Online Masterclass | Astro Photography with Capture One

hi everyone welcome to a new capture one webinar in collaboration with wex thank you all for signing up and thanks to x for hosting us once again my name is maria i'm a trainer at capture one some of you might already know me from previous webinar sessions and today what we'll be talking about is astrophotography to be honest it's not my field specialty but when wax proposed me to do this session because they told me that you're really into this uh i thought it would be a nice challenge for myself so i went on and asked a couple of friends if they would like to collaborate with this webinar and they kindly borrowed me a couple of photos that we'll be working with today the authors of these photos are andre vicente and martin falwa whose instagram profiles you can find below on the description i do recommend you to check them out because they are really really amazing so before we get started with the webinar let me remind you that there is a 30 days free trial of capture one that you can download at captureone.com in case you want to try out the features that we'll be talking about today and if you don't own your capture one license yet you can just try it out so let's move on to explaining how we're going to be working in this webinar today so we have around 45 minutes for the webinar and i will leave 15 minutes in the end as always for questions and answers this webinar is a pre-recorded session but i'm right there with you on the chat as we go and i can answer also your questions on the go and i do recommend you to enjoy the chat to use the chat because it's always more dynamic this way if you we can interact meanwhile so this is a couple of things that we'll be talking about today we're going to talk about how to create perfect masks in capture one to work in different layers with the sky and the foreground we're going to talk about some really useful tools that are going to help us to get our perfect astrophotography right in the raw editing part we're going to talk about clarity contrast how to deal with light pollution and how to adjust the color balance perfectly to fit the mood that we want to apply to our pictures so let's begin i'm going to move right on to my capture one interface and i'm going to hide my camera for a while i will see you back in the end so i wanted to start today with this fantastic moon photography from my friend andrew vicente because it's a great example for me to explain what is the actual purpose of some tools that are going to be very helpful for us to make the best out of our astrophotos we have a bunch of tools that we are normally using but we might not know the nuances of what they really do what are the slight differences between them for example exposure or brightness controls or clarity and i think it's important to understand the actual differences between those in order to apply them in the right ways and to make the most out of them so let me start by doing a little crop here on this photo so we can see the moon better the crop tool is right here we can use it in original aspect ratio for example in this case i'm just going to apply some cropping to center or subject here the moon and we apply it by hitting enter keep in mind also that the amount of cropping that you can apply will be dependent on the resolution of your camera if you don't have a camera with a great resolution you don't want to be doing a very aggressive croppings because that is going to decrease the amount of detail and the sharpness of your image in this case i think that we are fine like this maybe just a little bit more i'm going to get rid of some more air over there i think that's going to be slightly better okay so we have our photo right here and let's start by explaining the difference between exposure and brightness i'm going to increase now the exposure you can take a look at the histogram while i do it and add the photo too and you can see that what is happening is that the whole histogram is moving onwards to the right if i go on and decrease it the whole histogram will also move to the left meanwhile if i do the same with brightness if you take a look at the histogram and the photo as well you can see that we are increasing the exposure of the middle tones but we are not really playing around with the blacks and the whites so much and you can see here that despite that we have much more brightness the blacks the blacks and the whites are quite in place same if i decrease it so the difference between these two tools is very important because when we have a very contrasted image like this one we probably don't want to be moving around the exposure we probably want to start working with the brightness we have to keep in mind where are the elements that we want to work with sitting on in the histogram also something similar is happening between contrast and clarity if i increase the contrast you can see that what we are actually doing is pulling the histogram from both sides so the whites will be wider and the blacks will be blacker meanwhile if i do the same from the clarity slider just like this you can see that what we are doing is that the blocks are staying in place the whites are staying in place and we are just increasing the contrast in the mid-tones range so that is making a really nice feel that is giving a really nice feel to our images that is just making everything pop out it's going to give us much more detail without affecting the blacks or the whites so much and this tool is one of the most important when it comes to astrophotography and we're going to be talking about it later on we're going to apply it also in layers actually our whole workflow today practically it's going to be in layers because i think it's the best way to approach this kind of photography and lastly here on the clarity tool we have