SKIN RETOUCH Complete Edit - CAPTURE ONE 20 vs Photoshop - Part 1/3

hi everyone kasia smokwa from digital art classes here today i will show you the first video from the series of three so the idea behind this project is editing portrait we will take this image so this is the original raw file and we will process it in three different ways so the first video will cover processing this image including of course skin retouch in capture one so this is what we are going to do today in the second in the next video we will take the same image and we will process it we will do the skin retouch in photoshop with dodging and burning and in the third part of this project in the third video i will show you how you can edit portrait with photoshop with frequency separation technique so today we will be focusing on capture one we will start with this image and we will be working towards this result so in the end after the last video we will be able to compare the different techniques and we will be able to compare the time spent and we will compare the results okay so let's begin let's jump right into capital one okay so in this video we will be focusing on retouching portrait in capital one let me just quickly show you what will be involved in today's workflow so this is the final result and as you can see here we have started with healing so we have two separate healing layers the reason why i have two separate healing layers is that one was just a bit too busy so if i go for my healing brush you will be able to see the arrows so as you can see even if we go for higher magnification level there is just too many of these points and this gets a bit too busy too complex and it's just easier to create another healing layer and finish retouching on this one so these are my two healing layers then we will be doing a little bit of dodging and burning so this is my mask for dodging this is my mask for burning and then we will target the eyes so just a very simple adjustment here then we will focus on final contrast and luminosity adjustments as you can see i've done this on one layer that includes all image there is no special mask on this layer and i just couldn't help myself i added a little bit of color balance before adding this the image will still look decent it's even more natural but i just love working with color in capture one so i have just injected a little bit of cold blue tones into the shadows and warmed up a little bit of the mid tones so this is color balance and then i've added a little bit of negative value for clarity to soften the skin but this is really really subtle you probably won't be able to even see it in the video because this will be the mp4 compressed format so this is before this is the after so this is the original raw file this is how the file look like after importing from the camera memory card so if we take a look at base characteristics here we can see that capture one discovered the camera model so i have taken this image with nikon d700 however the curve that is applied is a little bit too contrasty to my liking so if we check quickly the exposure warning if i switch this on we can see that we are not clipping anything so we have just a little bit of this red highlights here so if we switch on our histogram we can see that we have a lot of deep blacks here this is represented in the left side of the histogram we have very few mid tones and we have a bit of highlights however the image is well exposed however i want to correct it because as i've said at the beginning of course i'm going to be focusing on the skin i will be doing the skin retouch and with the auto curve applied i feel it's a little bit too bright too contrasty so there is no under exposure there is no over exposure apart from this two little patches here so let's just switch it off but let's check what other possibilities we have here so i'm going to zoom in because i'm most interested in the skin so let's see what other options we have so the auto curve looks like that let's see if we go for extra shadow we have more detail in the shadow however the image is flattened and i don't like this at all high contrast this is not what we are after because we will adjust contrast manually at the very end of this edit so i would go for linear response so as you can see in comparison if you have linear response and auto here all those highlights all the right side on of the face is too bright is just it just looks overexposed there is no texture visible and if we go for linear response instead we have much more detail to work with and we can adjust contrast in the end and if we take a look at portrait it is very very similar to auto auto has more contrast but if i would have choice between portrait and linear response i would go for linear response this curve is very very useful when you are working with portrait because it gives you much more data to work with you can do all these adjustments manually and you can take advantage of all the data that you have saved to your memory card so it of course requires more work but i'm after the best result possible i don't want to take any shortcuts here because if i go for this one it looks better just as a first impression but it doesn't give me that flexibility that linear response does so let's pick this one and here we can start working on our image so we have corrected the angle we have our linear response so as a next step i'm going to go for curves and i'm going to now add a little bit more of contrast so i'm still on my background layer so on this layer let's just open curves and i'm going to check ready presets in one of the previous videos i have shown you that working with ready presets is really helpful thing these presets are there for you to use and they are really classic i would recommend you to get familiar with this and this can save you a bit of time so from here you can take either five point on all channels so this will just add five points on all the channels in rgb luma red green and so on you can go for contrast luma so this will create contrast on luma curve you can go for contrast on rgb so this will create points on rgb and at the contrast so this is the classic s-shaped curve however contrast in comparison to the luma curve affects color so if we go for this one colors get