Capture One: Optimizing your Image for Print

uh recording and uh we're gonna start uh start our webinar so yeah be careful of what we say yeah that's right we've got a lot of hello everyone that are joining nice to see see you all and at least coming from 18 inches of snowy weather here in boston um so uh welcome everybody uh and if you wanna chime in with where you are it's always fun to see where people are checking in from so you can put that into the chat um we always like seeing where our where all our friends and guests here are checking in from in our virtual and yet another virtual day in the life of pandemic 2020. and we'll uh we'll let people get into the room we had quite a quite a number of people uh registered for the event was our largest registration yet it was close to 350 people so uh we'll wait for everybody to kind of gather and um and then we'll go uh hey we got somebody from houston what up houston that's that's where scott is and uh also from the uk welcome david little compton hi melinda another fairview texas that's awesome where's fairview texas it's in texas nice north of dallas thank you okay there we go people from texas yeah um you know what else would be cool while people are just kind of chiming in we're waiting to get going if you put down maybe um what kind of gear you're shooting with like that uh capture one would uh that you're gonna be using capture one to process your images with that might be helpful so like you know you don't have to be that specific but just say you know i'm using like a like iphone 11 i don't know if that works yes it does with capture one it does now that's awesome and i know that we know that leica just announced a partnership with capture one and uh for those of you that are joining uh scott will be doing another um discussion with leica on january 7th and using your leica cameras with capture ones so uh stay tuned for that announcement coming from both leica and digital silver imaging so uh just i guess a just a quick little housekeeping thing for everybody um we do record these uh webinars and we will be posting them to our youtube channel usually within 24 to 48 hours of our event we will uh you will all receive a link to it um and you're welcome to visit our youtube channel to um see anything else that we've got we've got going on or coming up or recording wow 36 inches in vermont and still yeah bed low head get your skis out tis the season um and just so you all know if you're looking at the panelists here um there is uh that is there's only one eric lewden oh let me change that it didn't it changed but believe me there was only one of me yes very much um my business partner down there andrea zaki will uh we don't know why it comes in as eric gluten but you know so be it shooting film and scanning sabine says that's great yes capture one is a great solution for that you'll you'll learn today a little bit scott's gonna talk about that so yeah we're just at one o'clock so let's give it a we'll give it a few more minutes uh it's fun seeing where people are chiming in from the gear you're using all of that is uh is helpful and and fun so again any new people have joined in if you want to uh the question that andrea put out to the group was you know let us know where you are in our virtual world here it's that's always fun and also um maybe what gear you're using that you're hoping to integrate with capture one obviously there are different cameras and scott will uh scott will cover that yeah so just kind of to bring everybody up to speed here uh we'll be starting the webinar soon and welcome and i just wanted to cover a few housekeeping issues as well so as eric mentioned we will record this webinar and it will appear on our youtube channel another item that you're going to want to look for is we're going to be doing a print raffle and i'll talk about that in a minute and the other thing is you'll probably have a lot of questions about capture one and scott's the guy to ask so what we ask you do is if you go to the bottom of your uh zoom screen there's a little icon q a and you can enter your questions into the q a as opposed to entering them into the chat now if they're questions in the chat i'll try to get to those too uh and present them to scott but it would be a lot easier if you just put them in the q a so that's what i have oh andy uh andy caufield uh thanks for that comment we worked on some of andy's film recently uh that scott digitized for andy caulfield here and uh really glad that those uh digital scans from our new system here worked out so well so uh thank you andy and scott great job so thanks a lot hey luis navarro yeah that was a it was a bummer that we had no palm springs photo this year that was a big disappointment all of the things where we would normally be able to gather and high five and hug and share a beer or whatever it was uh this was not a year for that um the only silver lining is is how many people we do get to see or virtually see and connect with from all over so um my feeling is going forward we're going to have a you know kind of a combination of more virtual but looking forward to physical and face-to-face gathering so i think that's that's really important so um anyway so we're a little after three o'clock and i i was i'm one o'clock sorry uh here in boston uh 12 o'clock where our friend scott is over there in outside of houston and 11 o'clock where andrea is in denver so we represent three time zones here and there are many other online so really great to have all of you welcome to you to the our webinar and andrea is going to make a couple of introductions and comments yeah first i want to say hey hi tom so yeah as you know this is our capture one uh preparing your files for print webinar and i'd like to introduce everybody here so uh i'm andrea zaki and i'm a partner digital silver imaging and in center screen there i think is eric lewden who is uh the owner of digital silver imaging and uh the founder and then we have digital silver imaging's newest uh member uh newest team member scott and uh scott nedermeier was with faze for how long were you with uh phase one six years six years and scott was in charge of their edu division and he also did a lot of webinars and anything else you want to add to that scott um i did a lot of workshops i ran the potus i ran the potus workshop so traveling the grove you know the grove traveling the globe i have to find my in my english language today um doing the workshops uh any any events um you know trade shows and events and stuff like that i worked closely with the marketing team and and uh so i was a diverse a diverse person but my you know my my key was starting in tech support and then um developing the edgy program for phase one so we brought scott on because we have a new digitization initiative um and i think that this might be a good point to just turn that over to eric we're going to give you just a brief overview of that uh before we jump into the webinar um so now that we have you at the beginning i want to talk about that briefly but also before eric before i turn over to you i want to say one more thing which is about the print raffle so um kind of as a little bonus of our webinar here today we're going to be raffling off a 16 by 20 either one of our true real silver gelatin dsi digital silver prints or you can have a beautiful museum quality inkjet print on either fine art hanamula or canson paper and we're going to run that raffle at the very end of the webinar uh right after the q and a's so uh we're going to hold you hostage here uh for that section but uh i think that the webinar is not going to go really long because we want to leave time for your questions so um at that point now i think i'm ready to turn it over to you eric great so yeah so as andrea mentioned um one of the things that scott is joining us for is initiative uh working with uh with our sort of new digitization uh system and program and uh so behind me what you're looking at is the dt atom system using a phase 150 megapixel camera mounted to a very sturdy copy kind of stand system photon lights um the advantage of our system now is that in instead of using scanners which take a long time i have to be oil mounted if you're doing drum scanning but it is much faster you know we're literally taking exposures in 60th and 125th of a second as opposed to minutes for each individual negative so you're getting a very high resolution file comparable to what you are getting with drum scans but at a much faster uh much faster turnaround time so the advantage is you're getting uh more affordable scans faster turnaround time and um unbelievably great resolution and at the core of the hardware is really what capture one brings to this is the unbelievably powerful editing and uh inversion of negatives um which isn't something you can do in lightroom or photoshop but the the inversion tool for negatives with um this this system and this software is one of the most powerful things i've witnessed and um we've already started working on some unbelievably great archives and very excited that we'll be working with elliot irwin's archive coming in the first of the year so and that's where scott's going to be heading in in january but what the primary reason for scott joining us is that we're literally going to be taking this um this on the road and bringing it to to where you are so uh we're getting we've bought a van we're going to outfit a van with a second system and um we'll be able to bring that to you so scott did a very wonderful uh demonstration video on the system a few weeks ago which is on our youtube channel so we will include that link when we email you out the uh the link to this so uh without any more of that i'm gonna turn over to our scott based in uh houston texas and uh looking forward to what you're gonna present today scott and and kind of our you know our our new and growing relationship with capture one so thank you hi everybody can everybody hear me all right make sure i turn my mic on you know i keep muting it i want to make sure i was unmuted um thank you very much super stoked to be with you all here yes i am in houston texas it is absolutely freezing here it was like 50 degrees yesterday i had to put a sweater on so for my texas people you know what i'm talking about winners in texas they're great um super happy to be here so today we're um you know we're gonna cover briefly uh capture one and optimizing your image for print because you know like all of the the great points of photography if you look at the early history of photography you know and i've been doing research on on stieglitz um and some of the early gallery guys and people who really drove photography as an art um just getting a snap right just getting a snap on your phone or your digital camera or something like that that's great if you post it to social media but does it really live right and i'm i'm a big believer um this is why