Capture One 21 Livestream: Edits | 5 Tips for Holiday Edits

bear with me one second i'm just gonna restart some audio things and then we should be good okay let me see if that fixed a few things i'm just going to wait for yes it did good sorry about that just required um a little restart of the audio device so hopefully we are all good now just let me know if that drops out again but should be all right okay so what was i saying so those of you on facebook if you wish to answer a question just put that in the comments and then myself or diego will pick that up if you're in the webinar room then try to keep your questions to the little q a tab and then that way uh it just keeps it separate from the chat and it's easier to follow what's going on if you want to hide the chat that's at this point where we were you can do so by clicking that small arrow and then you'll get a bit more space for capture one of course that doesn't apply uh to you looking on facebook all right so what are we going to do today so we're going to cover a couple of workflow things so before we get to editing some of these shots over here we're just going to look at a couple of useful things i feel for the import process we'll look a little bit of selection culling and rating and so on not in any massive amount of detail if you want to dig deeper then i suggest if you look on our youtube channel or learning hub look for any sessions on catalogs or sessions and then there tends to be a little bit more on that but this is just gonna be a taster and then we look at some editing how we can tackle um not the best time of day not the best lighting or a few other kind of errors that might pop up when you're just looking to capture that moment as opposed to hang around at four o'clock in the morning waiting for the sun to come up so that's the idea and then we look at a couple of different export things which you might find useful as well okay so now uh before we get to editing as i said uh we've got the little mouse locator which we might use from time to time so we're going to close this catalog for now we're going to open that in a second and we're just going to make ourselves a brand new capture one catalog let's just call this webinar pm so we've got a nice empty start point and we're going to import some photos i hope i've picked up the right memory card from this memory card here not a ton but just to show you a couple of tips you might find useful for importing so let's put that memory card in the reader and hopefully that should pop up as it does so i've just deleted most of what's on this memory card she didn't want to see 500 pictures of of animals getting imported so we've got 36 shots here and what i want to do is just show you a couple of tips for naming and import and so on if the import window doesn't pop up don't forget just hiding behind the import window is the import button so you can always hit that and then choose the location where you want to import your pictures from so first thing that we're going to do is decide where we want to set these pictures now currently it's set to add to catalog which we don't want to do because your files are going to stay where they are we want to get them off the memory card to a safe spot on your computer system so let's copy them into a folder so i'm going to make a folder in my pictures called my photo library and that's really going to be the default of where all my pictures are going to go from now forever hypothetically speaking so that's if you like the master top level folder which could be on your hard drive could be on an external disk doesn't matter so we're going to set that as the import folder now this setting here is going to be constant for every import that you do in the future and all we need to do is change the subfolder where we want to put particular pictures in the future so i'm going to divide this up by first of all putting a location so this was the wildlife park as you might guess and by adding a forward slash so a little tiny forward slash you can see there on your keyboard we're going to ask capture one to make a further subfolder and in this case we can either manually create our subfolder or we can ask capture one to do it dynamically now generally if we can do it dynamically by using a token then it saves us time so what we're going to do is add the token called image date and drag that up there so capture one's going to make me a folder called wildlife park and then make a further folder underneath with the image or sorry with the date that the image was captured and i'm going to change the format of the date by selecting it here so it's going to be year month date so the next time i come to import i'm not going to touch this i'm just going to change my subfolder arrangement now this is just one suggestion you can bake this however you like but this is how i personally organize my imports so i'm going to say okay like so so capture one will look at the metadata and then divide them up into different date folders if applicable these as you can probably guess were all shot on the same date so we're going to end up with one folder next thing naming so again we can use tokens in capture one to make us uh hopefully a naming convention that is always going to be unique and never going to be repeated now for convenience or speed you might think well let's just leave it for the file name of the camera it's not the best solution mostly because it doesn't first of all make the file name unique there is a danger if you're a super prolific photographer that the counter will tick over and you'll end up having pictures with the same file name which is not great for your catalogue i had this situation where i was shooting with the sony a7 which is just over my shoulder just out of shot and this camera which is the sony rx100 and of course both being sonys they both followed the same naming convention and i actually had a collision when i didn't bother being lazy uh to come up with my own naming convention so let's fix that by first of all using a few different tokens so the first one we're going to grab is job name more on that in a second then we're going to use the image date token once more and we change that to year month day and so we don't end up with 36 pictures all with the same name we need to add some variable which is a counter now by default the counter is one digit which is kind of stupid because that would only give us nine pictures so we're going to change this to four digits now if you're trigger happy and you don't think four is enough then of course you can bump it up to something a bit bigger and to make this a bit neater we're going to put a little dash in between each of these tokens like so so what