Capture One 20 tutorial: Easy editing tips and tricks

in today's video I'm going to be using capture one to show how just a few simple edits can completely transform your photos first up let's take a look at the shots that we're going to see [Music] so today I'm gonna be losing capture 120 Pro or capture one Pro 20 whichever one it is which is a great Lightroom alternative it's a really really powerful editor it's got lots of features that Lightroom doesn't have it has lots of functionality and because it's available for 300 pounds as a single purchase some people prefer it to the Lightroom model which is a ongoing subscription which you have to pay for every month this way you just buy it and own it and it's yours and it's all good I use both I do really like capture one I haven't used it in some time but I've just reinstalled on a new computer and I really wanted to kind of dive in again and give some photos a little bit of a sprucing up and see what I can get so let's start off straightaway with this shot of the Lamborghini Huracan performant a spider which I shot a little while back in Wales I really like this shot I've intentionally underexposed it to try and keep some of the sky detail but I can immediately see that there are some things that I want to do so I'm gonna move over to my processing tab now in the software at the moment I've got the workspace design layout to be similar to Lightroom so that I basically everything is pretty familiar and where the tools are and whatnot but you can change that around it is very very customizable this is just how I like to work so first off the sky a little bit overblown so I'm going to bring down those highlights I'm also going to bring up the shadows to about there um but I want to bring the shadows up a little bit more on the car itself so what I'm going to do is one of the great things with capture ones you can work in layers so while you can use adjustment brushes and things in Lightroom you're editing the main base image whereas in capture one you can apply those changes to a new layer and then dial them back or add to them as you need to so I'm going to create a new layer I'm gonna get the brush tool and as you can see I'm just going to zoom in a little bit zoom zoom zoom and then I'm gonna get that brush tool back and we are just going to we breath em and you can see your brush and we're gonna brush it in following the edge all the way around like that following the bodywork of the car not so much the window or the roof this is a very rough mask you'd want to spend a little bit more time if you doing this yourself and if I was doing this for my professional work I'd probably be in Photoshop and I'm using the pen tool to get a very accurate selection the great thing is a couch a wall when you're making a mask is that you just do an outline like that right click click fill mask and boom let's fill it all in for you so it's dead easy we'll press m to hide the mask still active there and let's up the exposure a little bit on the car and we're going to bring in some of that shadow detail a little bit on the black as well which is going to help bring out some of that detail in the in the back and in those source and let's also just give it a little bit of a clarity boost to help it pop it's a supercar you want it to look really cool I can have noticed that I've slightly gone over into the sky there so I'm just gonna get the mask a razor brush and we're just going to gently paint that away like that a little bit on the concrete there other than that it's looking pretty good and if we just flip that on and off you can see just what difference that has made and if we zoom out and do that again we can see now the car really pops off the screen it looks great okay next thing I want to do is another layer and I'm gonna this time bringing the grad filter drag it up a little bit to about here and again if you press m you can see where your filters going to apply so you can get cheesier control something like that hide the mask and I'm gonna bring the exposure down to just gonna again draw the eye towards the car in the center of the frame and that's probably everything I'm going to do on that layer but I'm gonna go back to our background and I don't want to make any adjustments directly to the background so what I'm going to do is create a new layer and I'm gonna click fill mask and if you press M we can now see that everything is filled with pink so that means that whatever changes I make anywhere it's going to affect the whole image which is exactly what I want to do because again I want to slightly bring up the shadows because I asked a little bit dark something like that I think looks good I'm also going to just play with the white balance here I'm going to warm it up maybe a little bit and I'm gonna bring down that tint about there I think it looks good maybe I can actually cool it off a little I think that was good I'm doing very quick rough-and-ready edits I'm not going into huge amounts of detail on this I just want to kind of show how you can do these sorts of quick rough edits in capture one if you've got your own shots but while I'm still working on this new layer I'm gonna go down to the color editor because I want to play around with a sky little bit I think there are some slight magenta tones in there so I'm going to select the blue in color editor and I'm gonna slide the hue across I don't want to go too far you go all the way when you get that very like turquoise easy sky which I don't really want so I think somewhere around around there looks good I'm also gonna use a lightness slider and I'm gonna darken that right down cuz I really want to get that that