you know i've always loved the guys at dsi i'm a big believer and then a photograph an image isn't finished until it's printed until it becomes something that you know that you live with that you hang on your wall that that uh you want other people to live with um then it really takes you know it takes roots and it becomes something tangible and that's the the so important that we i think we've lost that in the history of digital photography you know this revolution that has really overtaken us in the last 10 15 years um is that now the sudden every you know they put it on a hard drive um they they put it on social media or on instagram and then and then what and then where does it go um so you know we we really want to encourage you to print your files like you know you take beautiful pictures i know i know some of you guys from seeing them in the chat here and i know the kind of images you guys take and uh you know make prints make prints so there are lots of ways to deal with your file in photoshop and lightroom i particularly love capture one at its core it's a raw processing engine at its very beginning the roots of capture one it was about taking your raw data from that digital file and getting the best possible image it's and some people think well is it replacing photoshop no it's not here to replace photoshop photoshop is an editing tool and the biggest differences that i can say is that in photoshop in order to work in photoshop you've already given that digital file a set of parameters to exist within right it's a tiff or a jpeg or something like that with capture one you're working with the raw files you're working with the raw data out of your camera which gives you a tremendous amount of latitude on how you edit that file in order for it to become you know the vision that you have in your head or the vision that you have when you created that image when you were there pressing the trigger on the camera so today is pretty brief i'm not going to do a real extensive capture one i'm going to show you some files and then we're going to talk about process recipes creating a process recipe and getting that file ready in order to go to print either at your your home printer with the the machine that you have in-house or of course feel free to send us files we love it when you print with us so i'm going to go ahead and share my screen here if that's all right with anyone as you guys have questions go ahead and type them in that in that q a and andrea will feed them to me um as we're going so i'm gonna i'm gonna share this one make sure i get the right one boom there it is can you see my screen so just to start off with um straight at the beginning i'm going to move my my little camera window over here to my other screen just to start off with this image that you're seeing here is a 6x7 negative that was digitized using using our scanning solution using that phase 151 megapixel system uh if anybody who hasn't seen the other video or the other webinar uh please go look at it it's it's really cool to see how we can take film in a completely clean and safe environment and get it digitized to create a digital archive because your film has value your film still has value and uh so this is the image i'm starting with so i can show a little bit of the editing process going from a negative to a positive and then working with it in capture one and at the very end eric actually has a print there in boston that he's going to show everyone that we created from this file that we digitized so to begin with once we get this this uh scanned and we go into our software we're actually going to take and create a positive from it and if you see i mean at its base for those of you guys who are working from home on capture one if i look in my levels tool on the left hand side over here can you see the levels too on the left hand side all i'm doing realistically is i'm going to go ahead and reverse those levels to go from a negative to a positive now it's very washed out and it requires editing and software the the version of capture one that we use with our scanning station is cultural heritage it's specifically designed to do this so it's a little bit more powerful and has some other tools in there in order to do that but you can do it from home that just requires a little more effort in the post-processing and once we reverse those levels and we get it into capture one we go ahead and we put a crop on it right so we go ahead and crop in and around that image and then we have the the freedom to start editing and manipulating that image to come in and adjust our exposure and and tweak it out if i go to this image here i'm going to go ahead and go clone variant and i'm going to take it back to its root take it back to a zero point so you guys can see and i'll cover that clone variant thing here in a little bit once i get that i can come in here and start to adjust my exposure my contrast all of the tools that i have within capture one in order to really take this image and get it ready for print and you know with all of these tools in capture one for those of you guys who are using capture one you're already going to know you know what i'm talking about and what we're doing here if you're new to capture one if you've never used a software before it is a bear it is it is a it is a very powerful software and there are tons of tools and tons of capabilities but you need to not be afraid of that there are loads of videos online david grover um the the man the man behind the man the mystery the legend um has done several short seven minute uh five minute videos on each of the individual tools and this is something that you can really dive in and learn on and you don't need to be afraid of it it really doesn't take a lot of course it's got to be visual on what it is that we're getting out of this file and i'm just doing a real quick a real quick kind of uh let me see here which one do i have it on let's go unconstrained real quick kind of an edit to show you that you know it doesn't take a whole lot to take your negative and make it a positive you know with some tweaking and some editing and then that we can then you know send into the upload to the dsi and make a true digital silver print all of the files this this image i believe was created by eric is that correct eric shake your head yes that's a that's an eric file everything else um that's on my screen here um are images that i shot and i uh you know with the scanning servers and stuff like that of course we can archive your you know your film and digitize digitize your work but i wanted to use my pictures because i mean these are stuff that i print and that i want to print um scott yes so i just wanted to go and back and cover one thing again can you again show how you converted that negative to a positive because i think that's not very intuitive so on my file here i'm going to go ahead and if you when you when you have your negative in order to take it to a positive so i'm going to go ahead and just reset this all the way and the in the top left um you see over here the little arrow you know if you kind of see my mouse move in that little arrow with a back button that's a reset that's taking it all the way back to the very very beginning um to a zero point i haven't done anything to this file the easiest way to do it um like i said the cultural heritage software has tools built into it uh for everyone using capture one pro or a specific version to your camera capture one for sony capture one for fuji capture one for nikon and now capture one for leica which is really exciting finally i've been asking for this for years having full support with leica this is huge for my leica people out there i hope you're excited um this is a really big deal so what you want to do is you go in from your library tool of course i have a my folder here images images for the webinar that i've pulled into here and what i want to do is go to my develop module if you will and that looks like the little folder there at the top you can see up here in the top and we're going to go to our levels and all you're doing is reversing the levels so i'm taking my highlights and dragging it to one side and my shadows and dragging it to the other and i'm just going to go ahead and reverse that image now whenever i'm working with any of my other editing tools in capture one from that negative to a positive you have to keep in mind it's going to be the opposite of what it was previously so instead of you know increasing exposure it's going to decrease by you know what i mean so if i'm pulling that to the right and i take that down add contrast to the file bring those highlights in and the shadows and then it's just a matter of you know playing with the image and editing editing editing it until you get it to where you want now this image in particular was created from a six by seven negative um so when generally for me when i when i crop from a scan or something was created i'm going to go ahead and just do unconstrained meaning that it's not locking into any format now even though this was shot with a 6x7 if i can drag it up there i hit the hand tool even though this was shot with a six by seven let's just say i wanted to do a four by five if i go to my crop tool here at the top and i click on that and it the little arrow you see it's highlighted orange there at the top everybody's seeing that um i can drop down to four by five and that's already that's already pre-built in and then you can add your own aspect ratios as well i'll show you how to do that so if i go four by five now the sudden it's going to lock into a four by five format and it keeps within that space now the non-intuitive thing from capture one um is that you know we're very used to working in photoshop and maybe lightroom where you hit enter to commit you know the the enter button is that i'm committing to this action that i've just done and capture one doesn't work that way all you have to do is click on a different tool so for me i like to be on the hands tool um as like my neutral point and so if i hit h on my keyboard or the little hand tool that's now highlighted orange up here in the top right now i've seen what my crop has committed to and if i go back to my crop tool again and i click on my crop tool or c on my keyboard i can see where i am so that's just the kind of easy way to do that the beauty of the hand tool i've got i just downloaded capture 121 the newest latest and greatest version and i uh it still has the little help menus turned on i got to go into the preferences and turn those off the beauty of the hand tool and one of the things that i love about capture one is if i'm judging color or sharpness always always always you guys with your files if you're judging color and sharpness it's always at a hundred percent you always judge color and sharpness at 100 so if i'm in my hand tool hi see my little hand tool and i double click anywhere on