does the job name token mean well let's just choose a picture for a second so we've got untitled job the date of which this was captured 9th of august 2021 and untitled job so i'm going to put in here ywp y for yorkshire wildlife park which is where these were taken so now we've got a nice unique naming convention which i hope would never be repeated again now the next import that you do let's say five weeks time you do something else all these settings in the import window is sticky so all i'm going to have to change on my next import is what's written in job name so if we went to london for example i could just pop this in here like so everything else is dynamic which is great so let's put that back to ywp note that the counter starts at one if you need to reset it you've got counter options in here so this will reset my counter again okay so let's um open that up i'm just checking that you guys did we lose sound again and i think we're okay i'm just a bit paranoid now that no we still got sound sorry just give me a wave if uh there is no sound again okay so where was i so i'm going to put this back to yorkshire wildlife park uh and then we can reset the import counter if we wish or set it to a particular number okay always add your copyright why not uh it is alt g or option g on the mac to get the copyright symbol and then we can go david grover like so i again i can't remember what it is on the pc i badly forgot to look it up someone on a pc reminded us this morning so if you're in the chat and then you know what the copyright symbol is on the pc please let us know so that's a relatively easy setup which is repetitive um consistent and repeatable so that might seem a lot to set up but really the next time you've just got to change this and where you want the pictures to go in the subfile arrangement everything else is constant now if you don't want to import everything then you might not have spotted this little viewer icon at the top which was a fairly recent ditch addition to capture one but if we turn that on this allows us to see a slightly bigger view of each of the pictures where you can make a better decision whether you want to import everything or not by default if you look just down here kind of next to me by default everything is chosen to be imported now generally what i do is that i just tend to dump everything off the card but if you've shot you know a bunch of pictures and you know there's going to be a lot of misses or out of focus shots or whatever then it's not necessarily very efficient to import everything so now with the import viewer we can make some much better choices about which ones we want to keep now all we need to do if we bring up the overhead camera for a second you can see the cursor keys here so i know i'm covering the picture at the moment but it's basically left and right cursor key to move through and space bar so if you just look at the picture just below my my hand here when we hit the space bar we can toggle the decision on and off whether to import that picture so it's very easy to move through quickly and decide what we don't want now for these shots i'm just going to import most of these but if we know there's like a particular dud like this one i'm not going to use that then that just saves me importing that picture so very quickly i can go through and almost immediately decide if there's any that i don't want probably that one not really worth it that one we took out already and we're using the preview data on the memory card so it's really really quick so just don't forget you've got that option so now we are going to say import 34 images so that's just below me down there just hiding me and then that's going to start importing now a really important um fact here the import process is a background task so don't sit here and wait for this to finish you there's nothing to stop you scrolling through what's already been imported having a look doing some rating or whatever zooming in check for focus and immediately start editing if you want to so this is a background task so even if i pick something down here capture one will prioritize building the preview for it you know it's pretty seamless that you know i can just go through see capture one prioritize making me this preview instead of the the whatever the one that was just being made so don't forget that you can do so so let's just move the activity window off for a second so what does our import look like so if we look in the finder for one moment so on the other monitor over we come we've got my photo library wildlife park and then the date they were shot like so and if you look at the naming convention we've got ywp the date they were shot and a counter as well now of course they don't relate to the file name that was shot in the memory card for me i don't really care about that because once they're imported backed up then that memory card is formatted and the name of it is kind of irrelevant moving on from that point but this way we've got our nice unique uh naming convention how does that look in the folders tool let's just hide the filters we can see obviously the same folder structure like so so now of course when we just want to go through and do another import if we just click on the import window just remember change this thing here and our naming convention which closed and then you're good to go so that will give you a nice clean consistent payment right let's just um check if we've got any questions no i think diego is all pretty good answering everything um no we're all good apart from people saying you're a mute so we should all be good now okay um next thing culling and rating just have a quick drink there's lots of different ways that you can decide which of the pictures that you want to to pick out of a collection like this i've never met two people who [Music] do it in the same way so this is just my suggestion uh i don't think you have to get too involved in it or come on come up with you know really complex workflows really all you're doing is deciding which pictures are the best by giving them some kind of tag or a mark so the first thing that i do personally is well before we get to that is make sure if you've got a numerical keypad so i know it's a little bit cleary is actually set up these numerical keys in a useful way for culling and rating so if we go to our edit keyboard shortcuts tool like so and then if we look in adjustments and color tag like so we can see that maybe it looks a bit curious if we bring up rating this is super obvious of course zero to five on the numerical keypad zero one two three four five star rating simple why do i have six nine eight seven for color tags well if we look at the numerical keypad this is