Live Editing Sessions - Capture One - 8th April 2021

hello everyone uh welcome to our thursday session um for those of you that have been here for a long time you know the drill and for those of you that haven't uh next hour we're gonna spend of course in capture one um so that software um editing your photos not mine um to try and either fix a problem that you've got um make them um pop there's quite a few of you um asked to happen um or maybe we look at some of the um the issues that you guys are facing along the way and to that end please make sure that we make this as interactive as possible so you've got the comments box on there uh make sure that you put in any questions or comments as we're going we can always pick them up just remember there's a small delay in between me seeing your comment um and you seeing that action uh on the screens there's about a sort of eight to nine second delay when we stream live um that's just the way it is unfortunately uh and fair play to alan you've got some reprieve with daylight savings you don't have to be up quite so late i think but yeah good call australia just ignore daylight savings much simpler so let's get into uh our system so we are using capture one 21.1 today that's the current version as of right now at the point this was recorded uh if you have version 20 so version 13 if you go to the about screen you're going to be able to follow along most of what we're doing today just fine no issues there'll be a few tools that might be missing but most of the general concepts will be okay if you're on version 12 or previous to that there's going to be quite a lot of differences between your version of the software and the version that we're using so please have a look at captureone.com and consider upgrading you might find some other things like new heel and before and after and so on um really useful and and catch up come on um get with it because at some point you have to upgrade your operating system too right let's get into capture one um so as i say welcome everyone for those of you that have been here before um you are welcome as always to join in and rib and poke and question um for those of you that haven't joined him before you have the same right and privilege um but don't be afraid to put any comments in um we'll try and get through as many as we can so the image we see on the screen right now is from barry this is uh one of the groins or the old coins i guess i'm worthy um and barry's just asking in in general terms like is this is this okay has it been overcooked uh more overdone so the way that typically we'll try and find out whether something has been overbaked um is to use before and after so for those of you that don't use capture one's latest version or current version you won't have this but most of you do so the before and after tool is up here on the toolbar if you hold down your mouse you can choose whether before and after shows you a split or a full view or you can press the y key on your keyboard and you'll see the split view appear here that allows us and actually we can do it on multiple pictures as well we won't go into that um if you want to see how to do that go into the capture 1 20 pro tips video that we did on before and after which is on the channel but in terms of seeing what was there before and after this is a really useful way of just checking in with the adjustments that you've made and whether or not we've gone too far too little change the color too much or so on and looking at this shot typically in terms of workflow what i tend to do if i'm honest is i'll often use the before and after tool just to do a quick check after i guess after every layer that i add on it's probably a good way of working which is make your changes on the layer do a quick before and after has it had the effect that i want and then tweak of course you can lower the opacity on any of these layers so if we don't like the amount that that change is uh implicated or has impacted on the image we can pull the opacity of that whole layer down as well as tweaking the tools where i see a lot of people go wrong is and it's not wrong it's just it's less efficient is making all the changes and then looking back at the very end and seeing how different the image is without a sort of view of how much of a tweak have i made in between and it's fine if you're making small changes and we will see today we've seen in previous sessions as well lots and lots of small changes cumulatively really do add up but if you're making big sweeping changes you can get to the end of six or seven layers worth of changes look back and go oh that's quite a lot different in a good way or in a bad way depends um but it's worthwhile just checking as we go so in this case on barry's image i mean to be honest there's nothing wrong with the the processed image i'm probably going to tweak a few things but in in general terms it's been processed really nicely so what we have got in the original image to be clear is some color cast now color cast is a natural part of using filters if ever you see a filter company claim zero color cast they are lying um don't ever take that um as gospel um the second we pass light through another substance it slows down wavelengths of light at different rates and in fact even the clearest diamond in the world still has some element of cast to that light as it goes through cheaper filters tend to have more cast but it doesn't really matter because even the expensive ones as you join more and more filters together in a sandwich you can end up pretty quickly with a cumulative cast in this case quite a pink um hue to it now typically your camera is going to probably be able to work that out and it's probably going to be able to do the auto white balance but what you can find is when you use heavy nd filters so nd 64 nd 1000 and d2000 and so on the also white balance really starts to struggle and that's why we've got the tint function on here in capture one so a lot of people use tint creatively i do um it's a it's a choice to to use but tim was designed to counter color cast on filters so always remember that if you load up a picture and let's just go back to our um let's just reset this image and we go back to our pure raw shot that barry took if i saw this the first thing i'm going to head to is this tint function i can use auto white balance so we can click on the little auto picker and find something that we think should be grey pretty difficult in this scene to start with what we could do is increase our exposure and see if we can find some gray in here but really there isn't you know the wood is still not quite gray it's not neutral we're not we're looking for something black gray white but generally neutral and that's not going to work for us so instead we're going to have to do it manually and that manual thing the first is i'm going to reduce this tint so i'm going to get rid of that pink so the tint scale typically filters have either a greeny blue hue or cast or a reddish pink cast and that's what that slider is for please don't overlook it and also remember that auto white balance while it will do certain things sometimes it's not the right tool sometimes you are going to have to do things manually and i get to sort of this