a second slider called structure not to be confused with clarity because structure what it's doing is just increasing the microcontrast so if i go on and increase the structure we're going to see some kind of feel of focus but we are actually just working with the micro details a problem that is going to happen if we use the structure slider too much is that we're going to be bringing on also a lot of noise as you can see here so we don't want to go too far with that let's keep it around here somewhere where we can see the details popping up but not so much noise but fortunately we're working with capture one and noise management is one of its key points it's one of its strengths the way that we can work with noise in a really clean and precise way thanks to layers we're going to be talking about that too in a minute and lastly from the set of tools that we're going to be using today we're going to be using both curves and levels today these two tools are are allowing us to do really a lot in our image so for example thanks to the curves we can apply contrast we can decrease contrast we can't just overexpose or other exposure images from the mid tones from the shadows from the highlights we can do pretty much everything from curves but if you are not so experienced and you still want to work with in this way with a more advanced tool than not just the brightness or the exposure of the contrast we can also do it from the levels if you are not very experienced in raw editing then i recommend you to start by the levels because it's something that you will understand much easier so in here we have a point that allows us to control the black level one for the mid-tones and one for the whites so just by moving it these points we can just play around with our contrast so for example like this we can get much more detail in our photo in a much simpler way than using curves we can just do it from the levels and have a really nice looking image just right away and just by increasing a bit of clarity and recovering some highlights we can see already a much cleaner image that we used to have we can see always the before and after from the bottom here on the toolbar or also by using the keyboard shortcut letter y so this is where we are now this is where we were before and we can see that it has actually improved so much just by using some of the most simple tools all over in the exposure tools app we can also see by looking at the b4 that we have destroyed with our contrast some kind of glow that was over here and it was kind of nice that made the feeling that the moon is bright and that it's throwing out it's throwing out reflecting the the sunlight so we're going to try to get back this kind of nice glow that we used to have around the moon but we're going to do that without sacrificing any of the nice contrast that we other here so what we're going to do is we're going to add a new layer this time is going to be just a normal empty adjustment layer we're going to create it just like that let's try to always give names to our layers because it's nice so we can remember what is happening in each one of them and this is going to be very simple i'm just going to okay i'm just going to right click it and click on invert mask so i will have actually a mask that will allow me to see what i'm going to be doing and you're going to see in a moment i'm just going to increase my exposure and my brightness and i'm not going to leave it just like that i'm just paying attention to this hollow that's appearing here that is what i want to bring out so once that i have set this the kind of adjustments that are going to help me to get my hello back i'm just going to go here on my layer again right click it and re-invert it so right now there is no mask nothing coming up but my adjustments are still here so i can just grab my brush my regular adjustment brush and just i'm going to right click on the screen to bring up my brush settings i'm going to be working with a very big size very low harness something like around there and also pay attention to my opacity and flow opacity and flow are going to be on very low levels because what i want to be doing right now is just to gradually paint this mask in just to gradually paint this glow in i don't want to do it in a very aggressive way just enough for me to bring back a bit of this glow that the moon naturally had on this image so you can see that something's starting to appear i'm just going to make it a tiny bit more aggressive so you can see better from home what i'm actually doing you can see that i'm just increasing the exposure and the brightness around the moon if i go ahead and press m you can see that i'm creating a very very smooth mask that is going to be placed exactly where the hollow should be from the moon and maybe i went just too far here you can see here that i lost a bit of detail so i can do the same just with my rubber tool with my eraser tool just going to gradually delete this mask from this side part of the image and this is how our mask is actually staying i can just increase a bit more opacity and flow to get rid of this part and i think that we are quite fine around here as i said this is just an example of how we can use some of the capabilities of capture one to improve our images we have a much more contrasted image we have still this nice glow around our moon and we know now the differences between some of the key tools that are going to help us to bring out the best details in our astrophotos so knowing this it's time to move on to my next image i'm just going to change my tool over here on the toolbar you can also use the shortcut v for the cursor tool and i'm going to move on to the image that we have for today this is a really really nice milky way picture taken by the photographer martin falba which is specialized in astrophotography and you have