my screen anywhere on that file i'm zooming in to 100 it's just a really easy way to do that and then i can say all right you know how sharp is my file is this the image that i want to work with did i get it right et cetera et cetera are my colors committing when we're looking at a preview if i go down to this beautiful image that i created in banff canada on a potus workshop if i'm looking at the preview on my screen that's a suggestion of the colors that's the suggestion of the the data it's not a full rendering um so it's not it's not ideal realistically in order to judge color and sharpness you need to be at 100 percent so hopefully that makes sense to everybody i i can't stress that enough always judge color and sharpness at a hundred percent and this file here is a psd it's already been you know taken into photoshop and tweaked and edited um but let's let's uh let's go into talking about getting it ready for print like they have all the tools and the edits hold on my train of thought let's go back a little bit let's go to uh let's go to this bad boy right here i love this this is a file created in morrow morro bay california i was out teaching at uh cal poly tech shout out to my people at cal poly um you know there's so many wonderful schools in this country so i see tom asher's on sup tom sva worked with you guys with this one i was out in california and we wanted to go shooting a couple students and i wanted to go shooting and so we went out tomorrow bay and there was this massive fog rolled in and uh i didn't think we'd get any images i mean these are one minute 60 second exposure these incredibly long exposures the files were super dark what i'm going to do is i have this one kind of all tweaked out but let's take it back to its root and so if i go up here to image right and i'm going to go new variant and by clicking on new variant i'm going back to the very roots that file so before any edits are done and here's the beauty of of capture one and why it's great to to prep your images and use capture one to get your images ready for print is that i can create multiple variants and and that doesn't take up room on the hard drive realistically capture one has a cos file associated with your raw file all it is is a set of instructions it's like capture one is sitting there taking notes on what you want done to that file oh i'm gonna crop it here okay cool i'm gonna add this color okay i'm gonna do this exposure and all of those settings files don't take up room on your hard drive so anytime i create a new variant that's all it is is another line item in that list of instructions oh hey new variant boom you're not actually creating another raw file you're not taking up any more space it doesn't become space on your hard drive until you process that file until you you commit to making a tiff or a jpeg or a psd or a dng whatever your preferred format is so realistically i can keep creating variants and tweaking and editing now with this one we can see at its root what it was um and i liked it as black and white you know i came in here and i kind of started tweaking with it and i started playing with the colors you know and the exposure and the contrast i was kind of you know doing different things with it and although it's it's a nice file um where'd my white balance go there it is let's cool it off a little bit you know let's make it a little bit cold it was cold there you know and then i'm going to add a little crunch and add a little clarity to it you know just kind of tweak around and play with the tools and i'm like all right that looks pretty cool that's beautiful but you know really i would love to see this as a black and white now i'm a big fan of black and white i still shoot film that was the dangerous four-letter word um that i used uh when i was still working at phase and they'd be like ah film ah the four letter word i love film i still i shoot my hasselblad and my nikon and i've got a whole stack of ilford and tri-x on my shelf that is just waiting for me to go and create something wonderful so as much as i love digital because of its instant gratification i still love film and i love black and white i love true black and white which is you know when you see a true print from black and white there's just something about it um so for this i'm like you know what i want to see this as black and white so there's two ways of doing it most people just come up to the saturation slider and they go boom okay i've desaturated it but this is an image that was created from a color sensor from a color file there was that bare pattern over top of that digital sensor red green green blue red green and blue by just desaturating by just taking the saturation and going away i'm throwing away all of the control that i have over that file so instead of doing that go ahead and take it back to zero i'm gonna go into my black and white so if we go to the three little circles at the top all right which is my color tool and i go down here i see the black and white and i'm going to go ahead and enable black and white and by enabling black and white now you see that i have all of these channels red green blue yellow cyan magenta right my color wheel that i now have the control over that file to tweak any colors or elements within it and i think the blues are really going to affect drag that down right and i can go in and start to play with that file and really get it looking the way that i want with the vision that i have in my head you can also if you see right here split tones for anybody who's really into alternative process uh you know maybe you want a split tone i can go into split tones and start to tweak in on that and do something funky um i tend to be a real big fan of cyanotypes and i do a lot of cyanotype work um and so i'll go in oftentimes and uh you know tweak an image around or i can easily just take that back to zero and reset it so we're gonna go ahead and enable we're gonna leave enable black and white on right and now i'm gonna go back into my develop tool now that i'm in black and white again i can go back into my color and my contrast my highlights my shadows and my clarity now let's just say i get this file right where i want it i get it i get it to a beautiful place you know and i go you know what that looks pretty good that's that's the image that's ready for print the next thing that i really stress that you guys do especially if you're working from a digital file dust is our enemy right everybody's with me on that everybody's like shaking their heads yes dust is our enemy i want you to look at the file at 100 so i go back to that hand tool and i zoom in and i start looking around my file and i know there's dust on this image because i was retouching it last night it's there somewhere oh there's one look at that big old dust spot oh i would hate to get a print back from dsi and have that dust spot on there and go right don gone are the days of spot toning for those of you who are still in the know on the film world they're no longer making spot tone so if you have it cherish it i'm going to go ahead and use essentially this would be like the j brush in photoshop the the heel tool in capture one and i click on that little band-aid there at the top if i click the drop-down menu there's the draw healing mask cloning mask or remove a spot now i can use the spot tool i like the mask in particular because it gives me control if there's like a hair in the file or something like that so i'm just going to go in and start to draw that in over here on the left side if you see under my layers palette right there it's created a heel layer so i can turn that off or on so it's it's created a layer within capture one it just does it automatically which is wonderful thank you capture one it's great to be able to just click on the tool you want and then start to use it and have it build a layer for you rather than first creating the layer naming it building it out and then doing your edits so if i go into that heel layer i can i can dance around my my image here you see the hand tool and i'm dragging around if i if i hold press and hold the space bar on my keyboard the hand tool pops up and i can drag around that file and i can go in and start to clean up that file and once i've gone through and i've looked at everything and i'm satisfied that i have taken care of everything right then i'm at my final point now i'm ready to send this file now i have to think like okay where's it gonna hang in my house you know um i'm putting this in the gallery what size is gonna you know do i know within my gallery in my space that sells most often for my gallery people out there right little little shout out to uh 291 i've been doing a bunch of research on on stieglitz um and uh and having fun so i've decided that you know let's let's remember 291 the original new york gallery um so what's the size that's going to sell what's the size that i want to hang in my house if this is a gift for somebody what's going to fit within their space now a lot of times people will just process out and then send the file in i encourage you to think about where i want this file to be now i'm a big fan of let's just say we're giving away a 16 by 20 right so i'm going to go ahead and i'm going to go to my crop tool and you see i've already pre-built a 16 by 20 thing here but if i hadn't done that and i wanted to do a new aspect ratio 1319 or an odd size you know 11 17 or whatever i can go in here and i can go add aspect ratio and by adding the aspect ratio i can then name it dsi print right and then give it the size that i want so i'm gonna do a 16 by 20. okay and then as soon as i start to go on that file you see it jumped right away it jumped into space now i am in the 16 by 20 format so i can make it you know i can tighten it up i can really start to get that crop there i like it nice and tight i wish i had the golden ratio up on here boom i think that's a little bit more i think that looks pretty good that looks like a file that i'm ready to send in and have printed so again i'm going to click on the hand tool h on my keyboard and it's going to commit to that size now i've already designated that file as 16 by 20. when i go to my process recipe and in the top left over here everybody see my little hand right there that's the process tool right when i go into the process tool i have all of these process recipes i like to call them soup recipes coming from the film world i used to work as a as a lab tech in montana i worked for f11 running their dip and dunk when i first moved to new york i worked for jack ward color service on 26th street um i ran a ritz camera like a one hour print lab so i come from that kind of you know print background so i like to think of my chemical recipes my soup recipes and that's what these process recipes are they are the the steps that you're taking with a file in order to send it to print so i'm going to go ahead and i'm going