Capture One 21 Live | Editing Travel and Street

good morning or good afternoon everybody welcome to today's webinar sorry for the little visual pop-up of the camera on the countdown that wasn't meant to happen i just pushed a button i didn't mean to but there we go nothing dodgy fortunately so today we're looking at editing street and travel photography with a gentle nod to the style brushes that were launched on tuesday so as we've got new toys to play with we shall make use of those in this session as well just to give you a bit more insight into how they work and how you can use them on on your own photos as you probably haven't had much chance to try it for yourself so welcome to those of you who are watching on youtube and facebook as well welcome to diego who's also hanging out in the background on the channels to answering uh a lot of your questions now there is quite a few of you today so we will do our best best at answering as many questions as possible but please don't be offended if we don't get to your question if you are in the webinar room as we're going out to three different locations currently if you want to ask a question to help myself and diego locate it better please keep it to the q a tab that just separates it out from the chat but you're more unwelcome to use the chat to cheer heckle talk amongst yourselves and so on but keep the questions to the q a if you're on youtube or facebook do feel free to add a comment as well we can see all of that coming in and i'll try to keep my eye on it and also diego will do his best to keep up as well but as i said if we don't answer your question please don't be offended all right so let's go ahead and take a look at capture one uh now not only is diigo diego fantastic answering questions he's also a pretty good photographer so a lot of these shots today are actually from diego as well and as i said the purpose is for editing travel and street but with a nod to our new style brushes that just came out on tuesday so if you haven't updated and you're wondering where the style brushes are then you need to update first of all to the latest release of capture on 21 which it's nerdy numerical term is 14.1 and you can find that on our website okay so what you'll see is when you first load up the latest version of capture one you will see a new tool called style brushes which sits in the exposure tool tab by default now i did a thing and now i made myself an additional tool tab next to my exposure tool tab just for style brushes as i'm running on a smaller monitor here so i've got quite a lot of tools going on and it just means a lot of scrolling back and forth which is not as easy for you guys to follow so if you want to do the same and you want to make your own custom tool tab it's pretty easy just right click in the blank space at the end and choose add tool tab and then custom tool tab and if we click on that then you can give your tool tab a name let's just call this another tool tab choose an icon of your fancy let's go for a heart why not and say add tab might need to extend that a bit now you can see we've got an empty tool tab and if you want to add tools to that just right click and say add tool and then you can pick up the style brush tool and so on so if you find yourselves running out of room let's just remove that one then that's a good tip just to give you a bit more space and it's also going to be easier for you to follow what's going on as well all right let's get straight into it and open up the first shot which is of course from diego now this is with default adjustment straight out of the camera so no reset button is active and generally what we're going to do in this session is improve what's already there if you like often with travel and street photography you're grabbing moments you don't necessarily have time to set up your tripod perfect the exposure think about all your adjustments so sometimes it's shooting at the hip off the cup grabbing moments which you might not necessarily have all those elements for a perfect photograph if you had 10 minutes to shoot it even so saying that this one's pretty awesome out of camera nice light and dynamics going on pretty good exposure and all all of those things so what do i want to do with this shot well our subject down here at the front let's zoom in on her a bit and check out her awesome muscles uh we're gonna open up the lighting on this side of her face a little not by much but just a tad i quite like what's going on in the background here with these doors so i might choose to brighten those a bit and then to highlight the lighting that we've got on is just darken down these areas that are already quite dark so just a bit of dodging and burning fortunately there's a style brush for that as well so first of all let's just throw in some basic corrections i will pull up the brightness a little and the reason why i'm not doing exposure is because i don't want this pavement or sidewalk depending where you're from to get any brighter and by using exposure that will also brighten the highlights as well so i'm just going to pull up the brightness the touch and then hit auto on my levels so it sets my highlight and shadow points and in actual fact just pull that away a little bit from the edge again just to make sure these aren't getting too bright but that gives me a better overall contrast in terms of contrast clarity it's all pretty good really uh i'll pull the highlights down a little bit just to make sure that again the pavement isn't getting too hot and add in a small amount of clarity but generally you know we're in a pretty good uh pretty good place i'm just going to pause for one second and turn off the heating because i'm getting too hot so there we go sorry about that um so next thing we want to do is just target our adjustments to those places where i said so a little bit on the side here and maybe darken off those areas so i'm going to go to the [Music] my custom tool tab which we just made where i've just got the layers tool and the style brushes tool and i've made the style sorry the layers tool a little bit bigger because i tend to be working with more than two or three layers so this way it gives me a bit more space to see all those layers without having to scroll up and down so that's just in the three dot menu so style brushes what's that all about well essentially we're using the tools that already already exist in capture one we're just doing a number of things to speed up that process and as we work through the different images you'll see exactly where those time saving elements come in so first of all i said i wanted to brighten this area a little bit so we've got a brush for that called dodge