place manually now i've seen on barry's um it's not far off but what we have got is some real saturated greens in here um and i'm just i'm not sure whether i would push it quite that far but the cast issue genuinely would be one of the first things i do of course the first first thing we do is make sure our lens profile is loaded on so make sure it's the the lens that was used at the time if it picks it up automatically great if it doesn't your next best is the manufacturer profile if you can't find the exact lens in the list if you don't have the exact lens or manufacturer profile then generic is the one to use there's nothing wrong with the generic profile but when you do it this chromatic aberration is going to automatically analyze and do it for that image rather than using the lens profile that was created by the guys in denmark so we load our lens corrections on we load our white balance corrections in and then we start playing and what i can see from barry's um setup and i like the crop on this um i would be tempted maybe just come down a little bit more but you know if that's the crop that you want then the great no issue and we can actually see what barry's done with this so the background has had his white balance corrected we've got that tint loaded in correctly personally i'd probably push it a little warmer and a little less green just a touch less uh maybe not even that much just to there um but again this is now personal um personal choices it were and you were there at the time i wasn't so i can't control what was there in the scene no one can afterwards it's only in your head really that you need to replicate what you saw so from there we can also see some pretty big swings in high dynamic range to bring back the highlights and the shadows and the whites and the blacks levels so remember these high dynamic range sliders are accessing the raw data left and right so sometimes it's seen outside of this histogram so this histogram is your rgb histogram it's giving you a level from zero the black level and 255 which is the white level so anything more than 255 there's no data in it anything less than zero there's no data in it except for in the raw data there actually is and that's what this high dynamic range is tapping into so if i were to temporarily reset this so to hold down the option key press on the little reset button but don't let go of the option key it's temporary that way as i do that i can see this is the natural version and this is with the hdr sliders and i have to say i actually prefer the natural version in this um the hdr sliders have done a really good job of pulling out all of this detail in here so let's go into this um stuff here you know all that texture and everything of the seaweed it's great but to me it's just starting to hit that edge of being cartoony um which as those of you that are on here regularly will know is something that i'm kind of keen to avoid so i'm not going to reset them completely because i don't think we need to get down to the point where we've lost detail in the shadows but i'm looking at a couple of things number one we're flattening a lot of the contrast that was in this groin and what makes this image striking is that that shadow of that groin going out one thing that's that's often quite useful keep your original here in the browser small because compositionally and that sort of initial impact view i can get by just quick or continually referring back to the original here and to me the original feels a bit more dramatic than the new and i think that's coming from the extra contrast so let's just have a look at what would happen if we pull back and just slightly so in fact let me just uh clone this variant so we can always refer back to it so i'm going to pull back our highlights just a bit and we're also seeing up here in that sun beforehand we're starting to make an extra bit of color up here that doesn't seem natural or too natural up in the sky so i'm going to pull those back pull the white back a little bit and then pulled down the shadows and the blacks now again i've made small tweaks to barry's tweaks they're not they're not massive changes at all but it's enough where if i look at before through to now we've just got a bit more contrast back and that's that's the key thing for me um steve's just asked the manufacturer profile ever added at a later date uh if it's not detected will it say a lens firmware upgrade make it show um potentially i'd to be honest i don't know i've never seen it appear later but in theory if your camera had a firmware update and the lens had a firmware update and it sent that data into the raw file that it didn't have before then yes capture one would pick it up um i haven't seen that happen and it's going to be down to the um i guess down to the the manufacturers to make that call but in theory yes if they start adding in manufacturer profiles into the raw data then yes it would show up in capture one so i've backed those off a little bit we've got an increase of exposure in the the overall picture which again i'm just going to back off a little bit as well and the good news in here is there's nothing yet in terms of clarity or structure so we haven't pushed anything on the background layer too far there's a little bit of dehaze so if i just undo that temporarily and redo we can see that's actually adding contrast which is nice so we're going to leave that in place then we've got our wave being brightened so out here so this is just picking up on those little reflection points on the wave no issue with that i guess the challenge that i would have is it depends on what you want this picture to feel like if you want the picture to feel smooth sedate calm relaxing and so on then lack of texture is your friend if you want to make sure you've got these sort of wave accents then adding them in no problem personally i wouldn't have something getting brighter towards the edge of the image it just it can just feel like i'm missing something that's about to happen so from a personal point of view and again this is just me i'm just going to use my eraser so press the e on the keyboard increase my opacity up and our size and i'm just going to erase this out here i'm going to leave these waves in but this one here i'm not too keen on it getting too bright nearer to the edge and ironically what barry has done is darkened the foreground here for that whole point of having this sort of feeling of it falling off as we get to the edge of the frame the wind farm believe it or not there is actually a tiny tiny tiny um little wind turbine out here or was it it was actually done on another layer i think let me try and find it it was somewhere but i think it's been done on a second uh i think actually yeah that was it he's actually done it on the blue rope layer not just the wind farm there it is um so tiny tiny tiny detail um but it's enough there um to be distracting so effectively that layer i think it's the blue rope one that was actually done yeah um removes it so i'm not sure what the wind farm layer actually does here because we don't we have a mask but it's not doing much on there but the work was actually done on the blue row player and that blue rope layer does two things it gets rid of this windmill