his instagram profile down on the description i do recommend you to check him out this is the edited version this is the photograph that we will be using for the rest of our session today there is much to do here this is my proposal for an editing and i'm just going to reset this picture back to the start so we can see the whole process and this is where we were coming from so over here in the layers tool we have the background of the image that is provided by capture one where we should start to do our basic adjustments personally i don't use this background because it doesn't have an opacity control so from now on i work with a layer workflow there are however two things that i like to do from my actual background that are going to provide the basis from or further adjustments one of them is white balance right over here and i like to set my base of color right from the actual background so here we can see that we have a blue tone but really tinted by a magenta dominant so i will try just reduce this magenta dominant right here because when i think about the night sky i don't see it i don't picture it in my mind with this dominant i prefer a much cleaner blue color a deep blue color that is what brings me back to the night sky and maybe i'm just going to cool it down just a tiny bit more something like that and that's going to provide the basis that we will be using for the rest of the edit we can see that by reducing the much entertain we can we can see that some green dominant is showing up here caused by light pollution but we will be dealing with that later on so no worries about it there is a second thing that we need to do from the background that is over here actually it's the noise reduction tools the noise reduction in capture one can be very easily applied in different layers and that will what we will be doing today but the color noise reduction needs to be applied from the background only the luminance the so to say normal noise reduction can be applied in layers and that's what we're going to be doing because if i zoom here in the image using my hand tool shortcut h if i apply a noise reduction here we can see that it's taking a lot of detail from our stars it's kind of blurring them and some of them are even destroyed by the noise reduction they are detected as noise so what we're going to do actually is to decrease the by default settings of noise reduction in capture one we're going to see more noise here on the sky but it's nothing so important because i think it goes nicely here and here in our foreground it's going to be a bit more tricky but when we do mask the foreground from the sky we're going to apply the noise reduction independently so it won't affect all stars we can see however here that we are lacking a lot of detail that we're going to want back so for example if i do some shadow recovery we can see that a lot of noise is coming up and it's the color noise and this one we need to do from the background because it's not compatible with the layers so we're going to want to decrease a bit of the color noise from here something like there you can see that it did change a lot from here to here we can see more luminance noise because we decreased the by default reduction of capture one but the color noise has really really improved so let's keep it like that for the moment i'm just going to reset my high dynamic range tool because i will apply it also from a layer and right now from this base we are ready to start masking or sky from the foreground and that is something that we will need to do if we want to be very precise in our adjustments i'm going to start with a layer for the sky so i'm going to create a mask for my sky that is going to be a perfect mask it's the only perfect mask that i will create today and then on i can use it just by copying the mask to another layers so first of all i need to create a new filled adjustment layer it's important that it's a filled one because we're going to work with the luma range tool and we need to start from a field layer i'm just going to call it sky bass that is not going to be the final looks of our sky but it's just the base of that if we press m and because we're starting from a field layer we can see that the mask is covering all the image which is what we want to do right on we can move to the lumerange tool which is right here and here we can see a range of luminosity that is going to help us to define what part of the image will be affected by our mask you can see that the black parts of the image are already cut out and also the whites the whites i'm going to want to keep but what i'm going to do is i'm going to define the luma range from our sky and don't worry if it's not very precise over here because what we want to do is to mask out the foreground which is the complicated part with all these tricky grasses and trees so we don't need to worry so much about this because we can paint it very easily later on but we need to worry about this part of the mask so let's try to make it as precise as possible on this lower part we can make a softer fall off to make sure that we are covering all the tricky bits here and to increase the radius so we have a smoother transition between the masked and non-masked parts i think that that's going to be really fine so i'm just going to apply this mask oops i didn't want to do that yeah so something around 80 and now we can apply the mask okay now our tricky bits are masked and we just need to fill over here in order to do that i will need to rasterize this mask so i'm going to right click on my layer and click on rasterize mask and what rasterize means is that it's no longer a luma range mask anymore you can see that this little sun icon that was here disappeared it means that it's right now just a regular mask and that means that i can choose paint it in with my regular brush just