brighton and if you're not sure and like me can never remember which is which between dodge and brighton dodge actually has brighton brackets next to it so i'm going to pick that style brush and then immediately what you'll see is just where i'm circling the mouse the brush cursor tool is automatically selected so that also saves you a step now we can go over to our shot it's probably an absolutely massive brush so let's make that a bit smaller that was from earlier and we can just start and go over and paint on our subject now if i right click these sliders or the adjustments that you see in the brush have also been preset by the style brush so that's saved as part of the style brush that is an option um and we talk about that when we create your own style brush a bit later but so far by picking dodge it's also set up those brush parameters now size isn't part of that we didn't decide to include size as part of that style brush because if you shoot 100 megapixels or 20 megapixels the brush size is relative to your camera resolution so it's hard to pick a default but once you get into making your own brushes then you'll see how that works okay you'll also see that deliberately we also set a low flow and the reason for that is that it lets you build up the style nice and gradually just like we've done in other webinars when i fill a layer dial in my adjustments if you've seen me do that clear the mask then start brushing in with the low flow all those steps are now compressed into a much cleaner workflow with the style brushes so let's go on to my subject i'm just going to brush a few times to open that up and give a bit more light in there now as the flow is relatively low then you might struggle to actually see what's happening because it builds up slowly but if we turn dodge off and back on then you can see it's just opened up that lighting a little bit simple now i said i wanted to darken these areas down a bit so i'm going to grab my burn brush brush cursor tool is still selected go over to my shot i'm going to make my brush wider or larger and the easiest way to do that using the new shortcuts to speed things up a bit so if i just bring the brush over here if you hold down control and option if you're on a mac and drag left and right then the size changes like so up and down then we get the hardness change now if you're on a pc you need to do a similar thing control and alt and then you need to use your mouse with a right click drag and now it's exactly the same as photoshop so if you're used to photoshop then that works nicely but you'll find moving around is much much much faster okay so let's just hide that overhead view otherwise it's going to be slow so i'm going to make my brush a bit bigger flow is nice and low on darkened as well so now i can just brush here and just darken down these elements like so very nicely and don't forget if you go too far you've got two choices we can either back off opacity and you can see that just fade away so let's just darken in that area a little bit more i'm going to darken in this corner we're going to give a little swipe across the sidewalk just to darken that down ever so slightly and away we go so now if we turn burn off and back on then you can see the difference so super super easy and super nice now if i want to go back to my brighton brush so let's pick look at the size of my burn brush if i go back to dodge notice how the brush switches size and parameters like so so if i right click you'll notice this very handy box here which says link brush with layer so that means my brush settings in as inextricably linked to the layer so as i switch between layers it nicely switches those adjustments if you wish so that makes working between those layers much much faster so if i go back to the brighten area let's make my brush a bit bigger and then i can just brighten up this zone a little bit as well and then if i wanted to switch back to burn i can do so and then i get the larger brush and so on so it's just a much much faster way of working all right now for that shot that's probably where i would stop you can always go back and of course perfect your layers by playing with opacity if you wish back on my background layer let's just pull highlights down a touch more if we turn on before and after and just swipe across you can see what we did we just darkened down those shadows we lifted up a bit of light on her just so we can see what's going on opened up the doorway a little bit so we can see all that nice detail darken down this bit over here and away we go now to do that without style brushes yes we could still do that but again if you've watched the webinars that i'm doing it's a case of filling the layer dialing in the adjustments clearing the mask changing the brush parameters to suit and then scoring it back in all right let's have a look at some questions so first of all again i'll just pick two or three out otherwise it will be a a webinar or i'm just about questions good one from maxime and what we do is at the end if we have enough time we whizz through and give a very fast description of all the brushes what's the difference between the brightness and the dodge brushes so if we look at brightness now there's no mystery to what's going on with these brushes so if you choose the layer then you can look at the various different adjustments that have come in so we can see in the dodge brush we've got a bit of an rgb curve we've got a little exposure tweak if we go to burn it's the opposite and a pulled curve down and so on so brightness is just playing with the brightness slider dodge brighton is doing a couple of things in combination and there's some other brushes which we use which do a bunch of stuff in combination as well but there's no mystery you can always see what's going on adjust it and build your own brushes as well cool okay let's go and look at another shot so that was a good timely question to pick out i feel now we're going to go for this one so this is not by diego sorry diego this is by innis who works in our development department so let's reset that and take that back to zero adjustments what we're going to do with this is a similar exercise highlight the brighter areas darken down the already dark areas and then there's an important distinction based on maxine's question about the difference between the brushes the subtle brushes or the subtle differences so first of all what do we need to do with this shot exposure's pretty good don't think i really need to change anything for that let's just hit auto level so we've got a slightly nicer contrast and add in a touch of contrast and a little bit of clarity as well so that's a good start point so what i want to do is