more saturated and we want to maintain the full control over colors especially when you're working on very very subtle shades in portraits so if i had a choice between luma and rgb of course i will go for luma you can go as well for mid-tones brighter mid-tones darker or shadows brighter so i'm going to take a bit of a shortcut here and i will go for mid-tones brighter so this is happening on the rgb curve but i don't mind this added a little bit of more of saturation but it looks fine okay so as a next step i'm going to go to the hdr tool and i'm going to very very slightly lift shadows so i just want to have a little bit more detail visible here this will be helpful when i will be retouching the image with the healing tool so let's move over to the hdr and here with the arrow i'm just going to open the shadows a little bit i don't want to go for anything dramatic i think something between two and three okay let's go for three okay so we have set luminosity levels to the point when it's sufficient for retouching for working with the healing brush tool the very last thing at this stage and the background layer i want to do the white balance correction so the image looks quite good however i feel it can be a little bit warmer because the background is very cool and it reflects the color of the background reflects here on the face and i just feel it might be a bit warmer so right now it's sort of natural the light is cold and i want to warm it up so let's just move here and here in the white balance i'm just going to use the auto so let's see what we can get from here so this looks too warm to my liking however it's much more pleasing than the previous white balance so let's just check if i hit on the kelvin and if i hold it this is the before this is the after so the first impression can be that the image is too warm however if you just step away from the screen and if you get back this actually looks much more pleasing and much more natural so let's maybe adjust this let's go for a little bit lower value here but i believe something like this will be okay so again this is before and this is the after adjusting white balance okay so on the background layer we have performed the very basic adjustments and now we can actually jump in action and start retouching the skin okay so when it comes to retouching skin in capture one in the very last update they have included neutral healing brush tool and i was curious from the very beginning what can be done with this tool is it sufficient because before this tool was introduced to capture one it was not possible simply to do any skin retouch you could remove maybe one or two things from your images from your raw files but doing anything more complex than that was just a nightmare and photoshop was needed you had to just jump to photoshop do the skin retouch and then jump back to capture one to finish your color grading but i've already done my initial test i was super curious about this tool and i was really pleased with the results so in this project i have decided to compare three different techniques so we will see what can be done again with this healing brush tool in capture one how does it compare with the results you can achieve in photoshop with the traditional dodging and burning technique or alternatively in the third video i will cover frequency separation okay so let's begin so for those of you who never worked with this tool if you just pick the healing brush tool it is visible here in the layers you don't need to create a new healing layer once you start working on the image the layer will be created automatically so all you need to do is to just zoom in don't zoom in too much because you want to see the face as a whole thing you don't want to go to such a big magnification that you are just looking at the pores so this is not a beauty retouch this is important thing that i want to mention here this is not a beauty retouch this is just a classic portrait retouch so i want to smoothen the skin but without going into all these micro details so after you select the tool it's important to set the brush so you need to right click on the image and here you can adjust the size so with this you can make the size of the brush bigger or smaller you can do this as well with your square brackets on the keyboard hardness for retouching skin i would recommend to keep at zero opacity 100 and flow can be set at very high value as well let's go for 98. so this you can leave as it was here so i like having my brushes linked so this means that the values for brush and for eraser are exactly the same and if you have the last option switched on you will see the arrows you can switch it off if this will annoy you but i find it helpful so let's maybe start working on the image and you will see what i mean okay so let's start retouching so all you need to do is to just paint over the blemish that you want to remove and capture one automatically will create the source point and the algorithm will calculate the area to fix the texture of your image so for example here it's sampled from the area with this little pimple here or pour so i feel that if i do this manually i will get better result so that's why i keep the arrows visible if you go and switch them off from here you won't be seeing them but i believe it's just more helpful if you keep them on so that way you don't need to move over from the image because right now you don't see the arrows but again when i have retouched this area i'm not happy with the result that i have achieved so i need to display the arrows and i need to reposition my circle so i will get possibly better result so this is still not good especially when you are working with those larger areas this can be a little bit tricky you can as well manipulate with the mask that you have created if you want to see the preview of the mask painted simply hit m on your keyboard so here if i extend the mask it might give me better result but remember if you want to extend the mask you need to first select the point so when the circle is highlighted in orange now i can add more to the mask if i wouldn't select this this will simply create another source point so again this is before and after okay this one is a little bit tricky let's try to reposition it maybe a little bit