to create a new one just because i already have all these ones built out for high res for for jpegs for quick proofs or whatever but i'm going to go ahead and create a new one and to do that you just click on the little plus i'm going to click on little plus and i'm going to name this one whatever it is dsi print boom and i'm going to uncheck 11 by 14. now with the dsi print the next thing that i look at that it's the check mark is on and it's highlighted orange that's the one that i'm working with right now now there's all of this other stuff down here in in the uh in the process tab with output location output naming process summary batch all of that is great it's information the one that matters is process recipes this tool right here that i have open this is the magic sauce this is the soup recipe that you're building out in order to get that file off to print so first i'm going to start off with with basic i'm going to do tiff i'm going to go ahead and go 16-bit right now for for us at dsi when you're sending us files for print if you're using the value um the value print it's jpeg and the instructions eric will cover that that's also available online it's a jpeg format if you're doing a custom print we ask that you send us a tiff at 16 bit give us the most information information possible and correct me if i'm i'm wrong on that i all right good on that so i'm going to go tiff and then adobe rgb 1998. now this is usually utilizing that adobe icc profile uh resolution 300 and then scale i've already processed it out as i've already cropped it as a 16 by 20 but if i know for certain that that's let's say i'm using the value right the value service or or whatever and i know that that's going to be what i want it to be i'm going to go ahead and go into that that scale here and i'm going to go width and height right and i know michael um had emailed asking a very specific question about getting that in and with borders and stuff like that well here's where you really go in first you crop step one and then we're going to go ahead and go with height and i'm going to label that out at 16 by 20. boom and then open with and i'm gonna have this open up into photoshop and this is the beauty right here is if i go into another level of retouching um i can take it straight into photoshop from this process recipe now i know the question is going to be asked but capture one has a print dialogue yes it does um i love you capture one your print dialog is still less than desirable the print dialog that it uses is whatever is native to your system so if i click on the print dialog here it's whatever is native to my system yes i can make prints i can send quick proofs to one of my printers or something like that but i find the the printing engine from photoshop uh far more robust and i have more control and that's what this is all about about me taking control over the files that you know i'm so proud of i want to print and send it to my mom to hang on her wall because she still does thanks mom right so i'm going to go 60 by 20 and then i'm gonna go ahead and i'm going to click on file now right now root folder it says output location that could be anywhere and one of the things that capture one um i'm not going to call it a weakness but one of the things that happens if is sometimes if you've been using the software a lot the output location will get confused and it should at its core go to wherever this section is living there's an output folder for those of you who already know capture one like there's a capture folder and then an output folder but i don't know um and specifically maybe i don't want it living with this session i want to put it in a very specific folder so what i've done is i have created a print folder on my desktop so i'm going to go ahead here images to print dsi i'm going to click on that i've designated where i want that file to go so that i don't like hit process and then wonder where it is right so i'm being very specific about designating hey i want this image to live there so i'm going to go ahead and go open now it says right there under root folder i can give it a sub name i can give it a sub folder all of these really powerful tools within capture one and i'm gonna go ahead and create thumbnail on save because i want that thumbnail to show up on on my finder window under adjustments right here it says respect crop or ignore crop if i have ignore crop turned on when it processes that file it's gonna do the whole picture as if i never cropped it right which is great um for sometimes people put a crop on in a commercial world you put a crop on so the client's looking at it and you're there with your art director and they're seeing what they want to do with it but they want the whole file so that their retouchers back in house can deal with it in which case i would just turn on ignore crop but for us we're talking fine art we're talking making prints here i'm going to go ahead and leave respect crop turned on really really important that way it's processing the file that i have designated within those parameters output sharpening now some people like output sharpening some people like to do sharpening in in post-processing and in photoshop um that's there's lots of opinions on that um i generally leave sharpening off and if they're sharpening that needs to be done the you know the the person who's doing the printing is going to know best if you're ever curious as to what that's going to do i'm going to go ahead and put an output sharpening for print on and then i'm going to go up to my proofing which is my two little glasses up in the right hand corner here and i'm going to turn on proofing and now you see proofing showed up there if i zoom in to 100 because we always judge color and sharpness at 100 and then i start to play with this output sharpening you can see how it crunches that file scott from a lab standpoint i just want to chime in here and this is just kind of general for everyone in the audience at the lab one of the problems that we see the most on submitted images is over sharpening so just wanted to throw that out there so if you think your image isn't sharp enough for print probably is yeah yeah i i personally always leave sharpening off like i don't i don't utilize that i think if they're you know i'm printing myself and i'll do the sharpening in photoshop but that is an option it is a very good tool um it works very well so i'm going to go ahead and just turn that back off and now you can see with my proofing i don't have that crunchy happening right so i'll go ahead and turn proofing off and then zoom back out now i'm going to go ahead and look at metadata right do you want metadata attached to your file your copyright your camera info any of that sort of stuff and then watermark um if we're sending it to print i don't think you want a watermark on it uh there are two schools of thought on watermark and some people excuse me as they're posting on on social media they'll add a watermark with their their company logo or their name or something like that you know a little copyright information but that's where you do that so i don't need that turned on because we're sending this to print when i go back to basic double check myself tip 16 bit uncompressed adobe rgb 300 pixels per inch right i'm going full res which is what we ask for when you send us the file and then i'm going to go ahead and click process now the beauty of this is is it's going to process out that file automatically open up photoshop and then bring us our image and the main reason why i want to show you this not to show you how to deal with it in photoshop but to show you that in order to ensure that true 16 by 20 photoshop is opening on my other screen just bear with me um that it is the correct size come on photoshop i'm going to drag it over real quick option click now down in the bottom right here can you guys see in the very bottom of my screen the file is 16 by 20 at 300 pixels per inch right so now i can go in and do you know whatever is next with that file in photoshop right by cropping it first and then building it out in the process recipe i'm ensuring now the question yes are we supposed to be seeing uh your photoshop screen are you not seeing it no i'm still seeing the capture one screen well okay how about now no not yet now how about now yeah now and now just go back and show people about where the print size and the pixel dimensions just so down down here in the bottom in the lower left hand corner um quarter corner of photoshop you can see documented size profile blah blah blah blah if you go to document dimensions it tells you right there in that bottom little corner let me shrink it down so i can get it up in the screen a little bit more yeah right right down here in this bottom corner and now i see that it's 1620 at 300 pixels per inch and that file is now ready to go now if you're if you're let's say you're doing a value print and you want a two-inch border on that right you want a two-inch border or a three-inch border border you know straight out of the gates and you're using the value print service you'll need to think about that pre-hands before you process so what i would do is actually process this file out smaller right so instead of 1620 i would do uh 1418 right and i would crop it 1620 but when i process it i'd process 1418 which is going to be within dimensional sizes across the board and then once i come into photoshop if i want that border built in we can create our canvas right scott we did have a question that came through already about that so can you build that border in um capture one no so you can't not that i'm aware of i've never found a way to do it maybe there's a smarter person out there than me i always take it into photoshop photoshop is the next step what i'll do is i'll process the file a little bit smaller and then i'm just going to call this one 18 22 and i put a border on it i just find it easier to do that and and visually in photoshop if that makes sense to everybody yep just scott i'll just chime in on two things if you're using our custom print service you can send us the file and in in the drop down menus in our custom upload you can specify orders and we will add them to the image in our value print service we have options for i believe quarter inch and maybe a half inch border and i want everybody to keep in mind that we will always add that border to the image size so if you send us a 16 by 20 file and say please add a quarter inch border the final paper size will be 16 and a half by 20 and a half to preserve the image size that you're looking for the advantage of that is that if you go out and you know buy a ready-made frame or you have a frame at your house you want to use um the image will fit within what you expected to receive so we do not when you in our value print service if you um send us that file we do not reduce the image we keep the image at the size you you