darken down those areas around the uh the exit if you like whatever it's called the halo and then give a bit more of a nod to this brighter area here i am going to just pull up the kelvin slightly just to warm it a bit okay so going back to maxine's question we've also got some options here we've got darken that we just used and then we've also got shadows darkened so what's the difference between the two so i'm going to grab shadows darken again brush cursor tool automatically picked brush set up exactly as we would want it let's make that a little bit bigger and i'm just going to darken down this area now why am i choosing this brush instead of the burn or darken brush the reason being is this brush has different settings behind it so when we're using the shadows darken again there's no mystery so if we look at the adjustments in play where are we so the blacks are coming down the shadows are coming down but the benefit of using this brush is that if i accidentally brush into the middle here or i'm a bit sloppy with my brushing it doesn't matter because the brush isn't going to affect those areas so like we've done in previous webinars where we fine tune the brush to the image itself this is pretty much the same principle so now i can darken down this area i'm not worried about over brushing on this highlight because the style isn't going to affect it at all so i can just darken that area down nicely if we turn off shadows darken then you can see before and then we can stick it back on like so easy now the last thing i'm going to do i'm going to grab deep sky that's this one here now this is the only brush which has a flow of uh 100 and the reason for that is it's an all or nothing adjustment and if it had uh like a lower flow when you were brushing backwards and and forwards or over the photo where the brush would mesh and overlay you would actually get some undesirable effects so this one if we start brushing let's just do a little bit here and then right click you can see the flow is set to 100 and what deep sky does gives you a little boost of contrast adds in um some clarity it makes the clouds stand out nicely against the sky and so on but again for this brush if you think it's going a bit too over the top then just go up to your opacity and just dial that down and then you can gradually pull that down to nothing or you can have the full effect but it really separates the clouds out nicely it's pretty good all right um for this shot that's probably where i would leave it so if we bring up our before and after let's just swipe across so we darken down the already darker areas to give more uh emphasis to the exit in the stairwell gave a bit of deep sky treatment to the sky and then left this brighter area at the bottom like so so all pretty simple stuff um again all these adjustments have always been accessible in capture one but this makes it more accessible and faster oh raymond just said how would it look using the deep sky brush one step ahead of me there raymond so it looks pretty good i think as as well and there's nothing to stop you going into that layer and thinking you know what i just want to tweak this a little bit so we could just add to this layer a bit of saturation if we wanted to so it's nothing is fixed you can always edit it afterwards okay um let's have a little look at some questions just seeing if there's a couple of common ones so pear christian hide and says can you limit the burn and dodge brushes to affect only the highlights mids or shadows so these ones they have a general effect over the whole photo but pear there's nothing to stop you building a brush that was targeted at just shadows highlights and so on in actual fact as i said we've already got our shadows darken so that's your shadows only burn if you like shadows recover shadows only dodge then we've also got highlights bright and recover as well so look to those for inspiration and see if you want to build a slightly different one too okay let's move on where should we go now uh what did we do this morning let's do a slightly different one so let's grab deciding let's grab phil penman's because this has got a few different techniques in it so we're going to grab this one which isn't edited if you don't know phil penman check him out he's an awesome street photographer fellow brit based out of new york city uh good capture one user he's done a webinar with us in the past as well but sublime street shots mostly shot on the streets of of new york this is one of his um but do go and check him out on instagram as well he's awesome okay so first thing i want to do is hopefully the water is level so i'm going to grab the straighten cursor tool and just draw along the horizon like so and just level that off that looks good um quite often are have the guides in play and like you can add the guides button up on your toolbar here if you wish just right click to customize and drag that button up so if i grab my pointer tool just want to check if that's level and if it's not quite right i find the easiest thing to do is to go into rotation and flip and then what we can do is is use it's actually pretty good but if you need to nudge it a little bit just use your cursor keys so if you use your cursor keys up and down you can see that just changing by point zero one if you do the shift cursor key so shift cursor that will give you 0.1 and then jog like so so probably i want to go somewhere around there if we're not being too pedantic all right so let's zoom back out turn off our guides and also for the keystone let's go a bit of vertical keystone just to straighten up that window ever so slightly as well okay good stuff now with this shot for me again it's pretty good out of camera as i would expect from phil this i find distracting so we're going to get rid of that whoops let's hide sorry hide the overhead this i find distracting so let's get rid of that i think there's too many seagulls sorry seagulls the main emphasis is that we want to look at new york city so first of all i'm going to warm that up a bit i'm not too worried what's happening with the frame we'll fix that later and it's a bit on the dark side so let's pull up the brightness again i'm not going to pull up exposure because that's going to lift the frame which i don't want and it's also going to brighten the highlights which i also don't want so we're just going to pull up the brightness like so add ourselves a bit of contrast and also give ourselves a bit of clarity as well so now new york city is looking much better what i also want to do is get rid of a couple of seagulls so we're going to grab our heel brush and then sorry seagull but we're going to take you away like so and we're going to