seven eight and nine so seven for green eight for yellow nine for red six just clears the color tag so that's how you know we set that up by default it's actually plus minus and star so plus is green minus is red star is yellow but if you don't have a numerical keypad that's kind of sitting above these numerical keys which isn't really super easy to use so if you do have this pad that's a nicer way to set it up i would say so with that in mind let's close this down let's hide the keypad view for a second and then let's look at select next when just if you don't if you're not aware of this feature it's very very useful when you're going through this process so what this simply means is when i star rate or color tag a picture capture one will automatically advance to the next so my first step of looking through a bunch of pictures is really deciding if they're in or out good or bad and by saying something is good i'll just mark it green by tapping seven on my keyboard and note if you look above my head we've already advanced to the next shot so you know i would just go through and then keep tapping the green key when i know something's good if i just hide me for a second so you can see on the right hand side capture one is automatically advancing if i just need to step back for whatever reason it's only a thumbs reach to go backwards and forwards using the cursor keys like so so it's a nice leisurely way to to edit so i could just go through look at the picture tap the key when i need it you know if i come across anything dud that i didn't you know get rid of in that import phase then of course it's very simple just to hit the number nine on my keyboard which is the red one and then that's marked and so on so that's really my step one so i'm just going to add a few more let's just throw a few reds in there red speaking of red panda if you want to know what the animal is and away we go so that's really my step one now what we can of course do then is go over to our filters tool which i collapsed earlier and say show me the greens so now i'm looking at really all the pictures that i feel at some point might be worthy of some editing attention now i have a few duplicates here and so on but what my personal next step is is that anything that i feel that i want to start editing straight away like i feel you know this out of all of them which one is the one i think i'm gonna divert my attention to luckily this guy was super photogenic so let's go for whatever this one as there's a bit of action so all i would do then if i just hide my head for a second i would tap five on the keyboard and then i'd have that marked as five stars as you can see over here like so so any other shot that i feel that i think i could do something nice with straight away i'll tap five on my keyboard notice how it also advances and then keep going through until i tagged a few of those with the five star so let's grab that one as well now it's really super simple over on the far side of capture one we've got three that have been five star tagged and away we go so now these are the three that i want to start editing straight away fairly simple workflow as i said no two people really do it the same but that's the one that i've settled on i personally don't have the patience to rate something as a five or three or a one you know i'm very impatient looking at pictures so really it's a case of is it terrible or is it acceptable and then it's a case of prioritizing what i'm going to edit once i've got a few minutes to spare so really that's my process um let's have a look um bjorn was asking does the number increase even if you select a different naming yeah so the next time that you go in if we are on um the same session you see notice that the counter or the same catalog notice that the counter is now going to start at 35 so just keep an eye on your counter so if you wanted to reset to one we just go in here and say reset import counter like so um that's all you really need to be aware of you can shortcut key that as well so i just know before i hit import let's just reset the counter if i wish what keyboard am i using interesting question so this is a logitech mx keys is it better than the apple keyboard sorry apple but i personally prefer it to the apple keyboard the reason is just there's a bit bit more um depth on the inputs but the apple keyboard is lovely as well there's one just sitting under the desk here i find for my typing style i can just type a bit faster than this but the apple keyboard is a really nicely made beautifully engineered keyboard certainly connectivity is a bit more reliable this one does drop out once in a while on a restart but otherwise it works super nicely okay uh pierre says can i repeat the select adjustment please so this was this one select next when so basically when you add a star rating or a color tag capture one will automatically select the next picture it saves you a mouse click or a cursor button click every time you select rate the picture um let's just have a check on the questions over here um mike was asking in lightroom it was more efficient use of memory to import half while it was just digesting those import the other half i would say definitely not if you need to import a thousand pictures import a thousand pictures that's really the best way to do it i wouldn't complicate the workflow by trying to divide it up into two different things so we've had a look at that um now we can move on to editing finally you hear hear you i hear you cry but hopefully those little tips were useful as well so let's open up this catalogue and see where we go incidentally if you want to see a bit of wildlife editing and that little red panda guy then stop back here on tuesday at the same time and then we're going to go through some wildlife edits so hold that thought okay i thought i'd start with this picture purely because there's lots of different ways you can edit this shot it's the kind of picture you might come away with on a trip it's the kind of picture you might shoot quickly because you want to catch the moment before the dog buggers off and does something else where you're less concerned about having the best camera settings being on a tripod being as straight as possible so this has loads of different potential for editing also because of its dynamic range so let's just reset that because i can see a few settings on it so that's how it comes out of camera first obvious thing that we need to fix with this is it's not straight so we can grab our straighten tool at the top here and then draw along the horizon line and then capture one will rotate about that point so now we've straightened that next we're going to grab our crop and do a crop which is a little