out in the background and it also gets rid of this which is probably a good call it's a bit too distracting the only thing on here is we've got a lot more of it still to go so i'm going to go to my healing brush so my q button on the keyboard and i'm just going to increase the space that it uses i don't know why we've got pen pressure on there but anyway from that heel a bit further up onto here there just because it doesn't make sense to have any element of blue if we're going to get rid of the blue we get rid of the blue um so we've got rid of that distraction out of there okay lightening the groin so this is the the overall structure here so without those changes before sorry without me undoing those changes before on top of the hdrness of that groin we then lighten the groin again um and that's been done through clarity and structure great but that shadow has come up again and this is something that just be careful again of that cumulative effect because we had a background that had its shadows and its blacks lightened up we then also had an exposure change which pushed the the background exposure up and on this layer we've also got another exposure change and it's it's masked so it's only on this area here is actually using a luma range to do that so we've got a very specific area here that's being used but the exposure on the background plus the shadow on the background plus the black on the background or background plus this exposure here plus the shadow here that groin is getting a lot of shadows lifting um and i'm just tempted just to pull it back a bit it's okay to have dark shadows and and deep tones in this stuff as well light in the ocean layer um is an overall lighting now this is where again it's that it's that layer tension again um we've got a layer we've got a layer down here that says um foreground darken and then we've got a layer above that says light and ocean um and that light notion is actually effectively just a gradient mask um pulling up the brightness and pulling up the exposure now just bear in mind it's also then included in that gradient pulling up the groin so we're lightning again so with lightning and lightning and lightning and this groin is getting hit with all of those things at the same time we're lightening the ocean here and then darkening the corner so just be careful with those conflicts as you do this stuff for me on the light and ocean scene i would be tempted to use a luma range just to exclude those groins so leave all the ocean in no problem um but i i sort of want to see this stuff being cut out um of that mask when we catch up there we go that's a bit too much so we're going to pull this luma range down the loom range mimics your histogram so this includes everything from the brightest whites all the way down to 90 and then slowly tapers off down to 45 and i'm going to shift that down until less of the groin is in but enough of the sea is covered so i'm just picking out certain parts of it and applying that luma range now what that means is we're still doing the lightning of the ocean but look we've had less of an effect on that groin if we want to use the groin then we've got our groin layer here we've got this light and groin layer which has got a mask on it so we can use that and actually now having not had that compound effect we can afford to pull up that exposure just a touch more maybe to there that'll do it sky very simple layer um up here it's just a gradient that allows it again to fall off as it gets nearer to the edge um and then we're in a pretty good place to me again and this is really important if you see here we haven't made too many changes there's actually a very very limited amount of change that i've made what i would be tempted to do on here just go to our i think it's light and groin um with our groin layer here i'm actually going to pick on this green and using the color editor the advanced color editor we could do it through basic so on our basic color editor we can just choose the green color but i want to be a bit more specific than that i want to choose this exact dark green here and i'm going to increase the scope of how much is being selected so our advanced color editor allows us to pick a color and then tell capture one i don't just want to affect that color i want to affect the not so saturated stuff in the middle through to the heavily saturated stuff on the outside and i want to stop short of the very outside and i want to cover everything that goes from green yellow all the way to slightly more yellow and green yellow all the way to slightly more green so that's what that wedge is for and with that we can shift the color if we want we can shift the hue of it we can make it less green like that slightly orangey i guess or we can actually make it more green more greeny blue but i'm not going to do that in this case what i am going to do is pull down the saturation not a lot and pull up the lightness just a touch again not a lot probably about there and all this is doing is and i'm gonna again use that option key the alt key to temporarily reset this one tool in one go so hold down the option key or the alt key press down your mouse you can see then without the tool applied and with the tool applied this is so subtle the change that we've made i'm actually going to pull that down there but all it is is just to take away that immediate bright green that i see if we wanted this to be all about the bright green then we'd have less subdued colors elsewhere so for me it's sort of got to fit in keeping with everything else i guess then finally um i would be tempted just to neaten this corner up a little bit we've got a twist on the horizon so i think we'll have to leave it as it is there but we can maybe shrink this a touch so keep our three by two aspect ratio into there and i could afford to get to maybe there so i've got this corner coming in properly into that corner there as a nice lead into the image so that's where i'd go with it um it's it's literally personal taste of course that we're going through here but this is barry's original there's and i say there's nothing wrong with it there's nothing wrong with the edit it's perfectly fine but i just feel if i compare it to our original original the raw that's too much of a difference to be able to even consider so let's compare it to instead the raw with its white balance corrected and that's the one on the right hand side so this has had no other changes but it has had his white balance corrected for that color cast and we see it just feels more dramatic and that's why i've just backed away some of these changes so we're still with a silhouette here rather than the top one which just looks a little bit cartoony it's just on that point where it um tips over the edge um so some questions where we are um oh there we go i think it's a little too hdr-ish yeah and that's that's my only challenge with it barry um to be honest um the cropping we can you know we can talk about many different ways of doing the crop on this shot but i think it's just a little bit too much on here in this detail here detail is great and we we have sharp lenses and we have amazing sensors and we want to show that off but from a picture point of view it doesn't it doesn't quite make