contrast in the sky that dramatic punchy sky and darkening that down really increases the contrast between the sky itself and the clouds he looks good problem is is that when you darken the color it also really increases the saturation so I'm gonna back that off a little bit down to about there so we get that really cool looking sky okay looking at this shot I want to I want to brighten up this frame thing that's going on I don't really know what it is but it's very very dark it's fallen into the shadow and I wanted to bring that out a little bit so I'm gonna get a new layer and I'm gonna get the brush tool and I'm literally just going to I'm just gonna paint over this frame I don't know what you're thinking I'm getting the mask over everything it's going all over the sky and it's going to look terrible you are absolutely right well noticed but there is a trick that we're going to employ she's gonna fix that really easily and it's a very very powerful tool so that's there and if we up the exposure on that it just looks awful it goes all over the sky it's terrible let's say I've exposed a little bit and up the shadow a little bit but we then on that layer right click and select lumens and with that selected we can then tell capture 1 that we don't want that mask applying in either they're very bright or very dark areas and of course it's the light areas that are the problem because that is the sky we want it to brighten up the dark parts of that frame just click display mask just so it's easy to see and if we grab this dark tab here and start to no wait wrong way around we'll grab the light tab from the top and just start to pull that back and as we do notice how it's disappearing from the clouds and then disappearing from the sky until we get through out here when it's gone from everywhere in the sky it is applying down here a little bit and that's gonna be a problem we'll fix that in a moment but now just the frame itself has been applied has been masked so let's apply that and if we flicked that on and off we can see the difference then that has made so that's great what we can do those is going with that eraser brush and we will just erase it down here because we don't need it on that part it's bright enough anyway it's really only in this guy and I think that looks a lot better it's it's a very subtle touch but it really just helps stop that little frame falling into nothing so I think that looks good speaking of the frame I don't like that the low and wide angle I'm using kind of makes those those pillars sort of going woods a little bit it's the sort of thing you'd get if you're shooting buildings or the wide angle lens everything just sorts to your vertical lines start to converge towards the top well we can fix that about using the Keystone vertical tool and we literally just drop that into place there and on here and same on this one now I need to be careful because this is going to correct that distortion but if it affects the car too much then we don't want to do that so let's just have a look I mean it's it's moving it around a little bit but yeah now that looks good that hasn't really done anything to the car at all I think we're okay there but what it has done a little bit he's just changed our lance is our horizon so I'm just going to straighten that back up so I think that looks I think that looks better it's just kept them even which I think that looks a lot better I think we're already a really really good point with this shot the last thing of that I do want to do is just do a little bit of color turning using the color balance tool and you can either grab the this little point in the middle of like shadows and you can pull that around and you can do that but when you're working in layers make sure you are working on the right layer which in this case let's just start actually a new layer entirely so new layer right click fill mask that's gonna mean everything is red and whatever changes we make affects the whole image so yeah back down to a color balance tool and you can either grab this little thing and you can pull it into the different colors you want I prefer to use the little tab on the outside and have a little finer control put it exactly where I want so I want to add a little bit of blue into those shadows in the highlights I think I'm going to add a little bit of orange just warming up something around there I think yeah I like that I think we've made a few small tweaks but I think we're we're on to a good thing if we just have a look if you press press and hold alt and then click the reset adjustments button you can see you before and we can see it the sky's overexposed and the cars falling very much into shadow but we've brought out a lot of that detail we've added in some really nice cinematic color I think we've got a really good shot and that's only been 10 minutes or so of anything but I think it's made a big difference let's move on to our next shot and let's take a look at this landscape scenes is one I shot in Scotland took it with a drone it's from the sky but I think it's got a lot of promise first thing I'm going to do is just straighten it up because I don't really think that that's exactly in line and you can just do that by dragging this line I think that is about what we won I think that's about in line yes and I'm going to start off by again basically duplicating that background layer by filling a new mask and let's try warming this scene up and we could also try upping that now let's reduce that tint a little bit to about there I think looks decent okay we can play around with a highlight slide I still like just playing around with sliders just like I do in libraries you