closer this looks a little bit better but still i can see the edges so i let's add a little bit more here and it looks way better so we are working at a really high magnification level it depends on the result that you want to achieve so to retouch the skin you can continue working that way now if i want to create another point i need to deselect this one so let's just select the arrow and now if i take again the healing brush i can take either from here or from here nothing is highlighted so i can just continue working on the image so this will take a bit of time i'm not going to take you through all the retouch in the real time i'm going to do the time lapse so i will just finish retouching this image and then i will meet you over there so i will focus mostly on this left cheek there are a few more things to reach out on this one and a little bit on the forehead so i will continue working and i will meet you when i'm done [Music] [Music] so [Music] do [Music] okay so our retouching is ready let's just zoom out and let's see the before and after so this is the original image that we have started with and this is what i've done on my two healing layers so let's again zoom in and let's see this is what i started with and let's maybe switch on the mask so we will see all the work let's hit m and again so this is after let's switch on the mask so this is my mask this is all the blemishes that i have removed on the second hill layer and this is the first layer so as you can see i've spent some time when i was doing this part of retouch so let's maybe have my arrows visible as well so this shows you the complexity of the work but i think it's totally worth it so if i would say if i would measure time just to do this i have spent about 40 minutes so this is the very basis of the edit and if i wouldn't do this right then applying colors or some other effects adding contrast is simply not going to make this image better in case of an image like this when you have some skin issues this is really the most important thing to get the skin right and after this you can polish the edit you can work with colors but if you don't have this base done properly nothing is really look good so this is a bit of time consuming but as i've said this is the necessary thing you don't need to work on color grading you could just leave the image with the natural colors just after the white balance correction and it's still looking good you could just add a little bit more contrast with curves maybe add a little bit of punch to the eyes and you can say that the image is ready but the skin retouch is really really important so again if i switch off these layers you can see the image after correcting the white balance but there are the blemishes and they are visible they are just not looking good they are ruining the image so let's just switch them on so the next step in this sort of edit i would do is the dodging and burning so we've done already the skin retouch with the healing brush now in capture one you can work as well with dodging and burning and this is to just smoothen the transitions so i will do two layers i will create dodging and burning layer and on both of them i will just work on these shadows here the whole point is to just make all these transitions as smooth as possible so for example if we focus here on this area you can see that there are all these uneven shapes like this one you have those lines here all these little patches so you don't want to remove them entirely but you just want to make them flow so the same here maybe especially here in the forehead you can see that we have this brighter patch than those patches here and i just want to smoothen to even the the area out and of course here it's super important to keep the shape of the forehead to keep the shape of the head not to make any changes in the bone structure but just to even out the surfaces you want to make the image as three-dimensional as possible so i will do a bit of work on the forehead a bit of work here so as i said before you don't want to remove those shadows under the eyes entirely you just want to smoothen those transitions you can brighten them but you want to make this image look still natural so as i said before this is not a beauty retouch this is portrait and you want to maintain the natural look you are not chasing any beauty standards so the personality of the subject is the most important factor here okay so let's jump into our dodging and burning i'm going to add first new field adjustment layer and i'm going to rename it i'm going to call it dodge and let's create another one and let's just rename it let's call it burn so on the dodging layer we are going to apply luma curve because we don't want to affect colors and when we will be dodging i want to make the areas brighter so let's create one control point and let's push it around that way and in the burning layer i will be working again on the luma curve and here i will work i will push the point the other way so before you start dodging and burning of course you need to invert the layers you don't want to have these effects visible yet so invert mask dodge do the same invert mask and when you are dodging and burning color can be distracting so quite a good practice is to simply jump to the background layer and here in the exposure let's move the saturation slider all the way to minus to the negative 100 so that way you have your image visible in black and white and you can focus entirely on these transitions so in the black and white image it's much easier to evaluate to see those transitions so if i just temporarily switch this on and off you can see that the color is distracting it's warmer cooler and when it's the image is black and white you can just focus on evening out those transitions okay so let's jump back to our dodge layer you can switch between dodging and burning when you will be working on the image so let's set our brush let's hit b so that way i have the brush selected let's right click on the image and when it's come to size you don't want to have the brush too small because that way it will take you ages but something i would say around maybe this size so i have 13 and when it comes to flow this is super super important keep the value as small as possible so you want to