bit more interesting like so incidentally when you're cropping shortcut if you right click you can bring up your various different ratios which you've got set here cropped to an output which we're going to look at at the end or create your own aspect ratios as well also if you don't like that grid popping up then you can toggle that off as well but let's go for that okay so now we've got our favored crop if you like now we can think about editing two things that are really obvious about this shot or i hope they're obvious is one it's too dark secondly as this was shot at 20 past six as we can see color balance is probably not quite right i would expect this to be a bit warmer the sand to look a bit more golden uh the dog's coat to look a bit warmer as well so that's kind of off the cameras are over compensated for sunset and neutralized it too far but first of all let's deal with the exposure side of things so instantly you might run to the exposure slider and bump that up first of all let's do that and then we're going to edit it a different way so if i bring up the exposure we're going to get to something like that where the dog now looks much more visible but we've lost a lot of the detail on what's going on in the background and before messing around too much let's just warm it up a touch as well to something like that so that looks instantly a bit more believable with the golden sand color and a bit more warmth in the back and so on now as edits go you might be pretty happy with that the dog stands out nicely from the background and so on however we have lost a lot of the detail that's going on in the background but that could be sort thought of as a bit of a high key edit so let's do the opposite and then pull down our highlights and then gradually we can get a bit of you know data going back in the background like so so the exposure pushed it one way and then of course the highlight slider brought that back the other way not too bad at all actually looks pretty good it's a bit on the flat side so personally i would throw in a little bit of clarity as well like so do we need to do anything else it's probably not bad if we just have a quick look at the levels hit auto and then that will just make sure we don't have any flatness to the image and now the contrast is improved a little bit as well looks much much better so if we turn on before and after then you can see before and after like so so we didn't do a lot to that shot but now we are significantly better than it came out of camera so let's make another we're going to make a clone of that so it's the same crop and everything and i'm going to reset what we did with exposure and we're going to reset what we did with high dynamic range and clarity did we do anything else and we keep everything else pretty much the same so instead of bumping up exposure because if i was if this was the first time i saw this shot i wouldn't have gone down the exposure route i would have jumped straight to brightness because i would know that we've got all this highlight detail in the background here i want to try and keep as much of that as possible so i would simply bring up the brightness which is going to have more of an effect on our mid tones so if we slowly bump this up to the dog is looking about right now we've got you know maybe a better balance compared to the background because we haven't blown out the brightness quite so much but do we need to lift up the shadows a bit on the dock probably ever so slightly so if we just open up the shadows slightly that's pretty much focused just on this area maybe that's a bit unnatural so we've almost ended up with the same result i say that but have we let's have a look so that was with our exposure and the highlights back that was with our brightness only and no highlight adjustment so if we pull the highlights back on this one probably something around there then we're not a million miles off but two different approaches really relatively similar end result is one better than the other no but it's just nice to know that the difference between brightness and exposure in this case there's so much dynamic range in a shot with a modern camera like this it's just really which bits of the elastic band you want to stretch with with which tool and we'd also pump a bit of clarity in there as well now the only thing that i might consider is that this guy might have a bit more to give i can see there's a little hint of some drama going in the background there so if we make a new filled adjustment layer and if we just pull the maybe exposure down so you can see there's something going on there what about if we added more clarity yep we've got a bit of interest going on um probably that would help now obviously that's ruined the rest of the shot so i've got two choices i could rub out all the stuff under the sky or we could clear this mask we could grab ourself a brush we could go on to our shop we could make sure our flow is nice and low because that will slow down the build up of the underlying slider adjustments we've got here and then we could just brush a little bit back into the sky so we've got that moodiness going on if you like so really that's the the last thing that i might do with that particular shot um lewis i just saw your question said um if i auto level it seems to blow out the highlights when i activate the exposure warning now do check if you're going to preferences under exposure check what your exposure warning is set to so it's going to tell you when anything is above 250 so that's probably why so if you really want to to be sure you can make that higher but the the benefit of having it slightly lower is that you can see when it starts to go so over here we've got an exposure warning but it's only just like in a couple of places on the red channel like so so if you were really conscious about it you could probably try and pull that back but i wouldn't get too um two sold on trying to always get rid of these exposure warnings because if we look at what's going on here i imagine the sun is you know just setting peeking out of shot or whatever so if you look at the numbers we're just losing the red a tiny bit like so so looking at our exposure warning you can see where we're just out but remember our warning is set to warn us of anything above 250. so if we put this to 255 you see it gets much smaller so i'm willing to bet lewis that if you're on the default you're seeing a warning of anything above 250 but i wouldn't get too paranoid about making that go away because if you try to compress the image that much so we could do it then you just end up with something that often looks a little bit too much on the flat side so please don't get too worried about making