things over with David or his webinars and tutorials that are up on the capture one website which are very easy to follow and very explainable because I get lost very very easily when I'm realm of post-production and this has not lost me and I really have embraced the program yeah that's great and a couple of people asking like software specific stuff as well I mean your questions have been very broad and insightful and I'm sorry we can't answer you know very specific ones because we could spend an hour just with me talking about a specific specific software of things but if you do have something specific to ask we go live a couple of times a week generally which is sort of editing sessions and I'm happy to answer anything there as well so if you look at the events page on our Facebook page you can see when we're gonna go live generally I do a webinar on Thursday sometimes we'd guest like Joe sometimes it's it's just me editing and so on again you can see those on our events page too so anything like that you can join up and and interact with us or watch the tutorials that we have on our learning hub as well I'll just put that link in the chat in the webinar as well but it's learn capture one calm very easy easy to remember and you can filter by webinar tutorial blog posts Joe you've got a blog post up there as well which published I think last week sometime and then if I could just add to one of the most valuable things that I was introduced to with capture wanna and David pointed this out very specifically is when you're done this process button right here oh yes yeah and there are certain presets that are available to you I've also armed in our measurements for like a social media post or a blog post a finished TIFF a healthy good-sized JPEG and a print ready file and all I have to do is just hit process and where we go it's it goes back to the file of origin and you it there's labeled it a process folder and all these different values are in there so this this is now in several different resolutions in the folder from once it came yeah and I don't have to think about it that is a huge time-saver yeah absolutely imagine setting up because you got one two three well five five different output sizes all getting sorted automatically into their respective folders and that's something I should also cover next week as well so when we talk about the the session that the session on sessions which I'm pretty sure is 11th of June I should actually just look at our own website rather than trying to guess the date that I decided myself so 11th of June yes organizing with sessions so we talk about a whole session workflow and also how Joe is organizing his June 17th where's specifically talking about capture one again and then I've got another guest on the 25th to talk about self portrait workflow as well so lots of exciting things happening as well so alright I think as we've overrun spectacular spectacularly thanks for joining us again today today Joe and thanks for everyone joining us on Facebook and YouTube and in the webinar room itself and as I said sorry we can't answer everybody individual question maybe we just need to do an Instagram Q&A with Joe or something like that could be fun in the future as well so thanks again Joe we'll let you get back to the rest of your day and this was recorded so if you only caught you know half of it or the latter part of it as soon as as this live transmission stops you can just rewind it on YouTube and watch it all again if you wish or pick it up in the future as well but it will live on there forever okay Joe let's just bring us back up on full screen so thanks again for joining us Joe and I hope you have enjoyed the rest of your week wonderful thank you to everyone who came by and in particular thank you for capture one and all the folks there and David for organizing all this yep it's a pleasure and I'm sure it's not the last we're gonna see him you either geez thanks Joe take care two binary right you

Channel: Capture One Pro

Views: 20,228

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Id: cOVpzasdwDk

Length: 89min 8sec (5348 seconds)

Published: Thu Jun 04 2020

Reddit Comments

[u/coogie]

Joe McNally is now a Capture One ambassador and is new to it as a lot of former Lightroom users might be (I will be soon now that they have a cheaper Nikon version) so I really enjoyed watching this.

[u/Space_Jeep]

I'm probably just too lazy to learn now but I did try the videos they put up for capture one. 30 videos in 30 days, or something. Anyway, I just find the interface and functionality too confusing in capture one compared to lightroom. It seems like there's a lot of good stuff in there but why make it so complicated? As I say, though, I'm probably just an idiot.