sense that i've got all this detail in the foreground of what would be a silhouette it just doesn't quite tell the right story um to my mind um where are we paul says the magic wand any good in the white balance tool it is um but but remember you've got to be able to tell capture one an area of the image which is gray or black or white in other words neutral so on this image there isn't anything that i could say hand on heart should be completely neutral gray let me just clone this variant so we can see if i go to our background and choose an area and i get it wrong so let's choose some wood here thinking that it's gray all of a sudden whoa okay so i'll wipe out now bear in mind this has been altered because in fact let me just undo that because other layers have white balance on top it's really going to screw things up so let's go to a neutral one choose the white balance here from the wood it's too green choose this bit it's too blue um you you know on this sort of image you're never gonna find a neutral neutral color to be able to use really um paul is saying i would left the groin a bit more in the dark yeah yeah so to be honest um barry that's that's what we've done here all we've done is just backed off some of those changes of course in every case i've backed off the tool remember i don't need to i could back off the overall opacity on the layers so if i didn't like how much has been done on this groin rather than going into the tool down here i can just pull back that layer opacity and it will have the same effect but what we've done is just broken it down tool by tool um brian is the c leaking away to the right uh i don't know oh do you mean on the on the horizon the giant plug hole in the sea um let's have a look so guides up here if you don't have a guides tool on your toolbar number one right click go to customize toolbar and you can add it out of all of these fun toys um or you can go to view and tick guides so when i have a guide on i can pull that straight line down and let's see if brian is right nope it's not leaking away to the right i think to be honest brian it's a bit of an optical illusion because of the jetty's perspective um but yeah no it's not leaking your way to the right it just maybe it feels that way a little bit uh and then ruben's just starting can you create a mask out of a color range absolutely yes you can so let's go to our um light and groin for example in fact let's go back to the raw um here so let's imagine i want to create a mask out of everything that's blue in this shot because we've done that with white balance go to our color editor and i'm going to use the advanced color editor to choose this area to make sure i've got the right area i've got a choice in the color editor to do this view selected color range that means that everything else in the image turns grayscale apart from the color that i've i've identified in a very colorful image this is really useful in an image where it's quite neutral like this one it's not really going to help you that much you're going to have to be a bit more guessy but what we can do then once we've got this range done click on our little three dots on the color editor and say create masked layer from selection that takes all of that color range and instead of just allowing me to edit it in the color editor it created a mask for me so anything that was in that wedge of the color editor is now masked now bear in mind on this new layer the color editor is not selected there's no color selected the reason is because there's no selection in color now it's now a mask in itself so any changes we make now are not changes within the color editor that changes within all the other tools so if you want to select a color and apply tools to that color that's how you do it choose your color editor or sorry choose your color range in the advanced color editor go to the three dots create mask layer from selection and now you have a new layer with a mask that only includes those colors there we go cool um so let's have a look at our next one i guess which is i'm gonna get this wrong the name is either henry or henry i'm not sure which one but sorry because i'm probably gonna get it wrong um so let's just uh move reuben's comment off the screen um right let's have a look at what's been done here so this actually it's a really um quite nice round trip so this is one of the images um that henry should we go with henry or should we with omri um that this person has uh sent in and he's my before and after there was the before raw here is the after raw and obviously it's a series of different images that are taken as a panorama and they've been put into i'm guessing photoshop from the exif data and stitched together so um we've edited all of the content changed a lot of the stuff in the raw sent it out to a stitching application and then brought it back in as a dng now the advantage of bringing it in as a dng rather than a tiff is that of course we can still do things like edit white balance even though we've actually gone out to another application to do other things um let's michael can we remove the comment of the screen uh yes sorry i didn't how did that appear there i did warn you last week we had some weird comment things going on um okay so we have the ability with the dng as long as it's not been destroyed and just created as a dng from from a tiff to continue to edit in raw so pulling all these things together and stitching is great but sometimes in some of the editors when you pull it back into capture one it's back in as a tiff not a raw file so we can't do very much with it in this case we have of course we have the original raws but we now have the stitched version of those edited images as a form of raw that we can still edit which is great so this is our stitch and obviously when it was taken as far as the stitching software is concerned it believes it was taken on an angle so we're going to correct that i'm going to have to invent or imagine where the horizon line would be it's probably about there clouds are a good giveaway they tend to be quite level not always but tend to be i'm actually gonna pull that down a bit more there maybe that's about right something like that um there we go now if we actually just i'm going to turn on our um our preview here so that i can see the outside proof margin because what's important in this image we talk about in capture one um very very often about the fact that we can't um clone outside of the image and in this case here if i wanted to create more content up here outside of the image i can't do it in capture one there's no way my crop tool only goes to the limit of the image i can't make the image bigger but in this case because the dng that's come back as a stitch has actually got all this extra space we can paint into that extra space in capture one which is quite interesting so first off let's just crop this down so i'm going to get rid of the stuff that we absolutely cannot use so i'm going to just switch so crop tool up here switch to unconstrained because i'm not going to worry about any of these um these defaults at this point let's just get the content right and i'm just going to pull this up here a little bit down there we might play with and i'm going to pull that