those warnings disappear okay but that's pretty what it is uh gilbert said why did i not use auto mask when using a brush because for this area what would i auto mask to this cloud line then it would look really really super fake i would say so what we're looking to do is just try to be as subtle as possible so i might just fill in those areas a bit but in this case there's really no need to try and auto mask around something often the more accurate a mask the more unpleasant it looks so in this case in many cases it's very rare that you actually need to take a tight line around something in an image coming up we are going to do that but um okay next shot i believe so really the purpose of that is don't worry if the white balance is off exposure's not right horizon's not level that's really a simple edit for a powerful raw converter what should we go for next let's just quickly look at this one because this is a shot that you might readily pass by if you took that and you were looking on your memory card and you thought you know what i've fluffed that up it's a pity i didn't have my magic step ladder with me to change my angle of view because really the shot that i wanted was that because it's got a cool reflection in the glass there's loads of nice details or architectural details so that was kind of the shot i was looking for you may or may not know that you can correct perspective in capture one but you can also correct horizontal and vertical perspective at the same time so if we look at our cursor key up here our keystone tool we've got vertical horizontal or both so if we choose this we get four lines pop up on screen and basically we need to tell capture one what the error is on the shot so if i zoom in a little bit and just scroll around so i'm just going to pop this on the outside of these panels and we want to go to the top of the square of the window so let's go to that one and then roughly pop it to this one here now try to be as accurate as possible because if you're a few millimeters out or whatever then the resulting correction won't be as good now if you're struggling to see then don't be afraid to you know pump up the exposure or whatever let's just grab balance off one of those panels whoops lost my thingies and all we need to do is say apply in the center and capture one will do a pretty good job of adjusting the keystone like so now you can see how the photo has been warped around in the background so what i need to do is just fix my crop capture one won't let you crop outside of this non-existent image by default if you do want to if you think you know what i could just content aware fill in a little corner in photoshop or affinity photo you can right click and say crop outside image and then we can go beyond the bounds of the image like so like that corner would be super easy to fill in if you wanted to uh but let's just keep it normal for this shot so i'm going to go down to the bottom stretch this out here and crop in a little bit tighter and so on now that was a pretty dramatic pull of the uh pixels if you like so the danger or the the fear is um well won't this mess up the image quality that was a bit aggressive hang on let's just chuck in a bit of clarity as well so if we look onto this shot let's pump in a bit of structure which will increase uh the fine detail as i said that was a pretty dramatic yank around the pixels if we just make another variant so this is the one we just did and this is the pulled around one let's just bump up the exposure so we can see what's going on and just make it at least a similar color so if we put these two next to each other and look at something with a bunch of detail so that's the original that's the one which has been messed with pixel wise i mean the quality is pretty good look we can still see there's some subtle scratches or marks you know going on on the paneling there if we make that 200 percent very little degradation in quality to be honest and now we've ended up with a photo that you know we're pretty happy with um i didn't require the magic stepladder to get the angle i wanted but with a little thought of post-production as you take the shot it's pretty impressive to to come up with you know a final result like this let's pull the highlights down a bit brighten a bit more maybe even more clarity and we've got a super nice shot so that was just a really fast edit uh this is um the photographer who shot it who's innis who works for us in r d at capture one one of the developers so that's her interpretation and then that's just a quick edit like so coming from the original so don't be afraid to stretch those pixels around if you're thinking ah but this is probably a 150 megapixel phase one camera you cheats but it is in actual fact a fuji sx10 which is correct me if i'm wrong about 22 megapixels so we've managed to drag those megapixels around and still get a pretty nice result okay paulo said i miss the ability to adjust vertical and horizontal perspective independently but at the same time so don't forget all the these sliders are doing sorry these alignment sliders are doing all they're doing is actually calculating some values in the keystone tool here so by drawing that box capture one calculated we needed 73.8 and 13.2 so you can just manually drag these sliders if you wish if you don't have that point of reference might take you a little bit longer in fact i might just tweak it a little bit anyway so you can see the little dancy dance it's doing so i would just tweak it a little bit like so um aspect will actually allow you to squash it like so or rise it so sometimes with a heavy correction the aspect doesn't look quite right so that's a really handy slider that you can use to you know tweak it a little bit as well and again don't be afraid to mash those pixels around the interpolation is actually pretty impressive uh let's have a little look okay let's check the questions um you have two monitors what do you put on the external monitor um secret stuff generally uh for capture one i i don't split it up between two monitors uh the monitor in front of me which you can't see is 27 inches i find that enough real estate but in terms of you know work work it's nice to have some items on one monitor and some items on another plus this monitor is a an iso which is fantastic it self calibrates every day so that's a huge benefit for photo editing the only disadvantage is of course you take up desk space but it yeah it's very useful to have two monitors let's see and the last question i saw was um that's pretty good david says for those using two monitors how are they used i used to have three monitors but it was just getting a bit ridiculous for desk space anyway and actually knowing