going to increase my size and my opacity and flow and i'm just going to paint in right here the rest of my sky so we have right now a perfect mask in a very very fast and precise way okay that is really fine and if we want to make sure that it's 100 okay we can just right click on this layer again and choose the tool refine mask that is a really really effective thing to do especially because of these little leaves over here so we can just select the amount of refining that we want to do and capture one will automatically adjust the mask to the part of the image that we want to mask it will detect the volumes and the colors and restrict the mask to the part of the image where we want to apply it so i can just click on apply and right now i have my perfect mask and i can do practically any adjustments on it if we want to make sure that we didn't miss out anything we can also view the mask in a grayscale so just by pressing alt m we can see that we missed some parts over here so just going to use my eraser tool or shortcut e and i'm just going to delete this part of the mask that shouldn't be there it doesn't need to be perfect but we can do it more accurately if we needed to something like there and something like there and this bit here and we are ready to go okay by pressing again alt m we stop seeing or grayscale mask and we're ready now to apply the adjustments and i'm just going to start by taking a look here here at our exposure tools the first thing that we want to do is to pull our highlights and our whites up to the 100 because this is where some of our stars will be sitting in the highlights and white some others will be sitting in the mid tones actually so this is why we also want to increase the clarity if you remember what we talked about before by increasing the contrast in the midtones we're going to tell the stars apart from our blue sky and that's going to make them really pop out so something like there and we already doing a very nice job there is another things that we can do to increase the contrast and make our stars pop out from our sky i'm going to also increase a bit of contrast i'm going to do it by using curves and concretely i'm going to use the luma curve because we have as we talked about before here some kind of weird dominance and if i increase contrast from rgb curve we might risk getting some of these colors back on so i will use my luma curve which won't be affecting so much saturation so i'm going to do a kind of aggressive curve something like there we don't want to make this part out here too black because that would look a bit strange i think this is a very nice base yeah that's a very nice base we can see that we also created some halos here we can maybe um decrease clarity a bit because clarity will also create this kind of halos sometimes or we can try out the different clarity methods in my experience i found out we can try on the different methods but in my experience i found out that the one who is best dealing with this kind of hollows is the classic method this is not very used for many purposes but for this kind of images where halos are a problem we can use the classic method and it normally works very very well we can maybe also decrease a bit of the shadows and maybe even the blacks just a tad and we have a much better base to work with here let's see the before and after of the layer this is before this is the after and you can see that only in one layer we completely transform this image it also created some kind of vignetting which it's not so bad but i think it's a bit too aggressive so what we're going to do is as we have our mask here we can just paint out a bit of these parts that are getting a bit too dark so i'm just going to use my eraser tool i'm going to use it on a very big size low hardness and a lower opacity and flow i'm just going to de-visualize the mask and paint out some of these parts up here in the corners that are maybe a bit too black a bit too aggressive for adjustments so something like that and as i'm using the brush on a very low opacity and flow i can perfectly control what is happening over here if you are on a graphic tablet you can also use the pen pressure settings i personally like using them for this purposes but if you're working with a mouse it's no problem at all you can just use the opacity and flow i have been doing that for ages and it works just fine okay i think that is nicer let's see now yeah i think that's better and it's a good base for what's coming and right now i would like to move on to work with my foreground in order to do that i will need to create a new layer but i don't need to create a new mask because my mask it's already here and it's already perfect so i don't need to worry about that i will just go on to create a new layer this time is going to be an empty layer because i'm going to copy the mask from our previous layer the sky base i'm just going to name it foreground and right on i can move to right click on this layer copy mask from sky base so you can see there and just right click again and invert mask and that's going to just apply it in the contour way we also have here the little things that we brush out but we can just go back with our eraser opacity and flow 100 and just delete it right there normally we wouldn't need to do this but i just want to paint out these bits of the corners before moving on but if i wouldn't have done that i would even i wouldn't even have to do this right now so in order to see that it's perfect we can just press again alt m to make sure that it's only affecting what we want to affect some parts here are a bit left out and i think that's perfect now so coming back to my image i have now the perfect mask on my foreground the first thing that we will want to do is to bring up a bit of the brightness and the shadows over here we shouldn't really overdo it