take you away as well so we just have a couple of nice uniform seagulls like so now for this one this is interesting normally this is this is a a point that i would or a section of the photo that i would heal but it doesn't actually give a good result on this shot and i'll show you why so if we grab the heel brush let's make this a little bit larger and then just obliterate it like so and capture one does a pretty good job i would have to move my source point a little bit but the only thing that doesn't work so well with this is that this line the luminosity correction hasn't worked so great at this point but if i clone it i'm going to get the same pixels from probably around here on there and it will blend in much better so let's get rid of that source point which is just select it and hit backspace on the keyboard grab my clone brush and with the clone brush you have to first choose the source point and you do that with a option or alt click so if i grab the source bang on that line and then match it on this line and if it's not quite right it doesn't matter because we can tweak it afterwards but before i do that also with the clone tool i'm going to keep the flow relatively low because i want it to build up at the right point so let's start brushing here so that lamp is gradually fading so a little bit more on the edge a little bit more on this edge and then now we can clone away and this is actually a good example you can see what flow is doing because we're taking some dark pixels on top of some bright pixels you see as i brush so i know you can't see it but as i brush back and forth slowly we're adding more and more density to that like so now this is probably a little bit downwards so if i use my cursor key to um sorry my select the source point get it right and just use the cursor key to nudge it up a little bit then i can get that in the right spot now my luminosity is actually pretty nice and it does a good job of hiding that as well so if we turn the clone layer off before and goodbye distracting light like so so a bit cleaner bit simpler okay now this area up here is too bright let's get rid of that so we're just going to grab and going back to pairs question which was if i just want to darken down a particular area for this one i'd probably use kind of want to darken everything so i think i just use burn and then just darken down there so just to send that into black or not full black and a little bit there and just take us some of the heat off the side of that door frame like so job done nice and simple so if we grab our before and after slider so we got rid of our um distracting lamp we got rid of sorry seagull one seagull two seagulls this one it can stay that's allowed and bit of more warmth bit more emphasis and contrast on new york city darken down the frame so we can see that it's framing our subject really nicely okay let's find hopefully a common question i know there's lots of you um i'm just looking for a common one again jeff you must have missed the question what's the difference between dodge uh brighton and burn brighton so dodges and dodge and burn are going to affect more of the tonal range of the photo brighton is more focused just on the mid tones so like the brighton slider in capture one just affects the mid tones that style brush is only going to affect the mid tones when we dodge and burn it's going to affect a greater tonal range but as i said you you can um you know you can design your own brush to do just what these are just examples inspiration you can build any brush you want as well art says good edit on new york but i kind of like the moody blue tones myself fair enough so what we could do art if we just go to our color balance tool and the master tab if you want to cool it down we could do that if you wanted to have it warmer we could do that if you wanted to go teal red sky's the limit so you've always got your color balance tool afterwards all right let's go for another one sorry we're not answering so many questions but there is rather a lot of you what shall we go for this is um a good quickie from innis actually as well so let's reset what's going on with the layers so this is a good comparison of several different tools which would achieve the same result but with all slight differences so this is a great architectural piece in copenhagen actually again shot by innis who's in our dev team lovely spiral uh walkway you can go up to the top tree grown up the middle nature around the outside it's really tall don't know how tall it is but it's a great place to visit should you get the chance so right now it's a bit bright around the edge so what could we do we've got three choices we could think about all with their own pros and cons we could use the vignetting tool just to darken that down a bit but the vignetting tool remember you don't have any control on the shape or you have minimal control on the shape it's either elliptical or it's circular so and the rate at which it darkens or brightens things is uniform over that area but you know it can give a good result so we could do that we could grab a radial mask from our layers tool and draw on our radial feather it to something that was fairly nice and let's just get the size going a bit better so let's pull that out squash this one down a little bit and make our radial mask if i press m on my keyboard you can see the mask that's going on now the benefit here is that we've got a range of tools that we could use to darken down those edges so we could use exposure which would darken down everything including the shadows we could use brightness which would just pull the midtown midtones down a little bit pull the highlights down as well we can build in a combination of different tools but again it's happening the same over the whole area unless we grabbed our erase brush and started knocking out holes in that radial mask the benefit of using a brush is that it gives you some artistic flexibility if you like to really decide where you want the adjustment to go and very much like drawing pen on paper it's the similar principle with flow so if i was to edit this one i personally would pick a dodge sorry burn darken go over to my shop make this nice and big now note we've still got the nice low flow so i would darken down this area and darken down here a little more because this is picking up a bit more light so it's more distracting we've got a brighter bit of vegetation in the corner so that would take a bit more and i would do a little bit here and then also a tiny bit on that point just where it's a little bit hot so with that brush work then it means you can be a lot more selective about where your adjustment goes so remember the vignette