where to look was also a little bit overwhelming so laptop actually the laptop is on a raised stand so that eye level you know everything is at the same and they're really inexpensive you can buy those all over the place but just to bring the laptop up to a similar eye line to a normal monitor is actually a a massive help it's just like a little mini scissor lift it's great right let's edit something else how are we doing for time we've got just over 15 minutes i have to remember to leave a bit of time for the couple of export samples so let's take in [Music] we've actually been a bit more efficient this afternoon compared to this morning let's reset this the reason why i chose this one is because first of all i hope maria my colleague who shot this didn't burn out her eyeballs because she's shooting directly into the sun so be careful if you're doing that and also make sure it doesn't burn your camera either but anyway this is a really super cool summer shot obviously we've got a stack of lens flare going on because we've got the sun blasting straight into it with these situations where you've got you know a big specular highlight louis you're definitely going to get some exposure warning stuff going on now you've got the choices whether to do i try and correct for this or do we just embrace it or maybe add to it so you're going to see if we pull the highlight slider down and the exposure all the way down you know brightness all the way down really we've kind of hit the limit of this poor camera sensor and there's not really anything we can probably do to recover this in a nice way so i personally knowing that we are shooting into the sun i don't think it's obnoxious to have this bright white space behind it i might tone it down a teeny bit but otherwise personally it doesn't bother me now more pressing issues is that if we look into the right hand side over here it's quite hazy or flarey and we're losing a bit of color saturation and so on so what we can do with this is actually use the dehaze slider now the dehaze slider might not have the best effect on the entire picture but the good news is is that we can use it um on a layer so first of all let's see what happens if we just bring up the dehaze slider like so it's actually having a nice positive effect down here but it might be [Music] just causing a bit that's actually let's see does actually bring some of that detail back so i'm slightly in two minds what i will say is if if you're not happy with what the dehaze slider is doing over the whole shot then don't forget we can pop that on a layer so what i would do is make a new field adjustment layer so right here under the plus button so that's going to fill the entire shot with our mask and now we can dehaze as we did before going to open up the shadows a bit especially down here like so and maybe add a bit of clarity so we've done a few different things on that that layer now the addition of clarity and lifting the shadows if we don't like what's going on here the easiest thing to do is grab our eraser nice big brush like so and then we can just erase out what the dehaze slider did in the sky if you want to keep that bright sunshine behind it i'm really into mines whether it looked you know better before or after but now if we look at what's going on here we've got significantly best better contrast going on in the main area like so um i might even just open up the brightness attach just to get a bit more light in there as well now color wise again because it was shot you know directly into the sun we've probably lost a little bit the color saturation so if we go to our advanced color editor and pick our sunflower petal here like so we can add in a little bit more saturation we could brighten it if we wish furthermore like so so now i'm actually pretty happy with that the only thing i might do is just darken this guy off a bit so if we find our style brushes if you haven't had a play with style brushes it's just a super easy way if you're new to capture one to get you know a fast introduction into editing with layers which is what we've been messing around a little bit here so this is the haze in the foreground plus a bunch of other stuff now i want to darken this one a little bit so i'm going to burn so just by checking on this style brush going over to the shot and then i can just start masking like so so that's just kicked a bit of density back into that spot simple so it didn't require you to make a layer didn't require an advanced knowledge of how to set up the brush it's all kind of done for you so if you're a little bit scared of layers that's a speedy way to to start editing so if we look at our before like so and after so even though maria bravely risked her eyesight i hope she wasn't looking through the viewfinder and shot directly into the sun you can still get a really nice shot out of it um probably on an older camera it might have uh not been so good i mean it's completely blown out there i don't imagine we could recover any of that but we still got a nice summery sunflower picture at the end of it so don't be afraid to to see what you can recover uh dan said does is the dehaze slider causing banding in the sky yeah that was my fear really that it might cause a little bit of banding you can see it's almost creeping in now just with how it is out of the camera because of you know just having that blast of of uh daylight from the sun into it so i was just a bit worried the dh slider might make that even worse but you know if you were watching this sunflower field and sat in this position you kind of expect almost to have that brightness behind it so i don't personally find it obnoxious okay any questions coming up um i think we're pretty good uh which color profile do you use for editing are you setting with the proof proof profile always set or based on the selected output you know i forgot to check actually proof profile is on adobe rgb at the moment which for me is a pretty safe bet because if i'm um exporting it's either going to be adobe rgb or srgb so there's not a massive amount between those two for this particular shot if i knew this was was going to print and there was a specific print profile then i might dig in a bit further but for general editing adobe is fine uh tai says could you reduce dehy haze to create haze in the sky yeah probably let's just make a new field adjustment layer and pull the d haze downwards you know didn't work actually made the banding worse as you can see but nice thought though top marks for effort there ty that was uh tie on facebook so thanks for that suggestion but in this case it didn't work but in other shots actually using the dehaze slider to introduce a bit of haze has worked really really