to there okay so now we have an image that typically in capture one we'd really struggle with now because i can't do anything to those outside areas but in this image i can because the actual canvas size is bigger than the area with all the data and all the pixels on so down here in this corner i can go into my healing brush and when i click on the healing brush and start healing it's going to automatically create me a new healing layer because there's a risk that it's going to choose an origin outside of my crop i'm going to use the option or the alt key to force capture one to tell the origin that's going to be there then i'm going to click here and paint the rest potentially there we go so capture one is going to be healing from this point here and turn off the mask down to here that's not enough why is it doing that well it's because the healing brush is trying to blend with its surroundings and of course its surroundings unfortunately just zoom out include this black area down here so in this case the healing brush is not going to be our best friend what is going to be our best friend is the clone tool instead so we're going to delete this heel there i'm going to switch my healing brush to be the cloning mask brush and just like with the heel i'm gonna make my brush smaller uh we're gonna make sure we're 100 flow and opacity and just like the healing brush we're going to choose an origin in this case i'm going to choose this bush and i'm just going to paint some extra stuff in now that may not be quite perfect at this point but now i can use my healing brush make that a bit smaller and now use the healing brush to blend in those bits that we've just cloned so we can actually by adding randomness effectively and that's the key with some of this stuff the more random it is the less like it's been a copy and paste i guess um that we can get to now again still not perfect and we covered some of this last week if i now go to my cloning mask i'm going to create a new clone layer and instead of using a hundred percent i'm going to use 50 and the reason is because i want to start blending some of this clone in so i'm going to choose this bush here and blend in half of it so not all so it's not a complete copy it's just parts oops sorry of that bush there let's have a bit more reads i guess there yeah looking pretty good now that looks really complicated we've got a clone layer and a heel layer and a clone layer but all we're doing is just adding the right tool at the right time so that heel layer isn't the right tool to start with because it's going to try and use its surroundings to blend everything in and its surroundings in this case are a great big black empty area so it's going to use some of that black to fill in the space what we need to do is clone first fill in the area with content then use the heel brush to effectively blend that into its surroundings so you can guess what we're going to do up in the sky so let's go to our uh in fact we create a brand new heel there um let me just come back into there with our sorry a brand new clone layer so new clone layer here i'm going to call this one bottom left clone top that's going to make sense to me later bottom left heel and bottom left clone base so we use these to remember so just double click on a layer you can make the change um sky top right and with our sky top right the stamp tool or the clone tool again and with our clone tool which you can press s on the keyboard to get the same thing we're going to choose an origin and we're going to paint and it's not going to be perfect don't worry we're going to choose another bit of blue here i'm going to paint there and another bit of blue here and we're going to paint there and to be fair it's not bad off the starting blocks as it were but i am going to just finish it with another healing layer so we're going to create a new heel layer here and call it sky heel top right and choose an origin and then heal that out so we don't have a duplicate of that cloud maybe we need to go more there come on think about it hmm that's not very nice is it let's move this let's uh fix that a second um okay so you should have done a better job than that's a bit strange let's just see where our mask is in fact then if the healing brush isn't going to play ball what we're going to do is with our sky top right as you can probably guess clone tool back again but instead of using that 50 or 100 we're going to use 50 just to blend it in so again opacity down to 50 with that clone tool choose this area here and just blend and we can even blend from there if we want to that's probably too much but blend up to there and we get to a place where it's not discernible from the rest of the cloud so a couple of questions uh where are we um oh serge henry is english omri is french true we'll go with henry um this is henry's image um when you create a mask from a color says michael can you change the color of the affected area from gray when you create a mask from the color can you change the color of the affected area from gray i'm not sure i quite understand mark you might have to explain that one again if i create a mask from a color selection out of the color tool um that mask is literally just a mask it's noted it has no concept of color anymore it's now just a mask that is 100 um or as it fades out with the color editor um on or off it stops being a color layer and it starts being an on or off binary layer um paula how about keystoning to fill corners like that i'm going to tell you now i cheated earlier and tried the keystone it's not going to work um i tried it um in fact let me just um create a new variant of this so we can see um imagine if we went to keystone horizontal here um let's just um so if we try and pull this corner up here the problem is that this one needs to go the other way um because it's a rotate so that doesn't quite work there we end up on this way so then we could rotate that a bit more to correct for that and then we're pretty much back to square one there's just no way where it is literally a lean it's only the straighten tool and the problem is we're missing content from up here so when you're doing panos actually genuinely as a handy tip for it shoot more areas than you think you need shoot much more overlap than you think you need always always shoot more shoot wider shoot higher shoot lower because it's these sort of gaps that cause the problem it's not a massive problem as you can see we can fix it um but it it can be a bit of an issue in this crop here i am tempted actually though on paula's point there just to pull this in um down there just to um balance up that left hand side maybe a little bit more i might even just use our rotate tool just a bit more there as well we've got a bit of a crop issue there in the interest of not repeating everything that we've just done i'm just going to use the crop just to get rid of those bits for now but um that's maybe a bit better there okay so let's have a little look at the rest of it because it's a dng remember so we've done all those healing and cloning let's actually look at the image so i'm going to create a new filled layer so this means that the whole layer is masked so everything i do on this layer is going to apply to it as if it