uploaded to us and we add border to the outside of it but if you want a specific border a really wide border which is what scott's showing you yes what you should do is to put bring that into photoshop and and canvas it out the way you want it send it to us in the value print service and just ask for a quote-unquote borderless we will not crop the print to the image we will crop the print to the size of the file you sent us i hope that makes sense and scott i just wanted to shine one more thing in here when you go back to capture one which looks like you just did yeah lisa asked i think lisa missed uh where you went from capture one to photoshop can you show that command again so there's there's a couple of ways of doing it i'm doing it in the process recipe so over here on the left hand side underneath my process recipe right the the soup sauce that matters everything else is fluff information the the key thing is that process recipe at the bottom of the basic that says open with and if i click on that i can open it with photoshop um or silver effects if i want to go into silver effects you know nick or any other software um that's where i designate that so that when i hit process it processes the file it then takes it from a raw image into a tiff or a jpeg or whatever your parameters are and then automatically opens it up in that software so that's what i'm doing you have to load those into that menu or they will automatically show up photoshop is already there okay photoshop if you if you have it installed on your computer it's kind of automatic if you want to select another software uh if you're working in you know with affinity or something else you can just go into other right so if you're working on like a diet right okay you know so if i'm in and then it just opens up your applications and you can select the software that you want it to open up in gotcha if that makes sense um the the the beauty of you know utilizing you know capture one uh and creating those variants and when i wanna i wanna touch back on those variants because we went through the process is that you can continue to tweak a file out i mean here's one uh that i was playing with command f i'll go full screen on that here's one that i was playing with um you know from mono lake in california and the the lower left is the original file uh i edited it and tweaked it in capture one and that's the file that's above it and i go wow that's really pretty i like color i like that environment but let me see what it looks like in black and white so then i went in i enabled black and white um and and started to tweak around with it and play with it and then i i opened it in nick color effects and which is how i got that kind of sepia tone almost platinum looking um image there in the in the lower right uh and this is what's really exciting to me is is i for me and i'm sure for you guys as photographers you know when you've created a beautiful image you know you know when you're looking through the viewfinder and you press that trigger and you just go i got it right like that's the picture that's going to be the one having the ability to something that you're really excited about to then tweak it and play with it and and take it into different dimensions in order to to get the print that just is really beautiful and that you want to hang on your wall you know maybe you want to print the color and the black and white right um and then you swap them out every once in a while or you know whatever your schematic is in your space um you know this is the exciting part about that is that you can continue to tweak it and play with it um i can sit here and edit all day i wanna i don't wanna over talk i wanna allow time for questions what questions do you guys have unmute myself we have a lot of questions which is great um so let me see i'm going to start with the first questions and work my way through the list and i think you've answered this question but leah asked that it's not as you said that it's not a substitute for photoshop but why would you need photoshop if you can do all these things and capture one um photoshop is is a next level tool it's slightly more powerful i have found um you know in teaching capture one for the last six years i love how we've advanced how capture one has advanced with the heel brush and the layers tools uh you can only do up to 16 you can do up to 16 layers and capture one i do the bulk of my editing in capture one because it's doing it on the raw file before it becomes something in fit parameters however for you medium format shooters out there you know how it doesn't matter how careful you are dust loves to live on your sensor uh and sitting here with the heel brush um in capture one uh a couple of dust spots is great if i've got a filthy file if i was you know some images from from death valley when we were out there you know and being in the in the dust and everything else like that like some of those files were just incredibly dirty going into photoshop and using the jbrush is just faster it's just a faster edit to get rid of all of those little dust spots um once i've once i've tweaked the colors and gotten the file where i want realistically that that for me is about it and then of course going into print because i think the print engine that adobe has created is more robust so we have an anonymous question and that says does it make a uh difference what version of capture one you're using well no that's a loaded question um for it depends on the file that you're working with so if you're coming from film right if you're taking your negatives and and having those digitized um you know in order to make prints not really for the camera system that you're using yes it does for my leica shooters capture 121 is going to be the one that's available to you because that relationship just started you know a week two weeks ago right um with being able to use capture one fully integrated with with all leica cameras uh i would say 10 capture one version 10. like seven was pretty good everything four five and six stunk uh seven was pretty good eight was better ten is really when it started to become something powerful um and as technology has increased in technology with our cameras the versions of capture one have gotten better and better um i would say between 20 and 21 no it's still the same engine right now um the the image in capture 120 and the image in capture 121 is still the same engine engine as far as i can see and tell um i'm not on the inside anymore so i don't have all the i don't have all the inside or track information uh but realistically capture 121 has a couple of new tools built in that are that are really great the dehaze tool and then of course if you're a leica shooter you have to be on capture 121 but i would say you know 12 and then and then it switched to 20. you think that there's 13 14 15 16 no one went version 12 and then 20. so version 11 12 or 20 are all very solid editions of the software um okay so um ron asked uh and i'm gonna answer part of this and then i'll let you answer the second part uh ron asks is it okay uh to take a file from my leica m10 convert it to black and white and capture one and send you the file for printing absolutely ron that would be great um in fact you know we want you to do the black and white conversion if you can because then basically your computer actually becomes your dark room and we become uh simply the tray that your print is printed in so um that's the best way and he has another question which is is it okay to scan with my nikon es2-d800e to make large prints if so how large um 16x24 i think that's a question um and i can answer that if you want um you know i know that there are a number of people who are using uh digital slrs um with some of these various options out there for um digitizing film archives and while i've seen reasonable results um i can tell you that um you know for the cost of our what we're charging to do this which starts at thirty dollars and goes down from there depending on how many negatives you send us the resolution and control that we have is probably you know with the cultural heritage software is by far going to give you the best results with that said if you're if you are going to digitize your own files um you know we've been able to do fairly large you know we can do 40 by 60s from our system easily i don't i don't know exactly with the 800 e um how how big the file could go if you the biggest the easiest thing would be to do would be to upload us a file and ask us a question just file through our to our upload page and just say you know we don't charge to do that we'd be happy to look at the file for you yeah and i would also say ron since we're asking that question i own a d800e and i 16 by 24 i don't think would be any problem yeah that's i mean from that camera in particular for anybody who's you know doing their own doing their own archiving and creating creating your own digital files it all depends on the camera the resolution um and then the the bit depth whether it's color or black and white the bit depth is going to be the biggest thing in technology most slr cameras on the market are 10 to 12 bits the the sony sensors have hit that 14-bit color standpoint but the medium format backs themselves the phase one 151 megapixel back is a is a 16 bit and it's a true 16 bit it's not a mathematical it's a true 16 bit uh color file so there's just a lot more information that can that can be achieved from that uh the other thing with the you know using a medium format in in order to create a scanner an archive is that um it's giving it shelf life you know uh there's i see i get because i'm doing research on this stuff right i get all the the once you look at something on amazon or on the internet also you get advertising for everything else because they're watching us um you know so i get all the advertising for these systems that are like you know archive with your iphone or whatever um yeah there's tons of tools out there but you have to think in terms of of shelf life of that file that you're creating if i'm if i'm using technology that's maybe a couple of years old it's not true 16 bit um it doesn't meet any kind of faji standards um yeah great i can do i can make a digital archive and i can make a print awesome do it uh five years from now how is that file gonna compare to you know just doing it right the first time you know doing it at 151 megapixels full 16-bit color and so that's what i just tell people like you have to analyze like it's uh cost time your time is cost as well and if i do it now and five years from now i have to go and do it again you know that that's increasing my cost for digitizing that file whereas i could have just done it you know um right in the beginning yeah so next questions i just want to point out in terms of you know we were talking color and files in black and white and taking the m10 and stuff like that capture