tool you have no choice over the brightening or darkening in terms of what gets dark and what gets bright with the radial mask you have a lot more choice over which tools are going to influence that mask which a lot of the time works great if you just want to do a nice vignette if you've got something which is a bit more complex than this then using a brush whether it's a style brush or a layer however you choose to do it can give you a bit more flexibility so now i can just go back in i want to darken this area off a little bit more and that's only possible because we've got this nice low flow as well so uh if we press m on our keyboard or we look at our grayscale mask you can see the difference in brushing so white is where the mask is at its strongest so this is where i brushed a lot and then as we go to black this is where there's no adjustment and this is where there is some adjustment because it's like a mid-gray so you can really position your adjustment as you wish so let's turn off the grayscale mask and then to um just maybe lift that tree a little bit just brighten that ever so slightly i would just use our dodge brighton make my brush a bit bigger and then away we go so the combination of picking that using the shortcut to change your brush size you know it's just way faster than going through all those other steps as well okay um let's see jeffrey says i tried brushes quickly before a weekend brilliant and intuitive can't wait to create my own and we will look at that i'm just checking for time we're doing pretty good we can work pretty fast with brushes so yeah we make some custom ones as well um just checking other questions love love love the new style brushes thank you and let's just go over to webinar engine let's see looking at questions can a regular style be made into a style brush what you could do alan yes you would just load that style as a layer so what i would do if we go to our styles uh let's just look at some styles whatever helps if they're layer compatible so i could right click and say apply to new layer like so so now we've got our style layer like so and then all we need to do is first of all set up the brush parameters that you would like to have and then go to our style brush tool and say save style brush it's going to ask you are you sure you want all these various different things so if you put an exposure correction in on that layer if that wasn't intentional for that brush you would want to uncheck it but if all these things are contributing towards that brush that's great we don't need anything in details and you can see your brush settings and your eraser settings as well and let's say save and we call that the f200 brush now i'm not quite sure why you want to have a film style as a brush but let's delete that and now it shows up as custom style brushes so if we grab that f200 brush and then we can start brushing in that film style if you wish so yep it's as simple as that let's just bump up the flow so you can see it go in so now we are literally brushing in that same film style so yeah if you've got any styles that you've been using in combination with layers and then brushing them it's pretty easy to convert them over to a brush style like so okey dokey um let's edit another photo that's what we are here for so where should we go now um let's take our black and white let's do a black and white why not this is back with diego so a cold wintry denmark how they stay upright on their bicycles i've no idea i would be flat on my back so first of all let's rotate this one well let's do a crop and rotate at the same time to be efficient i think i've got a ratio let's un-constrain that so this poor cold person so let's just rotate them so we get the bike pretty much upright i'm going to get rid of the bus stop that is a danish bus stop looking there so let's cut that out because it's a bit distracting and this car tire we don't need that so let's cut that out so it's a bit of a tighter crop as well h on my keyboard just going to press c again let's tighten up that a little h on my keyboard and there we have our crop like so perfect this was shot with a manual lens as diego told us earlier so snow is wonderfully in focus it's a little bit soft but it's an old vintage lens so we're not going to get full-on sharpness out of it for sure but let's do a black and white conversion on this as well so let's go to our black and white tool very easy to make a black and white if we say enable black and white instantly the photo will go to black and white and then these sliders simply control the density of the color tones in the photo so if i was to grab red as an example and just pull the density down then you'll see his face get darker because there's obviously a lot of red tone in his face so there's no real scientific way for me to use those i'll brighten up his face a bit it's probably not a huge amount of much else going on if we turn off the black and white tool it's a pretty monochromatic shot so really just by looking that there's not really much to be gained by using those sliders there's probably some warmth in the buildings a little bit you can see just on the right hand side so i'm going to brighten those up a bit but as for that pretty sure these sliders won't really achieve much else so i'll stop there with those what i tend to do when playing around with contrast for a black and white tool is use the luma curve y and that's directly related to what's going on in the black and white tool so if you have carefully set your densities on those sliders if when you go to play with contrast you use an rgb curve that will also add saturation to those colors if you're increasing the uh the contrast so that's going to skew the density of your colors a little bit i'm being pedantic but to be on the safe side i always go straight to a luma curve and then start adjusting from there so this shot i quite like is relatively flat but i just give it a little bump more of contrast like so now for this highlight at the back that's a pretty specular highlight so i don't think we're ever going to get anything back in that nope it's gone uh so if i just pull highlights down not even highlights highlights makes it too flat so i would pull the whites down ever so slightly and that will give us a bit more detail back in the snow so nice and simple but really don't want to flatten it off because it loses the nice wintry brightness about it as i said this was a manual lens so we've got no lens information there's probably a bit of light fall off on it because it's a vintage so let's just bring up i want the light fall off to come up a bit don't actually want a vignette on this if we did venue vignette this just don't think