don't always know exactly the effect that you want so by just grabbing each slider moving it up moving it down you see what effect it's gonna have and then you can get it to the point where you're actually happy the shadows in this I think I might what I'm gonna do is I'm gonna up the exposure a little bit is a little bit dark and then I'm gonna bring those shadows back down that's just gonna help increase that contrast subtly also going to increase the contrast itself I think that's looking good the whites I'm gonna pretty much leave as they are they're not really doing a whole lot clarity I'm not gonna touch I'm not gonna do I don't like adding clarity and a landscape like this because if you do it just goes crunchy and weird and yeah I don't kind of like that so I'm gonna leave that as it was but we're gonna go down to the color editor I'm just going to take a look at what's playing around with some of the hues and likenesses of these different colors it's gonna do to the image we'll try the green one we'll bring the hue down it's not really a whole lot of greens going on in this scene it's maybe probably a lot more of a yellows yeah there is a lot more going on in the and this is a point where you can start to take real creative control and then you have to decide what sort of a shot do you want because if you go into the orange you get this very old tunnel quite dreamy ethereal look go the other way and you get these very bright vibrant spring summery greens and I'm not really sure what I want from this shot right now what am i doing up the yellows a little bit then grab the oranges and bring those down because that's gonna then take those oranges into an even deeper orange red tone and I think having that combination of the deeper oranges but slightly more greener yellows I think looks quite nice in this scene I might back those yellows off just a little bit so it's definitely gone more towards the autumnal but I quite like what that's what that's done I think I've gone too far there's oranges there we can up the lightness on the individual colour channels which is just going to really help balance like this in the scene I think that's looking good I mean you know we can look at the other one that was very little blue there's a tiny bit of a top-left corner it's not really doing anything we could just take out that altogether and I don't really think there's anything going on in the Purple's either and there is a little bit in the clouds very very subtle tins let's take that purple shift it to blue so now we've got a better looking sky okay looking at the color balance tool again I think I might want to bring those shadows slightly into the blue and I think I'm gonna take the mid-tones into into our oranges highlights something around there maybe those midterms to those mid-tones spoiling things just have a look there's another good example you know put you the mid-tones the saturation of the mid-tones wheel half way up so you'll really see the effect and then grab that thing move it around use it as inspiration to kind of see what sort of look you want from your shot cuz actually taking it more into this or the cyan tones I think looks better it's way too high but we're gonna cool it off I'm sure you know what we're just gonna cool it off all together but it's good to experiment that's how you come to some good edit is by experimenting and seeing how that the sort of look that you want to get okay I'm gonna go back up we're gonna add another layer and this time we're going to use the linear gradient mask and we're gonna bring it down here and compress em we can see that it's just affecting us guy I'm gonna boost up contrast and I'm gonna boost the clarity in there because I want to try and bring out some of that cloud detail as you can see as I push that clarity up a lot more detail starts to become visible in that sky it looks good who do you were saying this structure it doesn't really do you anything you really need that contrast that comes from using the clarity I'm gonna back the contrast off a little bit though because we don't really need it flick that on and off we can see it's just added a lot more crunch to that sky which I think actually just emphasizes some of the weather that we've been having there okay another new layer this time I'm gonna use the brush tool we're going to use a smallish brush but we're gonna soften it off we're going to feather that edge Mac's opacity but I'm gonna bring that flow right down because I'm gonna use this as a way of doing some dodging and burning I'm gonna increase my exposure and we're just gonna start painting in some exposure on some of these rocks so these bits of hillside over here on the tops just selectively painting in some of this light a little bit down the road itself okay might be enough a little bit more here maybe that's really coming in so let's have a look before and after we've been able to by bringing that flow down it's very subtly applying the effect more and more each time you paint over now it just allows us to very nicely paint that light in rather than just adding in extra exposure everywhere but again if we don't really like this effect we can back it off this is what we can't do is easily in Lightroom you'd have to go back into the the brush and then change exposure slightly whereas this way you can just literally bring down the opacity of that effects if you don't want it at all you can take it right down and then we can just start building it back up maybe to here so point where it's it's there but it's not it's not as powerful as it was and I think that's adding a really nice little touch to our scene okay I'm gonna add another layer so