Capture One + Affinity Photo = Powerful Workflow

[Music] [Applause] welcome back everybody it is great to see you all again today is all about capture one Pro and affinity photo and how I've used both of these programs to produce the work that you see up on my website so I thought I would take you behind the scenes a little bit show you my process and I'm going to be using images that I photographed at the egg harbor library shoot that I featured in the video linked either above or below or wherever I remember to put it so with that said let's get into it so you may notice that my capture one looks a bit different than what you might see if you've downloaded the trial or you know you just opened it for the first time capture one you can lay out your tools and your tool tabs however you want it's totally customizable which is what I really love about it and so what I've done is I've gone with the migration workspace which is really good for people who come from Lightroom because it's setup basically the way Lightroom is all your tools and stuff are on the right-hand side I went to migration and then I customized everything to have all the tools that I specifically need this image straight out of the camera is pretty much good to go as a proof image I think it's beautiful as is however it does need a little bit of love and so the first thing that I do is I change my curve to one of the film presets that come built-in to capture one this is based on the GFX 50s and so it's incredibly accurate to the jpg film simulation modes you would get on a Fuji film X series or G FX series camera so I'm gonna just go with pro via standard okay so before I actually dig into this edit I have to say there are three things that I love the most about capture one Pro the first being regardless of the cameras that I have ever shot with capture one Pro has always given me the best quality imagery especially with the Fuji film x-trans files so the second thing that I love the most is layers the fact that I can edit in layers in a raw file converter is a game changer now I know that Lightroom you don't you can add brushes but they just give you these little dots there's no way to name them there's no way to really organize them and so it becomes really painful and as most people know slow capture one doesn't ever seem to hiccup or slow down when I'm adding additional layers for additional luminosity masks or anything like that and so the third reason I would have to say is the color control the fact that I can do luminosity masking within this program really I do the majority of my edits in capture one Pro and then I finish in affinity photo let's get back into it and I'll show you exactly what I do with this particular image the first thing I want to do is really bring out the emotion from this photograph it's lacking in some saturation its lacking in that drama that was actually there and what I'm seeing here is you know I've got some blown highlights up in these lights of course so I'm just gonna go to my high dynamic range slider and I'm just gonna pull those down I'm gonna lift my shadows a little bit I'm gonna go to like 15 from this point I'm gonna then increase the clarity a little bit and I just use the natural method and I usually go to about 15 because I feel like that's enough and here's a little tip you see these little reset buttons if you click on option or alt you can basically preview by clicking and it won't mess you up you won't lose your setting and then you can do the exact same thing on this main one up here so here was raw and here we are we're already getting pretty close to what I want the final to look like now I'm gonna go into white balance and I might just leave an ass shot because it was pretty good as is but I do want to warm it up a little bit so I think I'm gonna just click this and go 5800 Kelvin and then I am gonna take this down to 15 on the tint just because it was a little too too red maybe it still is a little bit 13 would be good okay so that's looking really really good to me the thing that I would like to do next is I'm going to create a filled layer and we're gonna call this yellow lighting and now what I'm gonna do this is one of the things that I love about this like I said is the color controls is I'm going to go to the color editor tab and then I'm going to click on advanced when I click on advanced I can just select this color range here and then I can adjust this I will also provide links in the description below on some tutorials that phase one has on YouTube and they're really good it'll help you get set up really quick so what I'm gonna do here is I'm going to desaturate first those yellows just a little bit too much I'm gonna change the hue because I want them a little bit more natural and I'm gonna pull some of this down a little bit and then I'm gonna pull the lightness down as well think I'll go right there and I'll pull the saturation a little bit a little bit more okay and I say that that is actually pretty good now if I go back up to layers and so that's my mask so you click em on the keyboard for mask H for hand you know V for the pointer so now that I see that my mask is basically covering the entire thing I can actually click the e key which is the erase and that gets me my erase tool and then the other thing is I can adjust my opacity just like you would in Photoshop so here I'm just gonna erase so that I keep some of that warmth in the sky and in the grass in front you can also right-click you can adjust your size your hardness everything that you would normally do so I'm gonna actually bring this up to about 55% and then I'm gonna pull more of that warmth into the grassy areas cuz even though it was nighttime and the grass gets cool photos are always a little prettier when they're warmer okay then I click on em to hide the mask now I'm just gonna click and toggle this mask on and off so I can see exactly what I did and then I'm gonna go back to the background which is the main layer obviously and then on here I'm gonna go into my exposure this is where your contrast brightness exposure and saturations now I'm going to pump up the saturation overall that is looking really good so I'm going to do a a new gradient and we're gonna draw this grading up here and I'm just gonna pull these down just a little bit to draw the eye up into the building all right I'm pretty happy with the way this is looking so far I really like how the bottom is nice and dark it's not too cold and it's drawing the eye up into the the building but those yellows are still bugging me so I want to tone those down a little bit what I'm going to do is just add another layer we're gonna call this yellows too and basically what I just did is I created an empty layer so I'm gonna have to brush this in so what I'm gonna do next is go to my brush tool and I'm going to turn off the auto mask I'm right-clicking by the way and hardness is zero I'm gonna put my opacity at roughly 75 percent here we go turn the mask on so I can see what I'm doing it's gonna paint it in a little bit and turn mask off and now we're going to go back to the color editor and choose