because our brains will somehow know if we do something like this that something's not right because it's actually not possible to have this amount of light in this kind of landscape so i recommend you to be subtle here let's start by just increasing a bit of our shadows and maybe a bit of for brightness here and remember that we won't be bringing up the dark areas over here which are the ones that will bring up the most noise we'll just bring out the mid-tones and so we keep on creating this kind of nice vignette that is fitting perfectly also with the parts up here on the sky we have a kind of break here but it's something that we will work in later on we could also help ourselves by using the luma curve just a bit more over here just to increase exposure just a tiny bit more or maybe here on the levels just to bring up the whites are going to create a nice effect of brightness without bringing up all of the noise and the next thing that we have to deal with is precisely noise so let's zoom in here with our hand tool and you can see that we really brought on a lot of noise so let's move on here to our noise reduction tool and let's just increase the noise reduction with this slider and you can see that it's looking so much better right now let's just see the before and after of the noise reduction and we have also a lot of detail if we want to bring back a bit of the detail here we can keep a nice balance between the details and the luminance slider something like that to make the moves out of this tool let's see the before and after this is the before and this is the after a lot of nice detail without a lot of noise this is one of the things i really love about capture one that i can apply noise reductions selectively to not ruin all the detail in all of the image that i can just do it in a very specific ways where i want to work with and keep the nice details here on the stars once that we have brought back the nice detail in the foreground there is also something else that we need to take care of which is this yellow dominant over here it doesn't make much sense that our foreground is flooded with yellow when we have all of this nice dark blue sky so we need to play around with the white balance and probably the color balance tool too to make it go right in place so let's reduce the yellow information just by increasing the magenta tint and by playing around with our kelvin slider too when you see that i'm doing this i'm just clicking right here and working with my arrows because it's the more precise it's the most precise way to do this and i really enjoy doing it this way so i think that we are fine over there we already have probably some yellow that is centralized here on the highlights so i think that in order to remove this dominant the best thing that we can do is to do it from the color balance too the color balance tool is right here on our color tools over here and it's really nice because it allows us to create our own dominance localized in either shadows mid-tones or highlights so over here i can just come to my highlights and choose the opposite color from the yellow which is going to be probably this tone of blue and just by increasing this dominant a bit i can see that i'm getting rid of this yellow dominant so let's see the before and after of the tool this is the before this is the after it has really got better and maybe on the shadows i can just give a deeper blue tone just like the one we have on the sky just to make it match we don't want to go too far because we really have a lot of shadows here we go too far we will create weird effects like this one but just a bit like this i think it will come on just nicely so this is our foreground now this was our foreground before and we are really onto something here i think that it's just a bit too much of light but one of the advantages of having this in a separate layer is that i can just work with my opacity slider and just decrease the opacity of all the tools that i used right on this layer so i think that this makes more sense to our eyes because it's more in harmony with the amount of light that we have in the sky it doesn't really make much sense that we have too much light over here so around 70 that's probably going to look more natural but there's still a lot of room for improvement here so next thing i'm going to do is just as i apply the noise reduction selectively i can just do the same thing with clarity and avoid these annoying hollows that are showing up and i'm going to do this with the same method that i m that i applied the hello to the moon before just going to start by creating okay let's start with a fill layer just like that i'm just going to call it clarity and right now here i'm going to my exposure tool tab and i'm going to really increase clarity a lot in a very very aggressive way maybe i'm even going to choose the punch method which is a bit even more aggressive maybe not so much i'm not looking right now here at the foreground i'm just looking at the sky and what i want to happen with the sky so probably around there just looking here at the milky way that i'm going to make pop up somehow so right now i selected the kind of clarity that i want and next thing i'm going to do is come over to my layer right click and invert mask that is going to leave actually no mask so that gives me room for painting in my own mask i'm just going to choose my brush with a very big size low hardness and low opacity and flow and so i can just brush in my clarity step by step slightly and i can't just apply it wherever i want to and so like this applying it only in my milky way i'm going to make it really really sad out from the rest of the sky let's see the before and after you can see that it's starting to show up but i'm going to do it even a bit more aggressive so there you go you can just see how i am applying it