- We're gonna work hard
today, but after the intro. Roll it. (upbeat music) Hi, everyone, welcome to pal2tech. Today, we're covering lesson number three in my ongoing series of
Capture One tutorials. I am picking up right where we left off at the end of lesson number two. Therefore, if you have not seen my Capture One tutorials previously, please go watch them before
continuing with this video. Now today, things are gonna
be a little bit different. I have an actual raw
file for you to download, which is gonna be the exact
same photo that I'm using, so that you can follow along
exactly what I'm doing. This is the photo we
are going to edit today. This was not shot in a studio. This is not a professional photo. This is not a professional model here. Rather, this is what you
see when you walk around the hotel lobbies in Downtown
Atlanta, which is good because straight out of the camera, this raw file needs a lot of work. These tutorials are not
about, you know, showing off and showing you amazing photos and having an appreciation
for the art, no. Taking raw files from the
camera and making them better, learning, learning, and learning. By the way, this is an awesome costume and it freaked me right out when I saw it. Interesting story about this photo, the person who's dressed up
as Pennywise in the photo actually used to be a dentist and does cosplay in their spare time. Yes, this is what your dentist does when they're not in the
office, ladies and gentlemen, totally awesome and I will have a link to their Instagram page down
in the description below of this video, if you'd
like to follow them and tell them Pal2Tech says hi. I will also have additional photos that you are gonna be working on and making those available as
downloads in future lessons. But for now, for today, this is the photo we
are going to be using. Now, if you choose to download this photo, you may download it as a
link will be provided below. However, I do request that
you please use this photo only for the purpose of this
tutorial for you to practice on while you're learning
Capture One, let's begin. You had some homework to
do during our last tutorial and one of the primary
assignments was to set up your tool tabs and tools to a workflow that made sense for you. Keep in mind, as I demonstrate
the next few concepts in this video, my tool tabs and my layout is gonna look different than yours and there's no right
or wrong way to do it, but we are now done talking
about tool tabs and layout and what the user interface
looks like and all that stuff, let's start editing. So, the first thing we're
going to do is open Capture One and start a new session. I'm clicking on new session. I'm gonna call it Pennywise and I'm just gonna store this session straight up on my desktop. Using the blank template, again,
these are the four folders that I discussed in previous videos and I'm going to click okay. I now have a blank
Capture One session open and just ready to bring
some photos into it. I click on the capture folder because that's where I wanna
import the photos into, I'm clicking on import, I
am gonna set the source, I'm gonna choose a folder and it's on an external
hard drive right here in a folder called stills. There they are, I'm gonna click open and there are my photos ready for import. I'm not going to apply any styles, any presets or any adjustments. Styles and presets, we will
cover in a future video. We'll go into detail on the difference between the two of them. I'm clicking import all, all right, and you can see them right
down at the bottom here. Okay, we are now starting from import and when you bring a raw
file into Capture One, just like Lightroom, it
doesn't look that great, right? I mean, it needs, that's
why you're editing in an editing program,
you wanna make it better. There's a lot of problems
with this photo, okay? Composition problems, the
color balance is terrible. If you zoom in and look at it, it's not entirely sharp
and in focus, okay, and it has this weird hand. I don't think that that
hand belongs to Pennywise. I think that was somebody
else in the shot. The first thing we're going
to do in our workflow, once we've imported a
photo into Capture One is apply what's called
base characteristics. As you can see right here, there is a base characteristics tab and there are three choices to it. The ICC profile is picking up the fact that I took this photo
with a Fujifilm X-T2 and it's automatically applied, so you don't need to
do anything with that. You could, of course,
select another camera and start playing around with
all these different styles. We're not gonna do that right now. Keep the one that it said
it was, Fujifilm X-T2. The next one, curve, that's where the film
simulation is applied and as you can see, it not
only has the film simulations for the Fujifilm X-T2 camera, but it also has a few curves
set in here for Capture One, such as extra shadow or
high contrast, et cetera. We're gonna stick with the
Fujifilm film simulation. Now, auto is an interesting
choice right here and what auto means is that, it has applied the film simulation you told the camera at the
time you were shooting. So, when I was standing in the hotel lobby shooting this photo, if memory serves, I believe I shot it in Provia. But if you look at the
picture, have a look at this, let me zoom in a little bit. All right, ah! That thing just freaks me out. Okay, but if you have
a look at this, okay, auto is this, take a look at that, see how as I'm going