one is designed to be wysiwyg um i had to google that the first time i heard it i i sadly say uh what you see is what you get and that everything that you're seeing on your screen is based upon that icc profile in your output process press p it's not based on input input is just giving you the data um into the software but everything in capture one is based on your output profile aka if i'm going to a specific printer or if i know i'm working in black and white and i go here and i go phase 1 gray 22 if you see everything on my screen has now gone black and white and so that's something to keep in mind if you're working with black and white or you're working with color files or stuff like that sometimes people go in and they hit this and they they get it on a a weird profile or something like that and the colors don't match up and then when they send it to print you know when when you send it you know send it to print either on your printer or you know um to us a dsi the colors come out a little off and people are like what's going on really pay attention to that icc profile we recommend adobe 98 i personally use profoto rgb a lot because it's a little bit bigger color space but anytime i'm i'm working with an art director with a client anytime i'm sending stuff into the lab i'm going to make sure that it's adobe 98 because that's the most commonly used color space so i have a question i think i'm going to try and combine a couple of questions that were asked in the in the q a and so basically for someone who's doing their own printing at home and they've created a paper profile an icc profile of their own or whether they've created or downloaded it from somebody they should be working in that space as they're doing the corrections in yes and so then another question is and for for uh people that print with digital silver imaging we hope that you all would give us a shot uh we recommend adobe 1998 we don't uh recommend doing a specific profile geared towards a specific paper because we gear everything towards adobe 1998 give anything you want to add to that eric no that's uh you know we we don't do soft proofing and we don't have icc profiles that um for you to do soft proofing online one of the reasons is i am not a big believer in that in that because it really the most important thing you can do to get a quality print that you're happy with from us is to invest in a uh in in in a an inexpensive monitor calibrator whether it's x right which is what we use here at the lab or a spider if if if you're not if you're not profiling your monitor on a regular basis um you will have more frustration uh than anything so do that you're just guessing yeah you're just guessing um and always keep in mind um that when you're looking at a monitor right these monitors are all transmissive light it's like looking at a transparency an old 35 millimeter transparency that you hold up to the light it's going to be you know that and your print will never exactly match because one is transmissive light and the other when you look at a print is reflected light so the calibrated monitor is truly the most important thing you can do so i think we have we have a lot of questions so we need to kind of plow through these babies so um i was getting another question about somebody from i used to that i knew from boston tiff pemberton nice to see you and uh so tiff you had a a question regarding clarity and structure within capture one which was interesting to me because i always thought clarity was a um was a lightroom tool and that structure was something that the nik software kind of used to talk about same thing so scott i'm going to ask you to address that question for tiff so clarity and structure are essentially mid-tone contrast so if i go to my clarity tool right here and i'm going to drag it up a little bit higher that's the nice thing about you know capture one is i can rearrange my tools if you look at your clarity and you go natural punch neutral and classic right there are some different versions in there and clarity and i'm going to zoom to 100 on these rocks here clarity um looks at the mid-tone contrast on a scene right and structure looks at the pixels that make up the edges of those right so it's looking at the edge of the pixels so clarity and so clarity uh is you know overall midtone contrast and structure is pixel edges um it's a tool that i use often uh when i was you know photographing cars commercially um i like a little crunch in my files that's me that's that's you know uh something that i i like visually um so let me let me go to a where's a canon file here here we go boom here's a canon file um from a what is it 5d mark ii maybe and if i go into clarity and i start to give it a little crunch and a little structure i like what it does on the car itself and the nice thing is is uh let me find it here here's what my my before and after right so where i where i was and where i am i can see that by playing with that tool a little bit it's just gonna crisp up that file a little bit um which i really like so can you just can you uh because i think that's interesting so structure is more of an edge an edge tone an edge sharpening and and clarity is more of what did you say about contrast tone contrast okay tiff i hope that uh answers your question because it certainly helped me understand something new that's i mean then and you know with anything that you do in um in capture one it used to be within the individual tools if you want to see you know what something is doing to a file if you hold the option key on your keyboard and you do the reset button within that tool you can do like a quick before and after as you're holding down that tool which you know as i'm editing a lot of times it's like well do i love it do i like what it's doing uh they added in in capture 120 up here in the top this before and after and so if i turn that tool on you can see that it comes up with where this file began and what i've done to it in post so the image that was created and this is the tool set from that that aston martin db5 um or no it's a db6 because it has a funny butt for my ass to martin people which is really great and i mean i that's something that i do often it's been asked for forever is there a history you know a history tool or an on off tool or whatever um in capture one and there's there's not and then they added this in which is really great or being able to you know do a before and after um holding the option key on the individual tool itself to see the different elements if that's helpful i think that that answers the question so francois asked is there a difference between a print at 300 ppi and 360 ppi for print quality eric do you want to answer that um the the for there are silver gelatin prints the the light jet which is a continuous tone printer and not a pigment you know printer which is a dots for you know using um droplets of ink so the continuous tone black and white process um only uses 300 dpi on the photographic laser so um for that process i would say leave it you have to leave it at 300. you don't have to i mean you know it'll you know it'll print to 300. and as far as inkjet printing um 300 dpi is the preferred for us i have not seen it even on very large prints a significant difference between 300 and 360. and then i have a general scanning question here that i'm just going to throw out there which is and i think i'm just going to answer this so someone asked peter asked about scanning negatives on their apps and scanner and i always tell people you should always scan at your maximum resolution and that way your you have a file at maximum resolution and you're not going to be continually going back to rescan at a higher resolution and then if you need smaller files then you can always create them from that max res file and that's the way we do it in the lab with our image capture process so you get one very large file and then you can make uh you know clones or smaller variants off of that file um so uh just to just right up on that andrea just just to confirm with people when andrea says a maximum resolution which is true that has to be the maximum optical resolution of the scanner not the interpolated resolution because if you start going to interpret interpolated resolution um that you know then that that that's uh that's not ideal so if you need to just look up the maximum optical resolution of your scanner and scan at that um so i had a good question from fred and i don't know if you if any of us can answer this will it work with um if you're using cs6 in conjunction with cs6 um i don't know that yes it will work with cs6 yeah i mean if you're if you're going from capture one um into whatever software after like after it processes the file so we've taken this file from its raw format whether it's cr2 arw nef right um raf you know i have a fuji file in here as well um you know when it takes it from that file and then processes it out into a jpeg or a tiff um you know there's dng psd other things like that you just tell it what software you want to open it in so if you're in an older version of photoshop or you know using another tool like affinity or something like that you can yeah so and i'm going to answer this other question really quickly so jt asks how do you calibrate predictor adjust what looks great on a backlit monitor screen to ink on paper and again jt i'm going to go back to the fact that you need to calibrate your monitor um and get a monitor calibration tool like one made from x right or daylights to spider product it it's worth every dime you spent you've got this expensive camera if you've got expensive computer equipment to spend 100 or 200 bucks on that tool is worth every penny so mary asks what's the general flow for moving between lightroom and capture one so lightroom and capture one um yeah that's lightroom at its core is a cataloging software right at its very roots lightroom was designed as um you know there was photoshop and there's bridge and it was that in between space um and adobe did a very very good job of that i've used lightroom since version one you know i was in an early adapter of lightroom and and know it well uh going back and forth between lightroom and capture one i don't understand why you would need to um if you're using lightroom as your catalog okay then that's your that's your your archive that you've built um if you do any edits in capture one and then you take and bring those files into lightroom or vice versa those edits aren't cross-platform it's the it's the different engines or the different tools within the software so if i edit an image in capture one and then i bring it into lightroom um none of my edits are going to reflect if it's still the raw file now if i edit it in in capture one and then i process a jpeg or a tiff and bring that into lightroom then of course it's going to have that because those that process the those edits that i've done to that