it does the photo justice really i quite like the edges being nice and bright and the last thing we're going to do with this black and white and the main reason for picking this photo really was to talk about what you can do with film grain in capture one so if you are doing black and white excuse me for your street photos and you want to add some film grain i will pretty much say that the film grain tool in capture one gives you the most natural looking film grain that you can find in any digital application and the reason for that is that we're not just overlaying a grain pattern on top of the shot from a scanned piece of stock which is generally what happens uh the film grain is being mathematically modeled on the photo itself so if it's a highlight a shadow or a mid tone the grain pattern is going to be a little bit different which is exactly how analog film works so let's grab some let's go for soft why not impact is like an opacity so the greater the impact the more obvious the grain is going to be and then the granularity is how grainy it is so let's just pull that up to something like that that's what excuse me so let's pop film crane back and zoom out so there's our our finished snowy shot if we turn on before and after so we can see actually quite nice in color as well and then also straight into black and white if i was going to do this in color i would let's just clone our variant for a second let's turn off our black and white tool correct tool tab i'm going to add a new field adjustment layer and then on this layer let's turn down saturation so it's really kind of low-key on the color-wise and let's just go for a slightly warmer feel and a little bit of teal in the shadows and go for something like that so we've got our black and white version or our color version in hindsight actually quite light the color but there we go editing it's a process all right let's um have a look at a question let's see um okay in youtube facebook we're looking pretty good in that place um can the layer that style brush creates also be used for other kind of adjustments or is it limited to just that special adjustment as i said there's there's no mystery here if we go back to what did we do like let's go back to the first shot so as i said there's no mystery it's just as if you had painted a mask yourself set up the adjustments played with the the mask a bit more it's just accelerating that process to make it more accessible faster easier and so on so if we look on our burn layer and we go to to look at the tools we can see we've got minus 0.2 and we've got a little bit of a pull on the curves there as well dodge brighton we can see what's going on but if you decide on those areas that i've darkened i want to do something else let's just dramatically change something then there's no reason why you can't dial it into that layer as well so it's it's completely flexible in that respect let's see if you can't find the style brush tool make sure you have updated i just saw a couple of questions about that i'm using build 14 point sorry build 14.1 try again that's the version currently available on the website if you still don't see style brushes just right click add tool and go and find it style brushes like so if your workspace has been reset you can always find it in the list down here so you'll see this is the workspace i was using in 1401 so we don't obliterate your custom uh workspace okay and one more question james what's what's the difference between teeth whiten and the dodge quite a lot actually uh because it's doing some color work as well i don't have any teeth to whiten currently but it's uh also doing some color changes like taking some yellow out as well and it's actually very very effective okay how are we doing for time 15 minutes wow time flies let's go for unless i got my times wrong or have we overrun what time is it 4 30 4 45 oh no we're okay i thought i was i was either 15 minutes over or 15 minutes under let's grab this guy all right first of all let's fix the perspective now i'm going to try the keystone on this i can't remember if i did this when i was practicing but let's give it a whirl i want this window to be square so i've got the keystone tool open also in this update we've made the lines more visible so it's easier to drop onto your photos this might be a complete disaster or it might work let's try generally when you're using the keystone tool the smaller the sample area if you like and the more central it is can lead to a greater error if you like so if you are attaching or if you are trying to drop the lines on a smaller point try to be as accurate as possible let's hit apply actually that worked pretty good actually i might want to change my rotation a bit let's just fix our crop for a second let's rotate him a little so he's not falling over and pull out that crop slightly and let's go for an almost shall we try square let's go for square crop see what happens there we go actually fits quite nicely into a square frame so first of all looking at this my crop is a bit tight up top looking at this pretty good add a camera what i would want to do though it's a bit on the cool side i feel so i'm gonna pull the kelvin this way slightly so that looks a bit warmer that's better and in our levels tool let's hit auto so that's gonna give us a better start point for our contrast i might just pull out the white point a tiny bit now in terms of much else this is actually a pretty easy edit so let's throw in a bit of clarity now this might be a vintage lens as well i'm not sure let's just zoom in so we've actually got pretty nice amount of detail going on so we might be able to throw in a little bit of a detail brush or an actual fat this one just a small vignette so this is a shot where i would just be more than happy with the vignette tool because it does a good job so don't disregard the vignette tool because it's old or ancient or whatever it actually does uh a super super nice job and then if anything else if we open up the shadows ever so slightly just it's getting a little bit dark down here in that corner and then really this is kind of a nice easy edit to be honest if we go to our color balance tool don't have to spend hours on everything with tons of brushes just a little bit of warmth like so so i would fix or be happy with the result here so if we look on before and then after like so it's always tricky looking at the colors before and after did i go too far is it too warm or whatever um but i think that i'm happy with that so really nice simple edit and also for the film green this might also be a nice candidate for a bit of film grain as well so if we go remember impact is how obvious it is uh silver rich that's