through these, they change. If I go to Provia, it's the same as auto. But if you're worried about that, then just choose the
simulation that you want, it doesn't matter. Keep in mind, auto is
the one that was assigned at the time you took the shot. I'm gonna choose Provia
and when we get to this where it says, engine Capture One 20, that means the processing engine. Something that you should
know about raw processing, as the years go by, you know, as the world turns and the years go by, these programs get a lot smarter and as they get a lot smarter, they're able to better process raw files. So, that's why shooting
in raw is so awesome. Right now, we're at the
engine that basically reads the details of the raw file
is set to Capture One 20. All right, now we've
applied the film simulation. We're now gonna make our first image edit. All right, this is the white balance tab and it has some very common things that all of the tabs and
tools have, all right. First off is a little question mark. It opens up a help document
in your web browser. Next is a little wand, do you see that? That means if you click on that, it's gonna automatically try and fix whatever this tool is, this
happens to be white balance. So, if I click on that little magic wand, it will automatically try and correct the white balance of the photo. Watch this, I'm gonna go
ahead and click on it, boom. Not very much, it didn't
do a very good job. Pennywise doesn't look that much better, so (blows raspberry) to this tool. We're gonna do a much better job at fixing the white balance
than Capture One can figure out. Just to recap these other two icons, this one right here resets the tool to back to no adjustments at all, it resets it back to a
clean slate, so to speak and this one right here
copies the adjustments to the adjustment clipboard, which you can then paste into
other images that you have. Okay, so let's fix our white balance. Now under mode, it is saying shot. In other words, whatever the
camera caught at that time, whatever the camera was
configured for for white balance is what Capture One is applying here, whatever information is in the raw file. So, what I do is I stay back with shot. This little dropper is our friend, do you see that right there? That is the white balance picker and there are two places
that you can find this tool. One is right here in
the white balance panel. The other is at the top
of the screen right here, you see that, there,
the little picker tool? The very top one is pick white balance, you can choose that and
that does the same thing. You can also press the W key
as a shortcut on your keyboard to get the white balance picker. When choosing white
balance in Capture One, you wanna select a neutral
gray in the picture. It's not always easy to do. First of all, it's very
easy to do if you can get Pennywise to hold up one
of these things, right? Excuse me Pennywise, yeah, yeah, don't don't eat that child's hand or arm, hold this thing up, please and these color checkers are awesome, I will have a link to them down below, but you can't always be
pulling these things out when you're in a hotel at Dragon Con with a bunch of Pennywise
and crazy people around you. So, I gotta use my eyes,
I gotta use my brain, I gotta use them together
and figure out hmm, what's the neutral gray here, all right. So, let's look at this picture, let's zoom in a little
bit here, all right. Neutral gray, well I'm sure as heck, what happens if I click on the hair? You know, ah, you see,
you can really screw it up by not choosing a neutral gray. So, let's undo that. I'm gonna go ahead and
click on the undo, right, for white balance, all right. Now, let's find a neutral gray. Sometimes there just isn't a neutral gray and you're gonna have to maybe
go with white, if you can, or something along those lines. I'm gonna choose this
wall in the background right here as a starting point. Okay, that's a lot better. Okay, so let me show you
kind of a secret little function you can do, if you
click on the name of the slider, just click and hold down
on the name of the slider, it will switch to the before version. So, I'm gonna click and
hold down on Kelvin, have a look at Pennywise, you see that? Clicking, holding down, that's
before, after, before, after and by the way, if you've
got another tool open, which, I have the eyedropper,
how do I move this around? You press, this is a great
tip, you need to learn this, you press and hold down the space bar, press and hold down the space bar and look at how it turns into a hand. Now, I can move it up and when
I let go of the space bar, dink, it's back to the tool again. Learn that one, it's really handy. It looks like it's still
a little bit too warm. So, I'm going to cool it
down a little bit more by simply dragging the Kelvin
slider and as you can see, there's values, you could type
in the values right there. Remember, 6,500 Kelvin, right? Ah, that's daytime, that's
sunshine, that's outside, but this photo wasn't taken outside, it was taken inside a
crowded hotel indoors. Let me fix this, I'm gonna
grab another white point. Okay, let's fix this there. Once you get your color
balance just about there, then you can decide, do I
wanna go cooler than I should? If it's Pennywise the clown, do you really wanna have a
nice warm feeling around it? No, you wanna make it cold,
you wanna make it unsettling. So, I'm gonna make it a
little bit colder than I would if it was of a picture of
like a basket of puppy dogs and the flowers and springtime, right? I want this to be cold, I
want this to be disturbing and I am going to move