file are baked into it if you will okay that makes sense yeah so um richard asked um i think he asked this question earlier and i thought we answered it but i i think i misunderstood richard and i think he's talking about the actual image capture um should you be capturing the image in adobe 1998 i think that was his question um if you're coming out of a camera it's the camera's gonna have its own profile right um and and so whatever profile the camera has is what gets brought into into capture one if we go into my um let me find it under my base characteristics right here so when you capture one if you look at your iccc profile your base characteristics whatever camera that you've shot that file with is gonna show up there so whether it's fuji or nikon sony leica this is where it's going to show up and so those base characteristics are just the initial data of the file that's coming from the camera itself and then when you're editing you know working in adobe 98 which is the most widely used um which is the most widely used across the board you know in the industry um it uh it will reflect that color profile that icc does that make sense did i answer that i think so sounds good to me um let's go uh uh richard you can chime in if you thought we answered that or not um so uh nicholas asks and i don't know if i understand this question so i'm just going to throw it out there when processing variant from capture one to nick does variant automatically show up in capture one session folder it seems to be all lined up sequentially in your computer yep so this is a variant so in order to in order to take it into nick in order to do a variant in nick um what i did is i went to my my raw file here and these are all you can see the one two three um and then when i get to this one it doesn't have a four because it's not a variant it's actually processed out if you look at the bottom of the file it's become a tiff so when i am going into um nick or another software i can round trip with photoshop as well i'm going to go to that thumbnail and i'm going to control click or right click on it and it's going to open up that menu and i'm going to go edit with right and then i designate what i want to edit with so with photoshop i can go straight into photoshop i can go into silver effects pro um and my my window is being blocked here i can't see what it's doing because i i have our our picture let me move our pictures over there um now you can see that it opened up this edit recipe and i can designate what i want so just for the sake of speed i'm going to go jpeg and then 72 dpi because i just want it to be fast scale fixed i don't want it to scale and i'm going to edit a variant and what it's going to do is process the file using the capture one processing engine and then open it up in nick okay so i think um i'm going to make it here an executive decision we've i think we've gone over an hour here yes but we're having so much fun yeah uh you know so i'm gonna make a suggestion we're gonna we're going to uh run the raffle and then i think we'll leave it open for maybe another 10 minutes if people want to ask some more questions how do you feel about that scott i'm here i'm all in okay sounds good i love being here with you guys come on so just for just to clarify that we're not just gonna pick a name uh out of out of thin air what i'm gonna do is i'm going to my computer and i'm going to a random number generator and so now i see we have still have and i'm taking the number of participants that are still on the webinar and i'm entering that into my random number generator okay now i'm going to generate a random number which is 73. now i'm going to go to the attendee list and i'm going to count down from what so while you're doing that andre i'm just going to i'm going to answer a question okay yeah so to rob rogovich um you're asking about where to set the highlights and uh and shadows for um for print you know really the the rule of thumb um at least for a long time was always you know anything kind of above 252 on your highlights is going to get blown out um and i would say that that rule still holds one of the things that uh we liked about switching to canon printers away from epson is that canon now adds a thing called gloss optimizer for all of our um semi-gloss fine art prints so in areas that used to be like where no ink would be laid down in that up in that area the gloss optimizer actually does lay down a a little bit of that cloth optimizer ink so that that doesn't lead to what was called blooming where it was just completely blown out um as far as shadow goes i still firmly believe and can prove that uh silver gelatin process does still show detail in like literally on the shadow range in the three four and five and inkjet tends to stop at about seven eight or nine um so you will get a little more shadow detail and openness in your shadows with the silver print if you're doing black and white um and you know color you know is again kind of i mean it's still really unbelievable today to me what you can what you can get so hopefully rob that that answers your question it's it's not published not a bad idea i'll talk to my marketing guy about doing that andrea i think he just gave you more work i think so and we have a winner it is uh kate jordahl i hope by today i would i would say come on down but uh unfortunately we're not able to do that but we will see if i can uh if i can uh unmute kate for a second here oh there's kate where are you kate hello i'm in bellingham washington and i'm super excited that um i will um i definitely will use the silver um we've done silver pro um prints before from uh digital files and i'm super excited about the possibility thank you so much you're welcome congrats kate it's great to see you yeah good to see you scott so hey you know each other i'm sorry kate you're disqualified not that well not that well not that well okay okay all right no problem then i think scott visited us that when we were in hayward a while back yeah okay you're in your uh contact info to um our email which is info digital silver imaging.com we'll get you all set up yeah and uh you know as as we said that we still have you know we realize some people are dropping off but for those that you want to stick around for a few more minutes we will continue to answer questions um scott i'm going to take away or i'm going to do a share my screen actually i'm actually i guess what i can do first is yeah can you turn off your screen share for a second scott yeah i'm going to go ahead and turn off stop screen share boom so um you know i did want to show you know just for those of you that were that we were talking about as a silver print this so this is uh this is the print that we produced from that file which is again you know really kind of the beauty of where we are today which is to be able to go from my six by seven negative digitized on our unbelievable fabulous dt atom system our image archive service and for those of you who wonder if you can hear that that's real silver this is not a pigment print so beautiful continuous tone process great sharpness and um you know great image quality so if you send us a file and want a real silver gelatin print that is part of uh one of our primary services um and the only other thing i was going to show here quickly is uh if i can share my screen for a second was simply about the upload process was if people haven't worked with us sorry uh andrea can you see my my the dsi screen yes okay so um in our menu over here uh from from the drop down menu if you have questions about our silver gelatin prints you can uh click on this area inkjet end or as other people call them gclayprints uh we'll click there and that will certainly talk to you about papers um for ordering prints like we talked before if you want to do a custom print where we will actually do proofing and can you know really kind of customize that print you can simply go through here select whether it's a fine art inkjet print and you can select again the variety of papers or silver gelatin print and again select a true fiber base or a or a traditional resin coated paper um so that's for custom printing for our value printing service um we you know that basically is a kind of you send us a file we use the same people to do the printing same equipment same papers um but our service allows you to sort of have pre-pre-described sizes you actually get to see aspect ratios but there isn't a lot of cut there's no customization involved whatsoever but we also have a our print sample promotion available through here where if you want to see your image printed on three different inkjet papers you can try that if you want to send us a file and have it printed one on the rc and one on the fiber we offer that through here so um when you launch that you will come to our our value print page um these two the the top one it will gives you printing mounting and framing options for black and white this one does for our inkjet prints and then our prints only is uh a great tool people been very happy with this and um you can simply upload and send us your files through there so um i'm going to stop screen share and i want to see how we're doing we've got about 90 people left and if um we we have new questions yeah so let's go ahead let's answer some of those questions um okay so i ended up my last question was from christoph so let's see okay i think that so again i think people are still a little unclear on why you'd use something other than um capture one to print a file um you mean using the the print dialogue from within capture one yeah yeah um let me open up my capture [Music] one i'm gonna bring that back up um the reason being is that the the the print dialogue in capture one uh is simply whatever's native to your computer um so it's it's whatever kind of you know a print dialogue that's in there yes you you know you have some control and you can print um i find it personally i find it a little slow um you know when it's when it's doing its work and it's processing um and like i said the for me when i when i go to print um on my own printers uh here or you know to finalize anything up if i'm going with a specific size you know if i pre-build that border and i'm uploading in order to have that border built in on it i just do it through photoshop i just think it's a more robust engine and it gives me more control over that file i'm going to answer a couple of questions here sort of related to paper that i that i've seen so michael miller asked if we offer um william turner as a paper option um i love honor mule they're they're one of my you know i work with them we work very closely with canson very happy with both of those companies uh the answer is no i don't i uh unfortunately michael william turner is one of my least favorite papers only because of how fragile the surface is i i do think i know it has a wonderful tooth to it um we offer their