see the results when you are painting but it's better to apply more brush strokes rather than get too strong and unnatural effect with too strong flow value so you want to just create that result layer by layer you want it to all blend you want those changes to be invisible this requires a bit of practice a bit of patience but it is super important so without changing the face you will see the final result it is really worth it to spend some time on this because it will really make the face look fresh and beautiful so the flow i will set let's say maybe two four again let's highlight and let's just hit four on the keyboard let's switch off auto mask and you can keep the link all brushes selected hardness should be set to zero so size you can change it dynamically either by right clicking and moving the slider here or with square brackets on your keyboard hardness 0 opacity 100 and flow as low as possible okay so now we can start working on the image let me begin with the forehead so we can maybe move here and i'm going to zoom in a bit and first i would like to get rid of this line here so i don't want to remove it entirely but i just want to brighten it so the transition between this part and this part will be smoother so all i need to do is to just decrease size of the brush and very very softly start painting in so i would say the flow is too high i can see immediately those bright patches i'm going to go for two and it depends as well on the setting for the curve i've made it bright so the control point is positioned quite far if you would go for more flat curve then you will have less brightness here when you are painting in so it all depends you have to create something that works for you i prefer to just dynamically adjust the brush and work with different flow values and keep the curve as it is because sometimes you can have quite dark areas that you want to brighten and you cannot change the shape of your curve during this work so this has to be set once and you can work with the brush if you would change the curve it would affect everything all the mask that you have created so if i hit m this is what i've done so far and if i switch off this you can see that with this very few brush strokes i was able to brighten that part and take a note that i'm not removing this part entirely i'm just making it brighter and now the transition in the forehead is smoother so i'm going to continue working that way i won't be taking you through all those strokes i will just show you when i'm done so i will basically go through the forehead i will work a bit on those area under the eyes here around the nose so the same here if i would be targeting this part first i would start with evening out the transition so we have those darker areas here that bright sort of arc here and darker area here near the nose so first i would even out that transition so i would work maybe with slightly bigger brush to make that part a little bit brighter i would make that higher part brighter as well and just when this is done i would maybe soften this shadow a little bit but important thing is to just look at the face in a lower magnification level because if i would go too close if i would be working like this then i'm just losing the whole shape i can't judge if what i'm doing is affecting or not affecting the shape so you need to be very precise very subtle here it requires a bit of precision but the final result is really worth it so you can go to this higher magnification level if you would like to even out the skin texture but just bear in mind what is the final image that you want to produce if you want to make a print a large print of course it will make sense to spend time on all these little nuances but most of the time you just want to have an image for social media or just to present it in a digital way and then you will never show the image larger than this so i'm on the retina display and you can see that if i would be working on all these little pores it simply doesn't make sense and it's super time consuming so so far i have painted a bit of the mask like this let's maybe zoom in so again this is the preview what i've done in a few seconds and this is the effect so i will continue dodging and burning and i will meet you when i'm ready [Music] [Music] [Music] [Music] [Music] so [Music] [Music] [Music] [Applause] [Music] [Music] [Music] [Music] okay so my dodging and burning is ready this is the result i have achieved so let me switch off the dodging and burning layer so this is the image we have started with when we've done our healing with the healing brush tool so this is the original image then we've done healing and now we have created dodging and burning so this is what i've done on dodging so that's my mask i have introduced a little bit of correction here around the eyes on the forehead i have emphasized the lips a bit here i have introduced some light and i wanted to introduce more light on the neck so this is my dodging layer and this is my burning layer so this is what i've done on burning i've just added few subtle touches so i've made the eyebrows a little bit darker and i've made the cheekbone darker here not much just a few touches i made much more work on dodging layer so let's just switch off the mask and let me show you again this is before this is after applying dodging again before after applying dodging so scu remember i've mentioned that this is really time consuming but it's worth it so you can see again before this is how the transitions were looking before working on dodging you can see the skin smooth healthy after healing with the healing brush but before dodging the image looks just different so the result i think is totally worth it if you can see here all those areas all those just darker patches i haven't removed them i just made them to flow nicely and evenly and this will be visible on the forehead so if you focus here so this is before and this is the after so this is my dodging layer and on my burning layer i've just made few things darker but nothing really crazy or time consuming okay so this is our dodging and burning and healing this is what can be done in capture one now we can get back to full color so let me just move over to the exposure here saturation uh okay we need to jump back to the