nicely so hold that thought okay i think um we're going to very quickly edit this one and then we talk about export so i do this one quite fast now this is a super cool shot that was shot by a ex-colleague of mine anna so thanks anna for letting me use this one but we have an onyx i believe namibian animal experts shout up if that's not right but i think it's in onyx um but what do we know about this shot well we can see the sand is probably not the right color it's it's pretty flarey i reckon just because of the position of the sun there might be a bit of lens flare going on it's super sharp so focus is spot on for me it might actually a bit be a bit too over sharp so i'm going to back that off a little bit in the sharpening otherwise there was just almost a bit of halo coming on as well so i think it needs to have that taken off or reduced slightly now white balance the camera is well and truly over compensated with uh the the warmth of the shot the sand isn't a great color so i would definitely pull this up and instantly everything starts coming together a little bit more before we do anything else let's just crop that oh just make sure there wasn't any other adjustments on no it was just cropped i think that's good contrast wise you can see look on our levels we've got no information here we've got no information here which is also meaning why it's looking a little bit flat and hazy so before jumping straight to the dehaze slider we can actually see if setting our levels helps and it does actually a fair bit so i might back this off a tiny bit it's a fine line between it getting too warm and looking a bit mucky to looking not like the desert at all so looking at the before and after you know we've come a long way with just a few simple corrections now the sky is maybe less interesting now because we might like it to be a richer blue so a couple of choices now the gentleman who was asking about auto masking earlier you could argue that would you could auto mask around the sky but that's going to be slow and a little bit boring so we've got two choices we could use the color editor let's try that so if i click on the sky notice where it's selected you can can't quite see it but that dot in the center of the triangle that's our selected color now that's a real delicate pastely color so pulling around the lightness slider or bumping up the saturation there's a limit to where i can get now that's not bad but it's i'm maxed out the sliders here so what if i wanted to do a little bit more than that so now it would make more sense to actually select or mask this area and use some other tools to improve on it so auto masking to the gentleman who asked is an option but it's going to be your slowest option so we're going to make a new layer and we're going to grab our magic brush we're going to make sure the mask is turned on so we can see where we're brushing let's make this a bit bigger tolerance wise this as it says there adjusts the range of colors that will be selected based on my selection which you'll see in a second so i'm going to draw on the picture and then based on the tolerance capture one will capture similar colors to that based on the tolerance so a high tolerance it will throw out the net wider a low tolerance it's going to be more more choosy refine edge that's going to handle when our sample zone hits an edge that doesn't match with our selected sample and how hard edge do we want it to be i want it to have a little bit finesse so i'm going to bump that up so all i need to do now is just do a little squiggle and then our sky is almost perfectly selected so i just need to add a bit there hey presto sky selected now to auto mask that would have been a right laborious pain so now what we can do is we can use some other tools so let's bring the exposure down we could add a bit of saturation like so and then if we wanted to we could also click in our advanced color editor and then we could play with the saturation here we could change the hue we could make it a lot more teal like if you want or we could really push it towards the other direction as well so personal preference how you might want to make that look i think the last thing i would do is if we look at our style brushes and take burn is i just want to darken this area off a little bit more so i'm just going to brush in here being careful not to darken our star oryx not onyx or gemsbok thanks alex because we don't want to darken him or her we want her to stand out from the background like so so let's turn on before and after really kind of wishy-washy flat not the right colors we really didn't have to do a lot just to get it a lot more punchy again i'm guessing time of day was probably not the best for this so and plus the sun is super bright there's no shade or anything we were at 8 30 in the morning so and it was up early to to shoot this but again plenty of data in the raw file to make the best of it milko said i would have expected a luminance mask we could have done but that would have taken us longer because we would have had to make a new field mask then we would have had to adjust our luminance range to capture that bit let's actually try it so if we do a new field adjustment layer let's turn on the grayscale mask so we can see what we're doing so so we're two clicks in already click number three turn on our luma range and it's probably somewhere around the mid tone so let's cut that out almost almost but look i can't get the perfect selection because if i want all of the sky i've got some of the mountain side and some of the brightness of the sun reflecting off the rocks so it's kind of hard to actually even do it with the luma range so i've already spent 30 seconds mucking about whereas before it was just you know a couple of clicks and we were done so doesn't mean the luma range tool isn't great it is it's great for something a bit more complex but when we've got this lovely defined edge magic brush works cool okay just to finish off saw a question what is auto mask because i totally thought magic brush is an auto mask it is in a way uh fran i was going to say fran fawn it is an away form but the [Music] auto mask works on a different principle so if you right click where you've got the brush up you can see auto mask you get a third circle in the middle and you're basically sampling an edge so it's like it's like a crappy magic brush i suppose it has its place in editing workflow but i think generally the magic brush will replace that a lot of the time i'm sure there's some uses for it but i would now much favor using the magic brush the color editor to create a mask just using the color editor only you know brushing a mask in generally is faster and gives you a nicer result than