were the background um so let's have a look at whether or not we can pull back some highlights yes we can can we pull back some white yes we can can we lift the shadows a little bit yes we can but we're in that same place we were just now we're losing contrast and that's not good so instead of doing it this way what i'm going to do is use the clarity tool and that clarity tool is going to give us a bit of a mid-tone punch to that contrast itself we could in theory and just turn off our proof margin use the d haze tool here just to reduce some of this um the haze that's out there now what's happening and we talked about this when the da's tool started haze itself is a form of lightening the image of course you know you've got extra stuff in the image which is getting in the way and that haze tends to be a brightening effect rather than darkening as we pull up the dehaze slider we make things clearer great but we also darken them so with dehaze you've got two choices we can shift expo or three choices we can shift exposure that moves the entire lot to the right or to the left the risk with that is all that good work we've just done with highlights and whites has now been undone because we've shifted all the highlights back up to the right we can use brightness which effectively is more of a ramp it squeezes the histogram up towards the right but it doesn't push the um the highlights off the edge so it doesn't make them overexposed or we can use levels and curves that's the final way so with levels and curves of course we can darken by doing this we can lighten by doing this but the cool thing with levels and curves is this midpoint and it's the same on a curve if we wanted to i can shift the bias of the image to be brighter or darker without affecting the highlights and the shadows so in this case i'm going to shift the bias to be brighter a little bit and in my curve luma curve so i'm not affecting color i'm going to lift the shadows just a touch not too much while leaving those highlights exactly where they are if we want to do it specifically on this bottom bit then of course we could draw a gradient mask and do that too but in this case this sort of does the job for me on mass as it were with all that done i can now afford to pull up the brightness of this shot and actually we can afford to pull up slightly the shadows by doing that those shadows will well in a minute we're going to fix that in a second but the shadows start to look a little flattened so one final thing so we're going to call this one um image adjustments because they're global and i'm going to create a new uh let's go empty field layer and i call this one rocks with a very soft brush and a 100 flow i'm going to very very very roughly and horribly draw a wonderful mask over these mountains now because i work backwards in my brain i'm going to use our eraser at a lower opacity to now feather in the bits that i know i don't want to affect so much so this lighter stuff the brighter stuff at the edges i don't want to be lifting that too much okay so there's my rough mask but i only want to affect the rocks in the mountains so now i use luma range luma ranging capture one allows us to exclude areas just like we did with the groins so we can say i want everything that's dark and i want not so much of the stuff that's light and as i do that we can see the effect on the screen let's pull it in even more there we go we're starting to lose the water and i'm pulling it to the point where i just start to lose these mountains out of the range to there the further i make this bottom part of the ramp move away from the top part the softer the fall off is so the more feathered the edges are between the areas that are included at 51 or below in histogram terms through to 102 anything more than 102 is not included at all 101 a little bit included 100 bit more included 99 a bit more included all the way up to 51 where it's 100 included in my mask radius softens the edges of the mask so we don't see that there's a mask on the result and we hit apply with that applied which it should have done i am so pleased that david grover is online right now because this is the second time as our regular viewers will have seen that this particular luma mask issue has occurred and has unfortunately stopped capture one from responding so with david here for fun and games we're gonna force quick capture one um we are there's my little crash report yay for anyone that wants to see it um so we are going to very quickly restart and get back to where we were um on our image now the good news with capture one here is the reality everything we do is saved along the way so i haven't lost anything there we go quick positive out of it but um let's go back into our luma range let's try and quickly pull that back um so where were we i think we're at 51 or 50 or something like that and then a fall off off to 100 and something and the soft radius and apply there we go now we've got a luma range that's applied okay so with our mounting range here we go with those rocks i've now got a layer effectively that is masked not just the bit that i drew and also the feathering that i did but it only includes those darker areas and with the darker areas we can increase in contrast we can lift the shadows a little bit which actually counters the contrast so you've got a bit of a seesaw going on and really push that clarity and then we get into a place that's pretty nice um so we've got our rocks if i turn that off again that really important thing of sort of looking before and after to what's happened image adjustments we could warm it up just a touch we could push our tint up a little bit again this is down to what you saw at the time um i wasn't there um but there we go so that's how i would probably finish it and again if i go from before and after here is our import with our big black corners um with missing content through to our finished image there that to me it's and again it's a big difference but it's all made up of small changes if this feels too cartoony or feels too um i guess lacking in contrast remember we can go into all of these layers and we can back off their opacity so we can reduce the impact of all of those layers i wouldn't do it on the clone and heal ones but on the global stuff we can actually change the impact of each of them just with that okay um so couple of questions other than um david getting his haircut from paul in warwick um so where are we uh by using sessions or catalogs i use catalogues personally doesn't mean that's right in many ways the way that i work is probably more suited to sessions but um part of it is just familiarity but part of it is because the way that i work i'll have a catalog per trip um and the the functions inside the catalog help me do stuff um in a much more fluid way than a session would sessions can be quite rigid um in the way that they work um where are we bill um couldn't you use a lower flow and brush in the repair until it looks correct rather than using 50 opacity you can um the the issue with flow versus opacity is is funnily enough i was talking to david about this the other day that there's a reason why typically portrait photographers will use flow um and landscape photographers will often use opacity and