the Kelvin slider down just a little bit more. So right now, I have the
photo exactly where I like it with white balance. So what I want you to do right now, we're gonna stop the
video, I want you to import the raw file that you have
available for download or you can use one of yours. Once you've imported it,
I want you to then apply the base characteristics,
like I showed you how to do, and I want you to fix the white balance by selecting a neutral gray in the photo and while you're at it,
select a few other things to see what that does to
the white balance, okay? Now that we have fixed the white balance, before we get too much further into this, we probably should rotate the
image a little bit and crop. Capture One does have
rotation and flip tools, keystone, crop, and that sort of thing. I actually don't wanna
crop this photo much because I don't wanna
crop the red balloon out. If I made it a perfect square, right, if I go crop here, you see I'm
moving up here, click square, if I do that and I go to crop it, it just, but I don't think
it's gonna look as good, so, I don't wanna do that. However, what I do wanna do is rotate the image a little bit. Look at the eyes of
Pennywise, you see that? They're kind of like this, they're not exactly straight across and for some reason, that bothers me. Just to show you how to do it, what I do is I go up to this
little rotator right here or I could do it from the
rotation and flip tool here, remember, multiple places
to do the same thing and by the way, if you
wanna change these tools or modify them, you can right
click, customize toolbar and then go to town, you can customize this
thing however you want to. All right, so I'm gonna click on rotate and I'm just gonna do rotate
free hand, you see that? Or I could have just pressed R. Then I take my mouse, I
hover over on a corner of the picture until it turns
into a little rotating thing and I'm just gonna rotate it,
see, look at Pennywise's eyes, you see that? There we go. You would think because
it's like Lightroom that you would just press
return and it would take. It doesn't work like Lightroom. To finalize your crop or your rotation, and this tripped me up the
first time I used Capture One, what you have to do is, you
have to select another tool. I'll just click on the
little icon right here, the select icon, boom,
there, it just did it. I'm all done with the rotator,
let's get back to editing. Before you start your
exposure adjustments, you wanna be sure that you
have your histogram viewable at all times while you're
working on exposure. I already showed you how to pin tools at the top of this area right here. So, go ahead and pin your
histogram to the top, so that you can be watching
it while you're making your exposure adjustments. If you don't know how to do this, watch my Capture One
lesson number two video, which goes into how to do that. So, the exposure tab is
just like the other tabs, it has the same tools across the top, a little help one, if you
click on the question mark, you get the browser
opening up to a help page. You have an auto adjust, you have a copy and you have a reset. If I go ahead and I
click on the auto adjust, Capture One is gonna
apply whatever exposure it thinks that the photo
needs, let's try that now. I'm clicking on it, okay, there we go. Capture One just applied that. Do you see out Pennywise
got a bit brighter? If I click and hold down
on the word exposure, I can look at a before,
after, before, after. So, this is what Capture
One thinks Pennywise is as properly exposed,
it's a good starting point. Where you have exposure,
this numbered area, this is the number of
stops that you can increase or decrease the exposure,
it matches camera stops. So, you can turn it all
the way up to four stops of overexposure, all the way
down to minus four stops. So, that's what those numbers mean, right? I'll go back and do the
automatic one, there it is. So again, Capture One thinks this photo should have a 0.64 increase
stoppage of exposure. We're not gonna get
into those a whole lot. Contrast, obviously, as you turn that up, gives you more contrast,
but these are not the tools I think you should ultimately
be spending your time using. You should be using the curves tab, which we will go over in a future video. In the meantime, just know
that you can sort of overall adjust the contrast, overall
adjust the brightness with these sliders right here, okay? Now, we get into dynamic range and this matches what Lightroom has with highlights, shadows,
blacks and whites. Now, before we start adjusting those, it's very helpful to turn on
your exposure warning tool, which you can do by clicking on the exposure warning icon right here. You should always have
that available right here. You click on it, just like
that, oh, and look at that, so we have some problems right here, okay. What about the dark areas of the image? Did I blow any of the dark areas out? What you need to do in Capture One is, you need to turn on the dark
highlight warning as well and the way you do that is,
you go up to Capture One, preferences, exposure
and you see where it says enable shadow warning, tick that box and of course, you can
adjust the threshold of the tool through the
preferences of exposure, which you get into from
Capture One preferences. If for whatever reason, let's say, I decide to turn down my exposure, I should start to see some
blue, see that right there, that blue warning, that
means it's totally black, there's no color