museum etching paper which is a really nice premium weight paper it has a little less tooth than um william turner but it is a more it is a less fragile surface and so for that reason um you know we've had situations where we sent out william turner prince and then people call him say well that you know there's a there's a there's an ink spot missing and um we've so for that reason i've moved away from william turner you know primarily because we're printing and shipping and obviously things can happen like that so um and then the other question was related to papers from mary are we going to offer any sessions about paper choices and yes actually we we've been talking about a webinar um about doing that so uh stay tuned for something maybe from us in in in late january um where we will have a webinar to talk about papers and paper surfaces and choices eric can you are you looking at the q a yeah uh did you do you see ryan's question which one uh ryan no i'm sorry what was the question uh so he said i've noticed your rc true black and white prints don't like blown highlights no yeah i think could we reduce wait there's more should we reduce our output highlights until no blown highlights i don't know if i really understand that yeah i mean if i understand what they're saying is that um you know if you're seeing blown highlights on your monitor we're clearly going to see them here and i go back to scott's and our you know uh recommendations always look at things at 100 before you send it to us so you can you can be absolutely sure that your highlights aren't blown out um and yes the rc paper um does not have the same silver content of a true silver gelatin fiber-based paper they are both true silver prints however because of the resin base of the of the rc paper there is less silver content than a fiber-based paper and a fiber base because of the higher silver content can resolve more highlight and shadow detail than an rc print it's just one of the reasons it's a it's a premium price it's more silver i hope that answers the question on the highlights yeah on the highlights if you hit command e on your keyboard command what command e yep right is there is a shortcut key i like shortcut keys because they're fast but you can see i turn that on and here's my shadow warning and my highlight warning and i um you know coming from a commercial background and working in catalog i would always set my highlights and my shadows to 10 249 to ensure that i was within um spray capabilities when it would you know go to print uh you know for lens and even marcus or target or you know working on the commercial side of things um you can see with this with this file in particular let's just go uh image new variant let's take it back to zero right and where it was in the beginning and i have those shadows going on through my editing and my tweaking you know if i start to play with that file and i have that turned on i can see where i am and digital you know digital is is just like chrome if you treat digital the same way that you would treat um chrome film when you were exposing it you're going to get better results yes we have a tremendous amount of latitude with digital files that we didn't have with film you know chrome we had you know half a stop to a stop either side film gave us four stops you know and digital gives us 15 now 18 stops right we have this tremendous latitude but you know if that's something that you're curious about just go ahead and turn that feature on as you're editing and you'll see right there what is happening with that file as you're tweaking it around if that's a useful tool thanks scott so command e and i think that mandy and and that's relative to to your color space scott yes absolutely i mean right now i'm in adobe 1998 to set that you know it's just in the in the preferences here um and you go to your exposure warnings right so rob asked give a reasonable guess as to what to set your highlight shadow warning in capture one so i think rob that answers your question so you should first decide what your you know what color space you're going to be using you know so if you're printing with us we recommend adobe 1998 or if you're using your own uh if you're printing it yourself then set it to whatever icc profile you're using or adobe 1998 so let's see moving backwards because i want to catch people that have that are still here somebody was asking about the c1 version for canon what distinguishes the nikon version from all camera version uh the the nikon version uh it's just relationships that capture one built with various companies so if you're using a nikon a sony a fuji or a leica specific version it will only work within that with that camera system the pro version works with all the camera systems um you know i i know some people you know they they only shoot sony and so the capture one for sony is fine uh for me i shoot four or five different you know cameras i have you know i you know shot the phase files i have my my canons i have my fuji so using the pro version will just give you that flexibility it is a little bit more expensive um but that way it doesn't matter what camera format you're coming from it'll work with all those different versions i just happened to see that question so i wanted to answer it and shout out shout out to my man blake griffith with capture one good job okay so let me just answer the question in the chat here um uh let's see um does printing from affinity pro affinity photo or photoshop affect ultimate quality i don't know i've never printed from affinity i haven't tested it personally i i would say no um unless you're doing something you know a lot of times people utilize software to do something that's not designed for the ultimate output and i uh i have a an example of this which is really horrendous and but that's my opinion it's where people take a photo make it black and white and then turn one object in the photo of color you know where the rest of the photo is black and white that's art so when yes when making art sometimes there is a problem but but typically you know most output software is you know like photoshop or or uh uh what's the mcfun product i'm just i'm blanking on the name um or nick whatever it is uh you know as long as the professional quality uh piece of software not like you know coreldraw or something like that it it produces a good a good file for print um now let's see i think i'm looking at a lot of the quest questions that i think we've covered um most of them uh here's somebody um alfred um that um so alfred you've got in here that you didn't get my question answered but you learned a lot um could you if you're still with us alfred would you mind just typing your question in because it may be something other people want to hear as well and i'm sorry if we missed that there there have been so many and i'm having trouble finding it in the q a or was it in the chat but alfred are you still here just type it in um yeah so i think jerry i'm just gonna answer jerry's uh capture one can i invert an image negative positive with control command i no because i just tried it i'm i'm trying it now and no it does not work okay i don't see uh all right so well well i i think uh unless we've missed anything um as i said i was trying to find uh that gentleman but he did not resend it so um i think we've got a we've got a winner again so congratulations to kate i'm really glad so many of you stuck around with us this afternoon this has been informative um i personally am very excited to have scott on board he's a wealth of knowledge and adds a great um a great um you know he's just a great asset to the team and you know with his background in history and i'm you know we're very excited to get this digitization system up and running both here at the lab and um and then soon in a town near you so um we'll have more we'll have more coming on that as we as we get up and running we're going to create videos and and more social media and i'm gonna go ahead and stop sharing my screen here right send the send the plane away we're gonna have more on that um super stoked look they gave me a t-shirt guys i'm official right right there yeah um yeah and more webinars to come yeah so stay tuned for our next one so the next one that's on the books uh will be very shortly is with leica and uh scott will be um leading that and that will be on uh thursday january 7th i think at 4 p.m but stay tuned we'll uh we'll send out emails and i know like i will as well and um you know if you have any questions for us about printing or about our digitization process please contact us contact us at our main email andrea have you put that into the chat if you would just info at digitalsilverimaging.com and um you know one of the things that uh two of the things i realized is we started this digitization thing since i'll just tell you is that you know one was the idea that people get very nervous about putting film in the mail so we have actually come up with a system we have a um a hard case a vault case that we can send to you where you can put your film safely inside of a vault case and we'll provide return shipping um so that was one solution um for smaller collections or you know things like that and obviously the next next concept was our our mobile digits our mobile digitization system which is uh you know a mouthful but um anyway thanks again to everybody for being with us um in our virtual world as i said before looking forward to being less virtual and more uh realistic so uh we hope everybody has a safe holiday um be healthy be smart and keep your gatherings to a minimum i guess and uh just looking forward to uh a uh a healthy and safe and prosperous new year for everyone and we look forward to working with you on any printing projects you may have so again thanks andrea for helping everything you did to put this webinar together and answering everybody's questions and keeping that on task i know that's a lot um we had what thanks scott oh yeah no i'm just getting there uh it's so funny because i still see kate on the screen um but thanks uh and thanks to scott as i said i'm i i'm really excited about having scott on our team did a great job again on our webinar today you'll all get a link to the webinar he did before uh talking about and walking you through our digitization system so um so whatever you celebrate whether it's christmas or hanukkah or nothing at all i wish you a happy festivus from the rest of us so take care everyone and uh wish you all the best and uh thanks for being yes this is being recorded so it is going to be on our youtube channel and uh you'll probably get the link in the follow-up email yep bye everybody take care happy and healthy and safe new year happy holidays merry christmas happy hanukkah bye

Channel: Digital Silver Imaging

Views: 3,466

Keywords: Photography, CaptureOne

Id: OO8BcX0ZO5w

Length: 94min 13sec (5653 seconds)

Published: Thu Dec 17 2020