going to be a bit chunkier so actually works quite nice on this one as well there we go nice analog feel to it okay um can i get a shout out to shirley in butlan please sure shout out to shirley why not i've never had a shout out before so thanks for that um let me just check on the questions let's see okay um mihai says david you don't use the capture on keyboard anymore don't they produce them anymore no the the capture one keyboard uh was produced this is a logitech keyboard the capture one keyboard was produced quite some time ago had the shortcuts printed on um they don't make that keyboard anymore in actual fact that the keyboard they use the apple one they also don't make any more and i think the new magic keyboard which i've got one sitting down here for the company who was making them couldn't print effectively on the keys or something like that but generally i can remember enough of those shortcut keys so no that's not something that is available can i see where the brush has been applied like the usual switching on red yeah absolutely richard and just to emphasize it's just the same as if you were doing a manual brush we've just accelerated the steps to get you to that point so pressing m on the keyboard shows you the mask in red just like um you know any other brush that you could be using check another question i think we're good actually diego's doing a great job of beavering away in the background all right now seeing as we've got 10 minutes left we're going to do one final edit and then we have a quick run through of uh just ticking off what each of those style brushes do so you know what's what okay let's go for our tuk-tuk driver like so i think this is as it came out of camera again pretty good shot out of camera not much needs to to change but there's a couple of things that we can do uh just to clean up the shop a little bit so the first thing i would do is just check on our basic edits exposure's good well done diego maybe take it a little touch brighter but not too bright so we don't this area to to blow out pull the highlights down ever so slightly the only thing i do want is a bit more detail in the back of his head so if we grab our shadows recover so this is different to dodge brighton which is going to brighten it everything this is just going to lift up the shadows a bit so i'm going to pull that brush down a bit and make it a little bit softer and then just a few swipes just to open up the density in the back maybe a little bit here and maybe a little bit there as well just to brighten that ever so slightly we've got a couple of shirt marks so let's grab the healing brush use my shortcut once again remember if you've missed that if you're on the mac option control you can see my cursor and just drag left and right and you get the little heads up display which is super nice uh just so you can see what's going on so let's take out that spot and we've got spot there got spot there and we've got a crease so let's pull that one out and then we've got a crease there as well so let's get rid of that that cleans that up a little bit we've got a mark on the roof let's take that away and just a couple of distracting ones there as well so let's get rid of those to clean up the shot a little bit if we turn the layer off you can see before and after like so and then finally if we go to the background layer does this one benefit from a little vignette ever so slightly and if we turn our before and after then just a few little tweaks like so just ever so slightly but sometimes you just want to open up the shadows pull the highlights down a little bit but if we did that over the whole shot let's on our background if we open up the shadows you see the range that it's affecting if we open up the blacks you know similar story it's now affecting all these areas doesn't look quite so nice as well so just occasionally a little bright and dark and in one spot can make all the difference so if we turn off shadows recover it's just giving us a little bit of extra detail in the back there subtle but works and again just because the camera doesn't or sorry just because the camera has all this dynamic range doesn't necessarily mean your photo should end up looking like you know this kind of thing it's very easy to overdo shadow and highlight recovery just because your camera has all this spectacular high dynamic range just because it can doesn't mean you should just because a slider can go to that point also doesn't mean you should as well okay let's have a quick run through so we stay on track for time for each of the brushes i want to show you a particularly cool one actually let's grab this one up which does something funky with the color editor so one of the style brushes is called saturation minus now that's i guess fairly obvious what that does but it does quite a cool thing so let's sorry make my brush a little bit smaller does quite a smart thing so we've chosen saturation minus i'm going to start brushing and then take out the saturation in a sleeve i'm going to be really lazy and just kind of brush all over the place like this if you get the idea so what saturation minus is doing is that it's focusing more on the already saturated colors and not so much on the less saturated colors so it's a nice way of just toning down a heavily saturated element of the photo without killing the nice subtle tones how does it do that if we go and look at the color editor you will be able to see again there's no mystery so all the the different tricks that the style brushes are doing are revealed when you look at the adjustments so what you can see is that the color range is fit or is selected to the more saturated colors so if we just go to the background for a second and we pick on her let's just delete our saturation minus layer so if we click on her sleeve you can see it's a pretty heavily saturated color agreed it's at the edge of the circle if we click on the pale wall behind her you can see it's towards the center of the circle so by using the saturation minus saturation minus brush and then brushing away like so it's killing the saturation in the more saturated areas but leaving the lower saturated areas alone so it's really really handy in that respect so that's a good one balance cool and warm easy to understand warms up an area of the photo cools down an area of the photo saturation plus doesn't do anything fancy it just adds more saturation to that particular color that you're brushing on as well again if we look at the color editor you can see oh it's not in the color editor this one it's just a saturation boost to 100 with a nice low flow so it doesn't go bananas straight away add detail adds a bit of structure so if you've