information, too bad, so sad, nothing you can do about it there. Okay, something you really need to know with regard to the exposure warning tool and that is, this tool will
basically be reading your image based on whatever color
profile you have it set to and when I say color profile set to, I mean your output color profile. If you go to view and
then choose proof profile, have a look at this, selected recipe or you could choose RGB output. Now, I can't get into color
profiles in this tutorial, but just know that sRGB has
a much limited threshold of colors than Adobe RGB, right? So, if this thing is thinking that you're gonna export it as a JPEG in sRGB, then it's gonna kick up
more exposure warnings than it would if you
had it set to Adobe RGB. For more information about color profiles, you're gonna probably wanna Google that or let me know in the comments below and I'll do a full blown
video on what the hell the difference is between
Adobe RGB and sRGB and if that doesn't make a
whole lot of sense to you right now, don't worry about it, just go with what the exposure
warning is telling you 'cause I'm getting a little picky with how you can fine tune this, but it's awesome that
Capture One does allow this level of granularity in the tools. Check these four numbers out, you see how when I move my mouse around, those numbers change,
you've got the red, green and blue channels, you see that? Look at that. As I'm moving the mouse
around here, they're changing and they're pretty high. Once they get to 255, that
means I've blown it out, there's no image data
at all, it's pure white. Look at this little do-hickey right here. That's a technical name for, you know, a little thing in a picture,
I don't know, a do-hickey, this little white thing
right here, this background, it's probably a background
light of the hotel, but have a look at this, when
I hover my mouse over it, look at that, the values go just about almost completely blown
out and if you look, the blue channel and
the green channel gone, there's only some image data, little bit of it in the red channel. So, this one's pretty much a goner, but what you can do to fix this is, you can move down the
highlights, have a look at this, see, I'm turning down the highlights, look at this area of the picture, I turned it all the way down to minus 100. Now, if I hover the mouse over
it, it's a little bit better, but I couldn't really recover a whole lot. Okay, you see that? If I move the highlight up to here, it's pretty much the same
because it's already blown out and if it's already
blown out in your camera, there's really not much
you can do about it. Okay, but down here
though, it does get better. Watch what happens, right? This is how it was before, as I turned down highlight,
look at that, you see that? You get better detail, you're
turning down those highlights, those blown out areas
and you can definitely fix pictures that way. However, here's the problem though. Okay, have a look at Pennywise. Now, we want to emphasize the white and the brightness of
this costume, obviously and the face, you wanna be able to see it. However, you don't want too
many blown out highlights here. So, when I turned down the highlights, here it is normal, okay, look at how nice and
vibrant that is, right? As I turn down the
highlights, this looks great, this starts to look terrible,
so what does one do? We're gonna get to that in just a minute, hold that question, hold that thought. Next, shadows. You can turn up the shadows a little bit, the shadow areas, you see that? You can make your whites
whiter, you see that? You can adjust the whites a little bit, you can mess around with the blacks, make the blacks blacker, the whites whiter and these all work together,
so when you adjust one and then you adjust a second one, you may need to go back
and adjust the first one and while you're doing this,
you wanna use your histogram. Watch the histogram, even as
say, I'm adjusting exposure, have a look at that, you see that? Look at what it does to the histogram and you wanna keep that histogram more or less kind of in the middle. I am gonna now show you
the single most important and most useful tool that
there is in the entire program and this is called the layers tool. Those of you that have used Photoshop will know exactly what this is. However, those of you that
are coming from Lightroom, you're about to get your minds blown and after today's video, I doubt that you're gonna
be looking at Lightroom quite the same way again. This was your warning, let's begin. There is a tool tab that
appears in multiple toolbars called layers, you see
that right here, layers? You're gonna see it in many places, you'll see it maybe under the color one, it's also, I put it under
exposure, you see it right there? And when you add a layer
to one in one tool area, it will appear in all of them, it's basically duplicated across. So, it's just for convenience and ease that you can see them, right here, right under layers, there it is. For those of you Photoshop
users, just hold off a second, I've got to explain, okay,
when you're editing a photo, you're either making changes
right on the photo itself or in the case of Photoshop, you can have layers, different layers. So, you can make some edits
to a layer for say, color, make some edits to a
layer for say, exposure, make some edits to a layer to remove, say, an ugly spot on the face or
something like that, right? And those layers can be removed and added and moved around and all kinds of things and within the layers themselves, you can mask out just a portion and have everything else ignored. So, you can have a layer for