over here without creating hollows or affecting the rest of the image i can doing maybe also a bit more here you can see that it's bringing out some more stars and i really really love to apply karate in this way because you can just get the best out of it without any of the cons of it okay that's looking better let's see before and after and there we are maybe we can also apply a bit of saturation to this milky way something like that i think that's looking much nicer maybe just a bit more over here i'm afraid i might create some hollows as i get closer to the foreground but i think that we're going to be just fine maybe over here okay yeah i'm satisfied with that so i can just go ahead and create one of the other problems that have come up as we went on with the editing which is this hallows over here which is partially created by the clarity and the contrast that i applied and partially created by the light pollution that is naturally on this image so i'm going to work in a similar way but with a different set of tools i'm just going to create a new fill adjustment layer i'm going to call it uniformity and i'm going to paint my settings in gradually so the settings that i want to apply here to correct these halos is probably uh negative brightness i'm going to probably want to decrease the highlights let's see how that works on as always i'm not looking at the rest of the image i'm just looking here okay my mask is over the whole image but i'm just looking here so reducing highlights reducing brightness probably i can come over here to the levels and decrease mid tones just a bit and you can see that i'm just looking here i'm not looking at anything happening here and what i'm going to do now is invert this mask again and with the same technique with my brush i'm going to just right now i will need to use a very very low opacity and flow to not create weird effects but i'm going to be able to uniform manually kind of this part of the image just make make it look more similar to the rest of the actual sky so this tricky part here we need to be a bit more careful but we're going to be fine we could also have started from the same muscle that we used for the rest of the sky if we want to not affect at all the foreground i think that it's just fine like this probably just a bit more aggressive with these adjustments that's probably too much yeah it's important here to keep also balance between opacity and flow to make sure that we are not creating other problems while we are solving the old ones yeah that's for example also a bit too much and i'm creating some kind of spots separately we can also use a bigger brush over there on a smaller one over here and you can see that it's really improving the whole feel of this image just by creating a more uniform sky probably want to insist here on the sides of the image to kind of continue this vignette that was created naturally as we went on with applying the adjustments same thing on the other side of the image and we need to apply a harder effect here because the hollow is very very visible yeah so that's a good base i think we can always come back to that later on if we think that it's necessary just a little size here of the dolmen i can just make them a bit darker yeah i think that's looking much better let's see the before and after this is the before this is the after we maybe need to apply a bit more of the adjustments over this area okay i think that's better let's see now yeah that's probably fine if we want to we can also for example right click on the layer and choose the option feather mask to have a more feather effect probably 100 is going to be too much but by decreasing it to around for example let's see 35 i think that's going to be better and it's going to help us to get rid of any spots that we might have created accidentally so on the exposure side we're looking better we're looking more uniform but we still have a problem with the color dominant created by light pollution so just as i did before with the foreground i'm going to get rid of this dominant using the color balance tool and the dominant right now is sitting probably in the mid tones so we just want to take on this weird greenish yellowish tone i'm just we're just going to go all the way across the color wheel onto the blues and seans and i'm going to just increase the saturation for the blues here that's too much but if we keep it around there you can see that it's really now matching the color of the rest of the sky probably we just need to make it a bit deeper blue somewhere around there and that's looking now much better let's see the before and after now and you can see that right now we have a very very uniform sky we can also come back to it and brush in the small details that we might have left out but as we're working in layers that is absolutely not a problem and we can do that anytime and come back to it at any time yeah so this is i think much better and what i want to do right now is to create a new layer with the same technique just reducing a bit of the extra brightness because we have some stubborn areas here that are most affected by this pollution so once again i'm just creating this time i'm just going to go ahead and create an empty layer to save myself one step and i'm just going to call it pollution i will just come over here again to my exposure tools reduce brightness a bit we can't see anything coming in the image because there is no mask i'm just going to paint in this negative brightness myself just here on the more stubborn parts that are most affected by this weird background lights that we don't want here in our image so for example here we want to apply a good bit of it yeah just i'm going to be a bit more aggressive now yeah and something a bit more here and here and that's going to help us get rid of these weird effects that were unwanted in