this orange color that I'd like to make more yellow and pull down on the saturation a bit there we go much better okay so this photo is looking really good so far I want to bring it into affinity photo now but before I do I'm just gonna adjust the Keystone and then show you how I round trip into affinity photo for finishing work so I'm gonna click on my keystoning icon here and then it's just a simple drag to these key points okay so now that I have my Keystone lines in place you just click on apply and boom there it is go back to the hand tool now in order for me to roundtrip this into affinity photo I right-click and I click on edit with affinity photo this is going to give me the option to choose either TIFF JPEG or PSD I will use a PSD in 16-bit Adobe RGB that gives me the widest color gamut resolution 300 and then the scale we can leave it fixed at a hundred percent so now I'm going to edit what they call a variant okay so here's the image in affinity photo it looks very good so far as you noticed I didn't apply any sharpening or anything like that there is really no need I'm at what 200% right now and man the gfx it's just insane for detail okay so if in any photo is very similar to photoshop you have your tools on the left and you have your layers palette and stuff on the right it should be pretty easy I would recommend you download a trial there's a link in the description below get your hands on it and you'll find that you really really like it too so what I'm gonna do here is I'm just gonna start cloning the first thing I do is I create a new layer and I'm gonna call this layer clone and then I go to the in painting brush tool in painting brush tool would be similar to a blemish removal tool only I think it's better than photoshop's blemish removal tool and so the first thing I'm going to do is get rid of this mess of rocks in the middle so just like a Photoshop right bracket increases the brush size left bracket decreases you have your opacities you have your flow all that good stuff it is it is very similar I'm gonna turn the hardness away down some one things to blend good so if the in painting brush tool you just basically paint over the area let it do its thing well looks really good some of these weeds in the front are bugging me so I'm just gonna get rid of those yeah I like that get rid of that guy cuz he looks Cloney and let's see here I'm gonna get rid of some of those and deal with some of that there I don't mind this house in the background I do not like these bright spots here so I'm just gonna kind of do that and then I'm gonna get rid of this lamp just like that excellent there's a little bit of noise right there I'm gonna there we go that fixed it okay and then we have that exit sign that I was talking about originally so I want to get rid of that guy beautiful okay that looks pretty good to me yeah I like that and then we're gonna get rid of this lamppost over here this is what I love about the in painting brush tool it is just so easy and then let's just get rid of this car and that signage and everything all at once boom looks gorgeous and we get rid of this car as well okay so I'm super happy with the way that this photo looks so far however there's just a few tweaks that I'd like to make and so I'm gonna do this with layer adjustments and so I'm gonna go into here and I'm gonna choose levels and that's going to basically create a levels mask for this photo and I'm gonna increase the gamma just a hair and I'm gonna bring up the white level just a little bit cuz what I want to do is brighten up those whites a little and then I'm gonna crush the blacks a little bit more okay so now what's great is I'm gonna select all I'm gonna go into my my color swatches here X to switch back and forth just like in Photoshop and I'm actually gonna fill this with black okay so that way you don't see the edits yet okay so if I choose to bring it up or down the gamma you don't actually see it alright so now what I'm gonna do is I'm gonna go to my brush tool increase that and then we're gonna start brushing in those highlights right on the white parts of the building this is how I do my dodging and burning that way I can easily tweak it later if I need to so we've got Sun hitting here which is really beautiful nice so if I turn that layer off and on you can see the difference now I've got to clean this area up over here so I'm just gonna hit X and I'm gonna change my hardness down to about 15% there we go and then my opacity is gonna come down just little bit - there we go get that that section here excellent and then right up here by the chimney okay all right so there's one final thing that I like to add to my photographs especially exterior photos and that is a little bit of a solar flare something that just cuts into the lens a little bit I have a stock library of just general solar flare stuff that I've shot or stuff that I've created within programs and so I'm gonna add that right now so this is the solar flare layer that I've thrown on here and so what I do first is I go over here to screen and then I usually go down to 15% so there it is without and there it is with and that's what I think really gives the images some some emotion and it's basically what I felt it's how the scene looked when I photographed it and these cameras today are brilliant and they they do an awesome job photographing scenes and are very true to life but sometimes you just got to add that little extra something to give it that emotion that cinematic look you know I like to use different elements to do that whether it's a texture overlay sometimes when I photographed and it's been wintertime but the sky was just kind of gross I will add in what looks like snow showers and blur the flakes and everything just to give it a little bit more realism even though it wasn't really happening so it's just another way of adding drama to a photograph and making that photograph more interesting to to the client so that's about it that is my basic workflow 70 80 percent of the work is done in capture one Pro and then I round-trip into a Finity photo for all the finish work and then I can save it and it saves it directly back into capture one pro so if you liked this video and you'd like to see more content specifically on capture one pro affinity photo and how I process and edit my photos leave a like leave a comment below subscribe if you haven't already I am planning to bring out more tutorial videos in the future but if there's anything specific you would like to know feel free reach out to me I'd be more than happy to help and until next time thank you so much for watching have a great day [Music] you [Music]

Channel: John Magnoski

Views: 37,489

Keywords: capture one, affinity photo, tutorial, photo editing, architectural photo workflow, no photoshop, raw editing, workflow, lightroom, photoshop, adobe competitors, C1pro12, architectural photography, architecture, john magnoski, egg harbor library, Fujifilm, GFX50s, capture one vs. lightroom, lightroom vs. capture one pro, affinity photo vs. photoshop

Id: bYk4B8Gx-k0

Length: 15min 53sec (953 seconds)

Published: Thu Apr 04 2019