making blue sky bluer, right? And it's nondestructive photo editing because you're not editing the photo, you're editing the layer
and when you see the photo, when you go to export it and
hand it off to the client, it basically condenses
everything together, one photo and out it goes. So in your layers tool, there are lots of ways
to create a new layer. You can click right here and there's four choices right here. You can also create a layer by clicking on one of these icons right here and just starting to draw on
the picture, you see that? It created a layer. You can also create a layer
up here by clicking on this and you could say, you know,
draw linear gradient mask, right, and as you start to
draw it, it creates a layer. Lots of ways to create a
layer, but what I tend to do, and I would recommend
if you're starting out with Capture One, that you do this, go to the layers area
because this panel right here has everything you need all in one place. Now, the first thing you
need to know is that, there is always a background layer. That's your photo, right? So, you can continue to make
edits to that background layer independent of these additional
layers that you are adding. Now in Capture One, you can have up to 16 different
layers for your photo. Now, what you wanna do is click
and hold down on the plus, so click and hold down the mouse button as you click on that and you'll see these four different
types of layers appear. Most of the time, I would say, you're gonna wanna choose
new filled adjustment layer right here and what that does
is it creates a new layer and if you click on this
little button right here, mask visibility and say,
always display mask, I'm just doing this for
now, as you can see, this layer now is spread
out over the entire image. So, whatever you do to
this layer right now, like if you crank up the exposure or you crank up the saturation, everything within that red area is going to be affecting the entire image. However, if you choose new
empty adjustment layer, now you click on the mask, nothing's there, it's
like it's an empty layer, there is nothing there and then you need to put something there. You might wanna click on
the radial gradient mask and then you can draw, move
it around and now Pennywise, whatever adjustments
you make to this layer is only going to affect Pennywise's face in that red area, you see that? So, what I tend to do, I almost never use new
empty adjustment layer. What I do is, if I'm gonna do something to the entire image, let's say, I'm just gonna
brighten the entire image and I wanna make that a layer instead of working on the photo directly, I wanna have it as a layer, then I'm gonna do new
filled adjustment layer and I think you should
start with that most often. So, let's now use layers to
fix that exposure problem in the background without
screwing up Pennywise's shirt, okay, to keep Pennywise's
shirt nice and bright, but also have the
background not blown out. Let's use layers for that. So, just to make sure we're
doing this exactly correctly, I am not, I'm gonna undo
this high dynamic range, remember we turned down the highlights to fix this area right here? I'm gonna put this back to normal and I'm gonna put all these back to normal and in fact, for kicks and giggles, I'm gonna make exposure normal. I'm not gonna have any
adjustments to this photo at all. So now, I'm back to the state I was in when I corrected the white balance when we started this video and instead, I'm gonna make these
adjustments using layers. First thing I'm gonna do, layers, I'm gonna click on the little plus and choose a new filled adjustment layer. Now, before we go one second further, make sure that you are
always, always, always naming your layers, trust me on this one. What you do is, you just
click on it and you can say, I'm gonna call this one exposure. All right, now you see it's all
red, the whole thing is red. I don't want that 'cause
the whole thing, I know, because this is a new
filled adjustment layer, I know that anything I do to this layer is gonna be the entire picture. So, I don't need to see this red stuff. So, what you can do is click on the mask, click and hold is just only
display mask when drawing. Now, I'm just gonna turn
up the exposure to there, a little bit more, all right, got that, but as I turn the exposure up, we're starting to blow our highlights. That's okay, we're gonna make
another layer to fix that. Okay, so now let's fix this blown highlight problem right here. What I'm going to do is create a new layer and this time, I'm gonna choose
a new empty adjustment layer because I'm only gonna have
part of the layer adjusted, so to speak, so a new
empty adjustment layer and I'm gonna call this
one fix hotel background. Okay, I mean, you can
name it whatever you want, I'm just trying to keep
it simple for you here. I'm gonna click on this little
targeted adjustment brush, you see that, and it turns
into a brush, you see that? Now you can adjust the size of these tools by the straight bracket
keys on your keyboard. So, you can make them smaller
or you can make them larger. Get into the habit of using it, they're great keyboard shortcuts for this. All right, so what I'm gonna do is, I'm gonna paint the area, right, where I wanna make the adjustment. I'm just kind of rushing this here, maybe a little bit there and I actually, when I'm not drawing, I
don't see what I just did. This is where you wanna go over here, click and hold onto that,