background layer and let's just double click so we are back to our full color version so if i hit y this is the preview this is the original image this is the b4 and this is what we've done with healing and dodging and burning so basically that's what can be done in terms of retouching of skin retouching in capture one to finish off this portrait i'm going to add a few more touches and i'm sure you will find them useful so i'm going to focus on the eyes now so first of all i'm going to target the issue that we can see here there is this brownish patch i want to desaturate it i want to just make it brighter to make it vanish i want to blend it with the rest of the eye and then we will just target the eyes to add a little bit more impact okay so let's create first so this will be let's do the field adjustment layer and this i will call i and let's very quickly paint in the mask so i'm going to select brush let's check our brush settings so i want to go for higher flow hardness 0 size 4 everything looks good so let's just paint in here let's hit m so we will see the mask okay we need to invert the mask so there is nothing visible here and now with the preview i'm going to just paint in here and let's go for lower flow as i want it to be blended nicely okay so something like this should work let's now switch off the mask okay so let's now move and adjust saturation so this is the patch i will be affecting and let's just select this and go for negative value so that way very quickly we've been able to remove the brown so already this patch is less visible and let's maybe add a little bit of brightness here so nothing strong let's go i think something around four should be fine so let's just see the before and after if we zoom out again before and after so i don't want to make this part too bright let's actually zoom in and let's adjust the mask it looks good okay so we've been able to target this patch a little bit let's now add a little bit more punch to both eyes so for this i need to create a separate layer so let's create new empty adjustment layer and let's just rename it let's call it eyes let's now paint very quickly mask so let's go for quite high flow and let's just paint in let's hit m to see the preview of the mask let's increase size of the brush so that way very quickly i'm just going to paint in the mask where i will introduce adjustments to the eyes so this will be done with the hdr tool and we will be working with shadows so that way we will add the contrast in the mid tones and we will add more punch to the eyes in a very very natural way so as you can see i'm not even touching the whites all i want to do is to just target these areas so let's switch off the mask let's zoom out so we are now at the magnification level 300 and let's go to our hdr tool and here with the shadows i'm going to again work with the numeric values so i think this works quite well maybe it's a little bit too strong so we can now add a bit of clarity so with the natural method i'm going to push the slider to the right so this adds contrast in the mid tone however this darkens the eye as well so i need to find a balance between these two values so something like this should be fine let's see the before and the after let's zoom out so this is maybe a little bit too strong so this can be adjusted with the opacity of the whole layer so this i can just move maybe to around 70. so again this is before this is the after so now we can move over and add a little bit more contrast to the overall image and then we will see if the eyes are good like this or if it be working better if they were stronger so let's add new field adjustment layer on this layer we will adjust luminosity so let's just rename it and here we will be working with curves so first i want to target luma curve and i want to add a bit of contrast so let's maybe start with contrast on a luma and that way we have added those control points you can see the before and after so i'm really happy with the effect i really like the result so the image got really really dramatic i want to maybe lift the blacks a little bit i will do this on the rgb layer so i will just create contrast rgb but then i will push the point that is brightening my highlights closer to the line and i will let's maybe make this bigger i will lift the black point so this will leave the blacks and the image will get a little bit more subtle i will create this so-called matte effect so something like this let's get back to the luma curve and here we can see if lifting the highlights will help no i think this is getting too strong the contrast is too harsh so something like this and let's try to manipulate with this point so this is targeting the shadows but actually this is creating this nice mystery light so i think something like this works really really well now we can recheck the layer with the eyes so let's move back to the opacity value for the ice layer to 100 and i feel that now after adding more contrast to the face adding those stronger lights to the eyes don't look unnatural so they are nice so we can leave it as it is at 100 percent let's just jump back to the luminosity maybe there is a little bit too strong the contrast so let's maybe push this point okay so something like this let's maybe leave this one just a little bit okay so i think this gives us very nice very pleasing harmonious effect let's zoom out so that's before that's the after okay so now i just want to add a little bit of color to this image i'm really happy with the colors like that but to make the image even more three-dimensional i just want to inject a little bit a hint of blue into the shadows and maybe to make the mid tones a little bit brighter with the color balance tool so let's add new filter adjustment layer and let's rename it to color balance and this tool is really really useful if you want to inject a bit of color into selected luminosity range but very rarely people use the slider this position to the right to actually adjust the luminosity range so for example if we go for master here you can't use the slider here you can only inject a bit of color so i'm just going to go for warm look and i will add a little bit of this reddish oranges tones to the overall image and now let's jump to shadow so here apart from injecting