all about layers in catch one and that's why I like it and I'm gonna bring in another linear mask here and I'm just gonna use that to darkened down this corner again just gonna help draw the eye to the road to where the lights falling on the middle of the scene and I think that's looking a lot better let's just go back to our first day and have another little player they'll wipe out let's go I think we can do a little bit more we can boost that up a bit maybe just a power tint so boosting up those or tunnel colors just a little bit which I think looks better and maybe I'm not too happy with our color balance bring that down here highlights those around it's all about playing around you see all about deciding what look you want for your image and sometimes I'm not sure sometimes I need to have a play around I mean I know I don't want this maybe something like that and then warm a bit more of a classic Scottish landscape I think could look could look decent up those a little bit more so I think I've got this to a point where I'm pretty happy and if I was working in Lightroom in Photoshop I probably have a look through some of my various presets and see if that's a if there's maybe some inspiration I could take return of the color toning there and capture one does have its own presets that you can either buy from capture one I think other people do makes them as well if we have a look over in the adjustments I actually do have a whole bunch but I haven't installed them yet so I'm just looking at the built-in styles at the moment and we'd have a quick flick for you I definitely want black and white I mean this one's called still life but if we just flick hover over that and off it's adding a nice little touch really nice little touch okay I'll come back to that legacy color effects those landscape ok back and white no no no and then spring I mean no dislike some of those but the one I like most actually really like this still life it's just adding a little bit of pop but it's not really changing anything else in the scene it's not doing anything to our to our show it's just a little bit more pop even so what's great about working the presets in capture one is that you can right click and you can go apply to new layer and then if we go back we can see in our layers that we've got suddenly this filter that's been applied on its own layer which means that we can turn it on and off which we can't do in Lightroom but we can also take its opacity down and so if we don't like the whole effect we can bring it right back down to zero and just apply it very subtly it also allows you to stack presets on top of each other change the opacity and real build up to get your own effect rather than just a one click preset I actually like this at its maximum I think that looks really really good and there's not a lot more that I think I want to do to this scene I'm gonna have a little look at what maybe a 16:9 crop would look like on this shut this is bring that up give it much more of a cinematic look and actually I think I might prefer this because then we I think you just I think it works as a wider as a wider scene let me know in the comments if you don't if you preferred a bigger scene but for me I think 16:9 seeing this more panoramic the landscape there I think really works for this shot but other than that yeah I think I'm really happy what about if I just brought up some of the whites a little bit more on the right layer let's just go here yeah there we go okay let's consider that done and let's move on to our next shot so here's a shot I did of the rolls-royce dawn convertible that we shot in Cornwall a couple years ago when I was with car fiction and they've got Henry Catchpole driving and have a little look is this shot particularly sharp oh dear I assumed in a little bit much haven't I it's okay yeah it's it's it's fine and normally when I do these tracking shots you take this shot at a slow shutter speed in this case it was one fiftieth of a second in order to get that rode motion blur and this one is it's sharp enough let's so let's just go ahead and see what we can do straight away we can see that the sky is a little bit washed out and the car itself is pretty dark so I'm going to start a new layer fill that layer with the mask so we can edit it and let's bring down those highlights and bring up the shadows probably quite a bit so already we're getting a bit of an HDR II look but you know that's okay for now why don't we also bring in the brush and see our masks and we'll just brush that in I ran in the car like that still look quite a low flow from before which is fine and then I'm gonna click fill mask might even do it again now let's just give that a go let's see what it's like okay now we need to paint it in because it looks silly it means equative 8 ok that'll roughly do it's rough it's a rough effect so we start bringing up the exposure on the car we can see it does pop out a little bit more and we can also bring out the shadows a little bit also going to add a little bit of clarity adding clarity to the car is great I just really helped define those details so already I think that's looking quite a bit better what I'm gonna do now is start a new layer get my grad filter and bring that down so again we're affecting just the sky and with this I'm gonna bring down those highlights a bit I'm gonna increase the contrast I'm also gonna up the clarity to get that separation between the clouds and the blue sky itself but I'm also gonna go down to the color edit set and just like we did with a Lambo shot I'm gonna bring that hew down a bit I'm also going to bring that lightness down and the saturation is gonna give us that