the auto mask itself okay very quickly for exporting i just want to show you something i do a fair amount so we're happy with this shot i might like to upload this to instagram perhaps but another thing i like to do when i'm traveling and there's loads of services that do this and it's a huge fun is to send uh postcards but based on your own photography how awesome is it to send a postcard from namibia to your friends and family with a shot that you took that arrives in 24 hours i don't know what the post is like in namibia but i'm guessing it's not as speedy as you know 24 to 48 hour hours so what i do for this is that this is my final shot i'm going to make a clone the variant and i change the color tag to purple so i know this is going to be a postcard now the postcard service i use is called touch note but there's loads out there so i set up a specific recipe for postcards why because it allows me to crop and sharpen specifically to the right dimensions because i don't want to upload this to touch note because then it's going to crop off the sides i don't have the choice of how it's going to be cropped it's kind of slap bang in the middle so if we go into our export dialog and i'm going to make a new process recipe and we're going to call that touch note p card like so uh we are going to save this to let's just make sure that yeah this is trying to save to my other user account so let's just set that to the pictures folder so we've got the touch note postcard and i'm going to make sure that i add tn on the on the naming so i know it's for touch note uh i want a jpeg there's no point doing 100 quality because they're pretty small and i know the dimensions specifically for touch note is something very odd which is [Music] 1819 pixels by i've got this on a piece of paper i'm not clever enough to remember it by 1 382 so that is the dimensions of a touch note postcard so that's great i'm respecting the crop i'm going to add some output sharpening for print but just a little bit because it's not like super high quality output or anything so that's my uh touch note postcard like so um i'm also want to have it for instagram so we might as well export this one now i've just put insta on the image name like so and this is exporting to a width of 1080 pixels and it has a little bit of sharpening for screen so quite a different process recipe let's let's just pop that into a subfolder called exports for this one and we're going to export one image like so now we do something with the cropping in a second so there is namibia for insta you can see insta on the name now for the touch note 1 if you remember on the export recipe we've got these weird dimensions 1819 by 1382 pixels no idea what aspect ratio that is don't really need to know either so with this recipe selected you can just hit escape to exit this dialogue by the way i'm going to go to my crop tool and i'm going to change the ratio to my output and what that means is the currently selected recipe in the output dialog so as soon as i touch this um corner watch what happens you can see we've already got 18 19 pixels at the top and in red we've got 105 9 pixels because it doesn't match my output recipe but as soon as i touch this notice how it jumps like so so now i can crop absolutely perfectly to this slightly strange format like so so now that's absolutely bang on for the aspect ratio of touch note so now i'm happy to export that out like so and then if we look in here uh once oh i forgot to set the export folder let's just pop it in there we've now got the touch note postcard like so so that's just a little really handy tip for output dimensions if you need to set to particular output dimensions that is the way to do it otherwise you just have to fuss around for ages for the crop tool okay there we go i think we are pretty much uh bang on time uh for ending pretty much let's just uh check for the last few questions uh philip was asking how would you separate the animal from the background well without it looking a little bit fake what we could do is i would just bring in some dodge if you like zoom in a bit let's make this brush smaller i would perhaps just lighten him or her ever so slightly without creating too much of a halo so if we have a big halo around it it's going to look really odd but just brightening slightly just might make it a little bit more visible so if we turn dodge on and off then we separate it out like so i mean you could brighten this whole area a little bit behind it or darken it but i would just be a little bit careful and mindful but i think it's pretty visible it's i mean we're looking on a fairly small output here but if you imagine you printed that fairly big i think it would stand out nicely because we've got that big sun line down to the left hand side of it let's see our phone says walked away for a bit so i have to rewatch uh use variants for different crop outputs yes that's essentially what we did because you don't want to have to re-crop this one for a particular format and then crop again i just prefer to set them up nicely like this and then actually at the end of a trip because i'm a bit of a postcard nutter then i can just filter by purple and actually see all the postcards that have winged their way around the world so i just find that easier you could of course re-crop each one if you wanted to uh last question i think diego has been typing away like a crazy man in the background so we're pretty much covered uh if you want to review the webinar sofia it will be on youtube a bit later it was supposed to go to youtube at the same time and just be ready as a recording unfortunately the service we use to stream to different locations is experiencing some technical issues so it hasn't gone out to youtube but i will put it there this evening so you can find it a bit later on thanks for joining me today i hope you found that useful a little bit different that it was editing and some workflow things but i think all of those aspects are important when you are you know dealing with pictures that weren't necessarily shot under the right lighting conditions position time of day all that stuff but you can still pull it all together in the raw converter if you want to see animals then come back tuesday at the same time that we started just on youtube hopefully if the service is up and running and we can then go through some wildlife edits as well take care of everyone and see you soon bye now you

Channel: Capture One Pro

Views: 6,580

Keywords: capture one, Capture One Pro, raw converter, photo editing software, captureone, capture one 21, vacation photos, editing vacation photos, holiday photos

Id: f54v-2IpCng

Length: 67min 50sec (4070 seconds)

Published: Thu Sep 09 2021