blue so if i would like to go for a bit of blue maybe more on this cyanish side so this gives me this very beautiful very powerful color contrast and now i can make the shadows brighter or darker with this slider so if i push it upwards this will make the shadows brighter if i push it downwards it will make them darker so i'm going to leave the shadow slider as it is let's now jump to mid tones here i will inject a little bit of orange tone so i want to make the skin more saturated and i will use the slider that is positioned to the right to make the skin tones to make the mid tones brighter so i will just push it very very slightly upwards and this very nicely brightens the skin so nothing crazy just a little bit of softness here and let's see if we go for stronger color no i think it's too much something like this is sufficient i'm going to leave highlights neutral i don't want to inject any tones over there so in the shadows i can maybe lift the shadows a little bit so there are more harmonious with our lifted midtones with the skin tones okay so that's what we've done with the color balance tool we've done a little bit of color grading so this is the image natural without adding any colors without affecting colors and this is after injecting a little bit of cyan and blue in the background and still warming up those mid tones so that's before and this is the after so basically at this point our edit is ready the very last step final touch i want to show you is adding a little bit more softness to the skin and you can do this with negative clarity values so typically the clarity would be used to add texture if you had an image taken outdoor in the fog adding clarity would simply make everything in the image sharper stronger this adds contrast on the midtone level but very little known feature is that you can actually use negative values to soften texture you can add this just as a very very subtle final touch never skip healing the skin and dodging and burning this is not to replace retouch this is just to add this very nice polished look to the end so let's and very last field new adjustment layer and let's simply rename it to skin and here let's go for clarity i will stay with the natural method and i will go for negative value on the clarity so if i go all the way to the left you can see that i have achieved this super fake horrible sort of instagramish effect so this is basically ruining all the retouches i've done all the time that i've spent it's not visible it's just if i have taken bad image and applied this with one button so just be cautious here let's just reset this we want to maintain all this beautiful skin structure this what makes the image i just want to soften very very slightly certain parts so let's go for something maybe around negative 28 and now very important thing i want to just apply it to selected areas of the image you never want to apply negative clarity to the eyes to the eyelashes eyebrows you need to keep them sharp as sharp as possible and just paint in the negative clarity to selected areas in the image so if i hit m now this is my mask i want to invert the mask and i will be painting in the mask with the brush so i have selected my brush let's just make it bigger and the flow something maybe around 50. so now we can start painting in the softening so maybe i will add a little bit here let's switch off the mask just very very softly remember don't go over the eyebrows so you can check by showing the preview of the mask maybe a little bit here so this is just a final touch it might work or it might not it's for you to decide if this is helpful in my opinion it is useful it is just added in selected areas so just don't apply it over the whole skin okay so if i now have a preview of the mask that's the preview and now if i switch off and on it may be probably hard to see in the mp4 video but just experiment with those settings and see how it works for your portraits on your own images okay so our capture one edit is ready let's again see the before and after so i will go for split view slider so this is the original image we have started with and now i hope you can see that going for the linear response curve in the base characteristics made sense i don't think we would be able to achieve this results if we start it with auto so we can actually change it now so if i would go for auto you can see that the contrast is just too harsh and we are losing all these beautiful tones all these nuances so this is auto this is portrait you can always change it afterwards and experiment so we started with the linear response and we forked through all our adjustments if we switch off the heel layer so this is what i've said at the very beginning it doesn't really make sense to work on color or dodging and burning if you don't get the very first stage of retouching skin right i know that it is time consuming and it's sort of boring but believe me you just need to do this so once this is done you can then play around you can work with different colors now you can take the image and create more variants and you can really have a lot of pleasure by experimenting with different colors you can go for black and white version but this is really a crucial stage you need to heal the skin first and then it's ready for any other further adjustments so again let's take a look this is the original image this is the image we have started with the raw file we've been working of course in capture one this is the result you can achieve when it comes to skin retouch when it comes to portrait edit in capture 120. so in this video we've been talking about capture one if you want to learn about editing in capture one you can check out my comprehensive course link in the description to the video and in the next video from this series we will jump to photoshop we will take the same image and we will do the edit with dodging and burning so that's it for today that's how we have edited this portrait in capture one check out the next video that will be published i believe on wednesday and we will be working in photoshop thanks for watching and see you bye now

Channel: Kasia Zmokla

Views: 5,535

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Id: QJdWoxbMDCQ

Length: 52min 22sec (3142 seconds)

Published: Sat Aug 08 2020