the reason is because i'm typically making quite big sweeping global adjustments and opacity allows me to get to a certain point and stop no more flow is a lot more fluid so if i'm making changes to someone's cheek or something like that and i want to dodge and burn um i want that that fluidity of continuing to go and adding more and more or taking away more as i do it with a landscape that can end up if you imagine a sky with a blotchy scenario so i end up with a a bit heavier clone here a bit lighter clone here and so on so i tend to prefer to have a blanket change which means 100 flow lower opacity and then every time i click i get another dose of that opacity rather than it being an unknown quantity as it were um so uh david's answered paul's issue on uh color working which is cool um paul is saying if i wanted to fill in the big black areas i've done in the pixel editor absolutely so if you want to go any further than sort of these little tweaks and you can see where the edges of where we've we've done that cloning if i needed to fill in all of this up here capture one's not the right tool for that that's where pixel enters come in because they can do things like content aware fill and stretch and distort and warp that's not what a raw editor is there for predominantly um so yeah absolutely i would shift or shift into a pixel editor and if i wanted more of this down here that's where i'd be you know i'd be tempted actually in this version i'd want more of this foreground so here this is probably a bit too much to try and achieve with capture one i'd be in a pixel editor for that um for sure uh where are we um andrew is late that's okay andrew sorry you didn't you missed the crash that's exciting um so where are we uh ruben so yeah so crash tire capture one came out at the same point absolutely and yes capture one has memory it doesn't have memory in that sense what it does is as you make changes to any raw file it's writing into the catalog or the xmp or whatever those changes as you go so when it loads up it's just loading up the file so it's written into the file every step that you're making so if capture one does for whatever reason crash you're in a good place because you can absolutely get back to where you started okay uh let's have a look at uh where are we jason's image so we've got an image of some mist from montana i believe so quick checks uh we don't have necessarily the right lens loaded in let's just turn off our proof margin this is an ef 100 to 400 what capture one is saying is we don't know which one you did that with it may have been that it was on an extender i'm going to guess that it was and that's possibly why it doesn't know uh oh no it's a 400 millimeter so let's go for it let's um let's load in the right one maybe capture one just wasn't sure it's the is version one uh yep okay uh we are not going to use diffraction correction right so we've done our lens profiling i'm gonna just do a manual chromatic aberration check this one's really simple if i pull up too much in here so let's do it let's just pull up shadows pull down highlights uh pull down whites pull up blacks and start to use things like clarity and structure we're going to see all this noise and with subtle images like this you've got to be careful that you don't end up bringing up noise and patterns into the shot it can go really wrong really quickly um so for me this is all about contrast this shot and that's all i'm going to be playing with apart from maybe a white balance shift so let's uh reset all of those tools and the first thing i'm going to do is go to my curve in a loomer curve again and i'm just going to increase our top area and decrease our bottom area just to get a bit more of a contrast pop so you can see the difference here if i just do a quick undo and redo i'm looking at this and thinking i want more contrast and that's what i'm adding in with that subtle and it's a small s curve got to be careful that we don't increase the brights too much but it's enough just to give us a bit more of a contrast boost from there a tiny touch of clarity do not push clarity too far if you do you see what happens up here you're going to get these um well big halos in this case but you're going to get some great stuff down here and it's going to hurt up here so what we need to do is yes absolutely we want to use a bit of clarity because it's going to start to pull out these strands but then i'm going to use my eraser sorry what am i doing stupid got distracted right new filled layer on that filled layer we're going to use our clarity and that's affecting the whole image now with that filled layer for clarity we're now going to use the eraser and i'm going to set that opacity down again quite low and i'm going to undo the clarity tool up here if i look at the mask and what it's doing to it i'm just losing it from this whole area up here and the advantage of doing this is i can keep all of that detail down here with what that clarity tool is doing without introducing those noises those those patterns and weird um artifacts that come up as a result of pushing clarity too far in quite a bland area if you use clarity on an area that's void of detail it's a bit of a problem um because you're going to bring up stuff that you don't want to see it's designed to be off into the distance of misty we could use a tiny bit of dehaze again with this layer handily i've only now got this foreground in so i could use the d haze tool just a bit and what i'm looking for is not to get rid of the haze what i'm looking for is can we increase the clarity and the the structure of some of these bits without having to rely on all that clarity and all that structure because with structure and clarity up comes noise as well so a little bit of that and then where i'm also at is let's play a little bit with our color tone here so color balance and i'm going to with our background layer so everything in the image there's no point in just doing it on one part i'm going to pull up our highlights in to be warmer maybe up to there our mid tone is a little warm too and our shadows i'm gonna pull down into a nice sort of bluey area like that now this is where we go from what was there and what's an interpretation of it i wasn't there i don't know how this looked or how this felt but to me that feels like a nice um way of of treating this image so we get all the detail in without increasing noise without bringing up any weird shapes and patterns and artifacts and all that sort of stuff up here um but we're getting all of this stuff nice and clear and crisp and getting that real strong sort of light beam coming across this um coming across that shot again personal interpretation but um hopefully that sort of does a decent job on there right uh and then have we got time we have finally on stefan's shot of a jetty so lots when you send in an eip it's really useful because i can see um what you've done and the different ways that you've tried to edit it and see this one here um the issue that i have is so what stefan's actually done it's a it's a nice edit in terms of getting the mood um but this pull down of clarity down to minus a hundred let me just undo it so you can see it does a really nice job out here of softening that out but