nice contrasting sky I don't like it here quite as much add another Lambo but it's again good to kind of see some of these techniques I think I may have gone overboard a little bit you know it's fine um the other thing I'm going to do though is I'm going to go into the luma range because it is as you can see affecting the car we do not want it to affect the car so luma range and we're gonna bring up those shadows and as we do it's very easy to see the point where you're going infecting the sky too much because oh look it's peeling away in this top corner where the skies a bit darker we don't want that but this is a point where pretty much you know this wing isn't selected and this part of the car isn't and here it is but you're not really gonna notice that so let's go get fly turn the mask off and there we go there is our effect okay I'm gonna create a new layer I'm gonna fill that layer so we can edit it and I'm gonna go and just bring down our saturation slightly everything's a little bit punchy and I don't want that so I'm going to bring that down and I'm gonna then go to our color editor again and with those greens I'm gonna pull those over a little bit and I'm gonna bring the saturation down I'm going to do the same with the yellows bring that down much more into our oranges and I'm gonna pull that saturation back and I'm gonna darken them a little bit because they're a bit bright so the skipping isn't much so what's giving is a much more graded look it's got a bit of a filmic feel to it and but we haven't applied any filters to this we haven't done any use any presets this is just being from just using those color editor tools and we could go into the color balance as well and maybe add a bit of blue back into their shadows and maybe add a little bit more warmth into the scene to give it a bit more of a grading which I think looks pretty decent or we can bring those highlights around you know you can really wherever you want it's very easy to see these wheels and to throw color where you need to for me it's there like that's my color that's a really nice grade and I think that looks pretty good I'm pretty I'm pretty happy with that so that is I think everything that I would want to do to this shot in capture one there's a few things I'd want to do in Photoshop with some object removal this post here some marks on the road get rid of some of the reflections on the style of the car but that is stuff that Photoshop is still the tool to use capture one is great for doing these sorts of like good toning and contrast exposure adjustments but when it comes to object removal anything like that Photoshop is still always my go-to tool so I'm going to move on to our last shot I'm going to make this one a bit quicker and it is this it is a fishing not fishing boat it's all there well then it's a boat is carrying a digger of some kind but I really like the waves it's not a great shot by any means it's just a bit of a snap I took when I was last at the coast it's a very very windy day and I liked the waves breaking against it but I think was a lot of ways that we can amp up that drama first of all I'm gonna up the exposure on the whole image I'm also gonna up those shadows I'm gonna boost the contrast I'm gonna boost the clarity so straightaway we've got a much more powerful impacting image we're gonna just cool it off a little bit try and bring those blues back and maybe just tweak the tint that's all has really done much right there we go that's what we've got one of the things that I really want to do to this shop is that at the moment our sea is a little bit green a little bit dingy looking I'm gonna go down and I'm gonna do a new layer in fact let's fill that layer go down to our color editor this time I'm going to go to advanced and we're just little picker tool here we can go over and just click on our C and as I can as I thought our colors are mostly in the greens and the yellows and you can change it around and you can tell it to select more blues or whatever I'm gonna keep it in the greens like this I'm gonna expand it out so we're capturing as much of this sea as possible and in fact if you click that view select color range box just down here well then we can see exactly where it's selecting and it is all of this sea and what I want to do is bring that hue not knocked down that takes it into a brownie tone all the way up into much more of a blue a deeper blue tone I'm gonna bring the brightness down and I'm gonna up that saturation oh not that much a little bit I'm gonna do that and it's taken as a long taken there's a lot of the way there that we want to go but the one thing that I have noticed is that it is affecting you know what let's bring down that saturation that's a bit much it's a lot much in fact somewhere around there that's fine but one thing I can see what it's done is change the look of the boat itself so because we've used a mask we can get our razor brush and we can use a slightly bigger size now we can literally just paint that no way should be able to you look at our mask yeah of course it's still I see you yeah go back here you've you slept together in there we go so yeah you can see by masking by getting rid of that bit of mask what we've what we've done is made sure that it isn't applying to the boat it's just applying to the water the great thing is then is that what we can do is do the exact same thing again I'm gonna have a new layer I'm going to fill that mask and we can we can already decide to get rid of this bit of the boat just in case and we're gonna go back down to our color editor we're gonna get the same tool gonna click here I'm gonna expand it out do that and we're gonna push that