always display mask. Ah, there we go, much better. Okay now, I'm just gonna
kind of do the same thing, I'm just sort of painting this
area a little bit right here. Okay, trying to keep it simple. Now, I'm gonna go ahead and turn off, by the way, it's a lot
faster to just press M on your keyboard, so I'm just gonna hit M. See that M, turns it on, turns it off. So now that it's off, I'm going
to turn down my highlights and it's just affecting that area. It looks a little bit better,
it didn't affect this. Now I could, even if I wanted to, create a new empty adjustment layer, call it fix Pennywise's shirt and what I can do here is click
on the linear gradient mask, you see that? Let me go up right there like that, have a look at this, okay. Now, I'm gonna turn up
exposure a little bit and perhaps I'll bring up my shadows. Look at that, have a look at
that, isn't that look better? Now, if I did that to the entire photo, I would have totally blown
these highlights out. So, by using layers, I was able to selectively
adjust areas of the photo. Now, the other advantage
of using layers is that, you can change the opacity of them and the intensity of them. Look at Pennywise's shirt, I
can bring down the opacity. If I decide later it's
a little too strong, I can bring it all the way down and it's only affecting
that layer of the photo. You can target all kinds of areas, you can make all your adjustments
and then if you decide, you know what, maybe I went a
little overboard on that one, you can bring down the opacity, instead of having to go
into the mask and redraw it and readjust all the little sliders, you can bring it all the
way up or all the way down based on how you think it looks. We are running out of time
today on this layers tool and there is still a lot more
to cover in the next video. However, I wanna show
you something so cool to leave you with to you be like, whoa because I want you
excited to do this, right? So we're gonna, we're just gonna dip into the color adjustment, I wanna show you something really cool. What does Pennywise love? Red balloons, right? Watch this. We're gonna click over
here onto this color area or wherever it is that you
have your color editor. You see the color editor right here? Now, look at the color
editor, there's a little tool, you see this kind of direct color editor? I'm gonna click on the
balloon, watch this, click on the balloon
and what it's done is, it's selected that color that I've chosen. Now, what I'm gonna do is,
I'm gonna click up here to these three little dots, create a masked layer from selection. Now to verify this, I can press
M on my keyboard for mask, it's selected all the stuff
that it thought was red, that match that color red, but really it got the red
balloon, that was the big one. As you can see, it added a new adjustment layer automatically, I
now have another layer. Remember to name it. Okay, so now what I'm going to do is, just crank up the saturation,
I could change the hue, I could totally change
the color of the blown. You see that it is not
only affecting the balloon, but it's also affecting
this area right here and this area right here
and even on the face and I don't want that, I only wanna change that balloon color. So, we need to erase the other parts of the mask in this layer. Now, I'm in my balloon layer, okay and there is an eraser tool, you see that? So, I'm gonna press M on my
keyboard to see the mask, I wanna see where the mask is, yup, there it is, right there. I am going to click on the eraser, gonna make it a little bit larger. All right, look at that, see? Erasing, definitely don't
need it right there. There we go, get rid of that. So, now I have a layer,
if I turn it on or off, you see that, how the
balloon gets brighter or not? I can also lower the opacity
of the layer, you see that? So, your homework for next
time is to do the following. Number one, import and
white balance correct the Pennywise photo, get it looking good. Number two, fix the exposure
with that photo in Capture One using both the auto adjust, which is what one thinks it should be, but also, your own eye
using the exposure slider as well as the shadows
and highlights sliders. Make sure they're all in the right place, make sure you've got your histogram where it should be, right,
get that stuff squared away. Then, I want you to add
some adjustment layers and I want you to make Pennywise's balloon a different color, make it green, see if you can do that, try that. If you can't, then at least
try and fix some targeted areas of the photo, like make
the shirt brighter, just that area of the
photo by using layers and for your last bit of homework, I'd like you to take a
deeper dive into layers by experimenting with
some of the other options. Let me show you, for example, you have a healing tool and a clone tool that you can apply to a layer. So, I want you to try healing blemishes or try cloning something in its own layer and we'll get into more
detail in the next video. Well, that's all for today,
I think I've covered a lot. We still have a lot more to go, but I hope I got you
excited about the layer tool and about the potential of what you can do with Capture One with your photos. It's a very serious program and you need to really carve
out some time to learn it. So, do the homework I gave you
and we will reconnect again very soon with part four of this tutorial. In the meantime, if you
found this video helpful, please be sure to give
it the like and subscribe and I will see you in another
video again, real soon. Take care.