it's not working here on this jetty um and the reason is that when you pull clarity down to 100 or minus 100 in the same way that pushing it out to plus 100 you'll end up with a load of halos on the inside of the contrast when you pull clarity to minus 100 you end up with these sort of spillovers of the softness to the outside of where the contrast edge is um so if i pull that back down to effectively zero we've got all this crisp clear and as tom says doc rather than jetty um we've got all the chris clear detail and everything um without any of that risk but i get absolutely where um where jason's coming from oh sorry where stefan's coming from which is having that negative clarity on the horizons really nice out here in the sky so i'm going to leave this down here at actually we're going to reset that to zero and i'm going to reset our structure actually i'm going to create a new layer an empty layer and i'm going to use the gradient tool to apply a mask that affects the sky predominantly and with the sky we're going to pull down that clarity not 100 and we're going to pull up that structure to get some of these strands but i'm not affecting that dock and that's that's really important in these images it's a great way of having that nice wispy feeling out in the distance but to me and to my eye it doesn't make sense that the dock sorry the dock isn't sharp that's the subject of your picture and if we go the other way it's just a bit it's just a bit too much um it just feels a bit too i don't know um painted i guess um if that's the look that you're going for then great but to me it's not quite there on the background overall well we've got a little bit of room um to play with the levels so already stefan's pulled in some of the levels to brighten up the um the highlights what i'd be tempted to do is to use a little bit of a bump in the curve just to lighten those mid-tones push them across we could of course use a bit of dehaze if we wanted to make things a bit clearer down here now again dehaze versus clarity we've got a layer here that's removing clarity so reducing contrast the dehaze tool increases contrast so just be careful with that seesaw that you don't try and chase it you know you add some dehaze and then reduce some clarity um you're battling against one another but what we can do with the dehaze tool is use it for the background without affecting the foreground this foreground is fine as it is but the background we can use just a touch of it just to bring out those strands personally i would be in a different place for this i would actually be tempted um let me just create a new layer i would actually be tempted to be adding in clarity in those clouds um so with my clarity tool up here i personally would be in sort of this sort of place just adding in a little bit more texture up in these upper clouds um so i get the the desire to try and make everything smooth and wispy but if there's a storm cloud there i kind of want to use it um so that's where i'd get to in my head again if i do before and after we go from there to there this recovery up here the recovery is great in that we've got back those highlights so all of this detail up here but it has introduced a little bit of color which seems potentially a little bit off so i'm going to use that same layer that i had which is our sky layer up here to pick on the yellows up here in the sky using my advanced color editor and with those yellows i'm just going to pull that saturation down a bit there now again if you do that up here we need to match it down here keep an eye on reflections always so let's just draw a quick mask down here on a separate layer and again with that color editor pick on here and we're just going to pull that saturation down a bit too much to about there and we just end up with a slightly more muted image the risk of pulling back highlights in this sort of shot you end up introducing colors that weren't necessarily quite so visible in the first shot there um but they come back when we pull back the um we pull back all those highlights just like this one we end up with all that so that's where i would get to um i'm tempted to personally push it even more with clarity up in these clouds but what i wouldn't do for sure um is have this complete wash out this complete negative clarity because the other issue you're gonna get and you can see it from a distance not so much when you're close up but if you look here you see there's a ghost of the uh the poles just the left and right of them that comes from using too much negative clarity on a very high contrast point so that's uh it for today uh people so um let's just check we've covered most people's stuff um oh saying love stefan's image yeah and as a um as a print on a wall that's gonna look really nice um when it gets done um really happy with that um so where are we uh oh now here we call that navigation hazard no it's a dock or a jetty you can only have you only have two okay um so we will catch up again uh later on but stefan's image really nice jason's um shot really really quick way of separating out some mist um and getting some detail in here henry's shot a good example of a round trip so take loads of individual images edit them in capture one send them out to be stitched together bring them back in as a dng and we can still make changes and in fact increase some of the canvas area and barry's original image just keep an eye on those layers and just keep an eye on the before and after so that we don't push too much and if you do look like you're pushing too much just remember you can always pull back the opacity on all there remember between now and next week we will still be around on that facebook group um you're all welcome to join in um so go to yeah groups poorly for life um you'll see in there there's lots of discussion about stuff that's on here stuff that's not yet been on here and stuff that um people don't agree with which is cool um and also don't forget that we've got all of those youtube pro tips um so the sort of 20 minute um free videos that will cover individual tools and a lot more depth than what we can do on these sessions keep sending in your images so paulie for live.wetransfer.com you will get access to a page that asks you to put in the raw file or the eip which is the raw file with your adjustments and your name please so we know how to address you um and how to refer to your image and then all it remains to say is between now and what will be next week next at at the same time um we will see you then but take care and good luck for the week ahead cheers bye you

Channel: Paul Reiffer

Views: 5,674

Keywords: Capture One, Capture, One, Post Processing, Editing, Phase One, Capture One Pro, Live, Examples, Training, Learn, Lessons, RAW, Photo Editing, How To, Guide, License, Variants, Clarity, Tools, Graduated, Masks, Natural, Histogram, Processing, Gradient, Support, Q&A, Edit, Adjustments, Contrast, Color, Software, Exposure, 21, Landscape, Curve, Mask, Luma Range, Style Brushes, Custom, Style, Brush, Linked, Update, Upgrade, Layers, 21.1, 14.1, Luma, Range, Healing, Clone, Heal, Mountains, Storm, Clouds, Tint, Cast, Colour, Filters, Grading

Id: nRD6Cgw0-68

Length: 63min 30sec (3810 seconds)

Published: Thu Apr 08 2021