hue again further up so now we're taking it from a green into a deep blue it's a really steely ocean color and that suddenly really amps up that drama I really really like it we could try playing the exposure a little bit something like that I think looks good but suddenly we've got this great-looking sea tone it's a steely stormy cut which I really really like let's go back up and get another brush on a new layer largest size in fact now let's keep that there's smaller size smaller size cuz what we're going to do compress mask let's take our flow back up to the top and we're gonna mask around here like this go all the way around the edge the edge of our shops just like this into here around here in pretty rough and ready but should get good results and then right click fill mask and it'll fill it in for us very very useful tool and then we're just going to also fill in slightly bigger brush maybe we're gonna fill in this bit up here it doesn't really matter if we go into some of the areas of the boat because what we're gonna do isn't going to be that noticeable on those details deselect our mask and we're going to boost up that clarity and that says really gonna help as you can see as we push it up that detail and the water really starts to pop how it starts to look really steely and dramatic maybe that's a little bit too much so we can start to back off the opacity of that layer somewhere around 70 I think it looks super dramatic it's exactly what we want last thing I'm gonna do another new layer another fill and we're gonna go back to our color editor this time we're going to click on the Reds and I'm gonna up the lightness oops of that boat I'm going to change the hue to be back into the Reds again and we're going to up that saturation not that much redness of the pink about there is where we were maybe drop that lightness a little bit so what that's doing is just really making that red color pop because it without it it was very dark very dingy and it's sort of lost in the picture a little bit now by using that tool specifically brought the Reds over that took what 30 seconds to selectively bring out much more vibrance in the Reds and I think it makes this image work so much better I do however just want to fix that horizon and by fix I do not mean level out I want to do the exact opposite and I want to and put that drama by putting this on an even bigger slant than before which is just going to I think we can view this around by giving it this odd angle it makes the photos look quite jarring because you expect to see it on a and they even horizon but by giving it that jarring look it really kind of amps that drama it doesn't look right to your eye which is exactly what I want to go for it's almost like you're at sea and everything is off axis and off kilter and it's very very artists or messes of your minds a little bit and I think that does that really really nicely now again we could go into our shadows and just add a little bit of blue right into those darker parts which I think again it's just gonna help bring out some more tone I don't think as anything else I want to do to the rest a little bit of cyan in the highlights certainly I don't want to add any warmth to this shot because all of this drama is coming from the fact that it's a very it's a cold stormy day yeah I'm not really pleased with that it's it's it is a snap this is not a keeper I wouldn't put this on my profile I probably you wouldn't put it on my Instagram page but it's just got that nice little crisp drama which we've got entirely from using capture once if we again hold alt and just press reset that's where we're before dingy image not really much to catch the eye of and suddenly bang drama loads of pop loads of life to this shot that would really stand out I'm on a website so yeah I'm pretty pleased with that if we go and have a look back at other ons this landscape before it was fine but we've managed to bring out a lot of detail added more warmth that we've got a really nice looking scene the Rolls Royce again before is a fine fine bass roar image what we've able to give it a much more cinematic color grading and the same goes with this Lambo in fact you know what last thing with this Lambo let's do a little bit of a crop let's bring it in do we want a 16-9 on this I'm not sure we do one 16:9 let's just go to our crop tool original however it was before I think was the a crop but we just want to bring it in like that a little bit because we've got some wasted space down here that we don't need and again if we just look before and after we've made some huge differences with all of these images we haven't left capture one we haven't gone into Photoshop we haven't had to rely on all the different Lightroom presets which is just basically being using our exposure tools in capture one and using layers I do hope that has been really helpful if it has please make sure to hit that like button subscribe if you don't already and do you make sure to leave some comments about whether you have found it helpful to see how I would edit my images in capture one I don't always use capture one I tend to lean more into Lightroom so that is where most of my tutorials have been so far but if you do want to learn more about capture one please let me know and I'll try and do more of these but otherwise I will see you next time [Music] 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Channel: Andrew Lanxon Photography

Views: 12,236

Keywords: Capture One, Pro 20, 20 Pro, Lightroom, Photoshop, Editing, Tutorial, How to, Tips, Capture One 20, Landscape, Photography, Beginner

Id: O84Ax0FNBwM

Length: 39min 15sec (2355 seconds)

Published: Sat May 23 2020