our image okay we are getting closer to it what i'm going to do next is i'm going to apply an extra layer for extra clarity which is going to make the milky way stand out even a bit more and we shouldn't worry now about the hollows or the lower part of the sky just going to create a new empty layer i'm going to call it extra clarity and i will just copy the previous masks that i had before from the sky so right click on the layer copy mask from sky base and if i click m you can see that it's right here i'm just going to apply this time some natural clarity you can see that some hollows are coming back but i'm going to get rid of those in a moment so something like that we might even want to reduce the luminance noise just a bit here because we decreased it completely and we might want to just yeah i think it's not even necessary so i'm just going to leave it there at zero because i'm afraid that it will ruin my stars so yeah some extra clarity around 30 of natural clarity and what i'm going to do now it's the opposite of what i was doing before i'm just going to use my eraser to get rid of the parts of the sky that i don't want to apply priority to so just like this i can paint these out and you can see that when you're working with this in capture one it's very very entertaining it's very fun it's just like drawing or painting really but with all the advantages of course of a digital flow but we can just choose where we want to bring back the detail where we want to reduce the noise where we want to apply a certain color effect so i just love to work in this way it feels very very natural and it gives very nice effects in my opinion so that just gave us an extra pop from this nice milky way we might even want to apply some extra color to it because it's right now looking maybe a bit too dark blue without many nuances so i can just go ahead and choose a mid-tone dominant for example let's check onto a more of a purple one maybe that's gonna work maybe it will not work i don't know i think it does work i think it works nicely let's see before and after yeah i like it i'm just going to leave it this way and just to give the final looks to the image i'm just going to create a new layer this time it's going to be a fill layer and it's going to be for the global color adjustment i like to finish all my editing with this layer with the color balance layer because it just helps to bind everything together somehow and to give a really nice touch to the end and i think this is the personal looks that we want to achieve so over on the shadows it's going to be probably this and this part i'm just going to insist here on my blue dark blue settings so something like there without going too far the mid-tones i already applied to the sky i think that on the foreground we are good and on the highlights i will just add just a tiny bit of yellow to create some nice effect some nice contrast between the dark blue and the yellow i'm not going to far as you can see but just enough i have something there maybe even a bit more of a greenish yellow not so orange something like there i think that we are really really fine over here i can see now that we have created uh some kind of weird effect over here on the tree that is probably caused by your different masks but i think it's just going to work fine if we just darken it a bit so i'm going back to my uniformity layer which was as you can remember probably darkening or sky if we could just apply a bit of this darkening over here i think that's just going to do it that's a bit too much so lower opacity and flow we will want to work more precisely and i think there's that and let's see where this is coming from actually this is probably from here also let's see what this mask is doing not this one my basic mask yeah it was a bit over here so we can just paint it out to recover the natural looks of these tree without creating any hollows okay i think that's better maybe that's a bit too far but this is precisely why it's a good idea to work in layers because you can just come back to that adjust the mask in any moment adjust the opacity maybe that was too much we can just reduce it to 90 percent if we went a bit too far with the color too we can just reduce it a bit maybe right now after applying the whole color adjustment the foreground is a bit too cool we can just reduce this one adjustment here and i think that we are done and set this image is ready to be exported let's just take a final look to the before and after so just pressing here or letter y and this is where we were coming from this is where we ended up so that was all for today i hope you enjoyed the session and that it was useful for you to understand what is the workflow for editing astrophotography in capture one don't leave just yet because we still have 15 minutes to answer all of your questions i'm right there on the chat someone from wix also is and we are ready to answer any questions that you might get at this point before i go i'd like to remind you again about the 30 days free trial of capture one that you can download from captureone.com for those of you who haven't tested the software out yet and for those of you who have and you were wondering whether if it's the right fit for you or not i hope that this webinar gave you some insight of what you can get to achieve with capture one in regards of after photography if you decide to get your license you can do that of course from wax just as you do with any other photo gear so thank you all for attending and for watching all the way through and thanks of course to wix for hosting us once again and for organizing the event hope i see you soon in the next capture one webinar bye you

Channel: Wex Photo Video

Views: 2,677

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Id: mUrjGY0GTUs

Length: 60min 0sec (3600 seconds)

Published: Wed Oct 21 2020