got some nice details and you want to brighten them up a little bit you can do so so if we look at [Music] my picks oh there was a photo that i wanted to use which we don't have let's go back to this gentleman let's reset our film grain let's do that let's grab add detail and just go over on his newspaper and on his face a little like so if i zoom into 200 which i wouldn't normally do and turn off add detail then you can see it just crisps up the sharpness a little bit adds some contrast and does a few other bits as well deep sky you saw iris enhance that just does a nice job of adding contrast uh to the eye and boost the color a little bit works really nice red skin reduction that's a super awesome one let's actually do that on this photo so it's not a street photo but it gives you an idea what's going on so if i reset this one to default so we're not fighting against normal ones let's zoom in on nevi's eye a little bit let's grab iris enhance turn off that one and this is the only one where it makes the brush smaller so this does have a built-in size now this is a 100 megapixel file so it's too small for 100 megapixels so i'm going to make that a bit bigger and then just draw in here and that will add a nice bit of saturation bit of contrast helps you see the iris better if we turn that one on and off then you can see the difference red skin reduction is awesome so you can see nev's nose is a bit on the red side so if we start brushing that in that just kills any redness in the skin tone like so let's turn off red skin reduction before and after does a great job uh soft flare does a nice little flarey halo so if i just paint in a bit of that i would personally probably have this even lower so this is a brush i would rebuild myself but that could just add a little bit of sun flare in the background white and teeth whitens teeth pretty obvious brightness minus and plus just pulls the brightness down nothing fancy burn you saw contrast plus minus if we wanted to contrast up nib's face we could just do that like so so turn that on and off you can see before and after uh dodge you saw haze and d haze that just adds some haze to a shot or take some away using the dehyde dehaze tool highlights recover and brighten fairly self-explanatory let's pull the highlights down and shadows darken and recover you also saw so if we want to darken the shadows down a bit of mood in the background we can do so so there we go that's one two three four five six style brushes uh on on one shot okay last few questions i saw that um vincent was asking no sorry stelios was asking can you buy more brush styles well if any entrepreneurial spirits are out there i'm sure there's no reason why you couldn't sell brush styles like lots of third-party sites sales styles already so i'm sure if there's anyone with the entrepreneurial spirit could absolutely do so no reason why not i haven't seen any yet myself but vincent says there's some available on the web already that was fast if they've managed to do that um natalie says amazing thank you um but yeah again there's nothing to stop you making your own brushes like we showed you earlier on let's just check the q a over here thanks again to diego for answering in the background alan says iris enhance can one also just as easily brighten the white of the eye well you could use you know the brighton brush highlights brighten as well lots of different choices you could do there i think it has some effect on the the iris because it's adding contrast so that's going to brighten it naturally anyway so so just try a few different options hope you that's a good question hope you consider doing a webinar specific to portrait and skin with style brushes funny you should mention that because that is actually the next webinar it's not up on the website yet but it will be monday and that's going to be portrait editing it's not necessarily going to focus fully on style brushes as much as this one again we've got a new toy so it's nice to show it but definitely for portrait editing we can certainly use some of those brushes and we can also make our own as well let's see is luma mask working on the background layer will it depend on all layers over imposed so the luma mask is targeting one layer so remember with the luminosity mask you first have to make a mask and then apply luminosity constraint to that so it's just affecting that layer and yes of course all the layers into play but the luminosity mask is tied to a layer last question let's see um just checking a few comments uh there we go i'd love a gaussian blur tool layer that's that's a good idea james there is no blur tool in capture one you could try negative clarity so why don't you make that yourself and uh see what you think but that could be a good idea okay i have some messages for you before we leave don't forget we're currently running our color challenge we did red and green pretty easy to guess that blue was was coming next you can be in the running to win a pro photo a10 flash not a cheap prize by any stretch of the imagination so all you have to do is tag us on instagram or facebook if you're not on either platform with capture colors tag capture one pro what camera you used doesn't matter what camera it is anything is applicable but it's nice to know and then we will judge those entries on the 28th of march and announce our winner then for the lucky owner of the profoto a10 flash don't forget to follow us on social media as well and don't forget to sign up for our newsletters so you know when the webinars are coming up hear about any offers and so on and so forth okay i think that dispenses with us for today so i hope you found that useful it's straight on youtube so if you came in late and want to rewind you can do so in just a minute or so and re-watch the whole lot all over again if you wish and as i said keep an eye out for the new webinars coming up as well and we're going to be live on tuesday at 4 5 o'clock i believe european time again if you look on facebook you can always see the events and we're just going to edit one of the entries from the blue challenge as well and there's great stuff coming in already so thanks for joining everybody hope to see you again soon and take care bye now you

Channel: Capture One Pro

Views: 11,240

Keywords: capture one, Capture One Pro, raw converter, photo editing software, capture pilot, captureone, Lightroom alternative, aperture alternative, studio software, Switching from Lightroom, Capture One vs Lightroom, Tethered, Shoot tethered, Image capture, Capture One Styles, Captureone styles, capture one pro 20, capture one 20, color editor

Id: fgRH8jKD-TY

Length: 66min 20sec (3980 seconds)

Published: Thu Mar 11 2021