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Get The Most Out of Your Photos with Capture One Pro 10

Lesson 42 of 50

Creating Local Adjustments with the Color Editor


Get The Most Out of Your Photos with Capture One Pro 10

Lesson 42 of 50

Creating Local Adjustments with the Color Editor


Lesson Info

Creating Local Adjustments with the Color Editor

This is something, I didn't show you earlier with the color editor, 'cause it's kind of more designed for local adjustments. But there's a sneaky trick in the color editor, so if we find our color editor, let's just collapse some tools. Bring the color editor up top, and let's say we wanna drastically change, or make some kind of change to the grass in front. Now we could try to mask along the edge, which we could do so, but it's kind of tricky because we've got some fine grass just kind of hanging over the edge here, so even if I'm really good at drawing a mask, for example, I'm still going to get a change to the sea behind. It's pretty difficult to do, or I just have to accept that I'd stay well away from the edge. But, as we can make color selections, we can actually transform those color selections, into a mask, which is really powerful. Let's grab the color picker, and I'm going to pick down here, and we use the same technique as before, and we turn on view selected color range, a...

nd see exactly what we've selected. We've got some pockets here which aren't selected, so if I just expand this out, we can probably get a pretty good selection of just the front, like so. Now straight away, let's turn off view selected color range. In the sub-menu, there's this option, create masked layer from selection. So that will basically take that color selection and turn it into a mask, instantly. And pick out all of those little tiny tricky bits which were really difficult to do. If I do that, we get a small progress bar, like so. And presto, there is our mask. So now I'm free to use any of the tools in the local adjustments tool tab. With this very complex mask, if we look at the edges, see it cut nicely. Excuse me, cut nicely all the way around the edge of that, and no bleed over into the sea or anything. Remember in the color editor, we can only effect the hue, saturation, and lightness. With local adjustments we can use that selection to do anything else. Now, if I want to I can then grab a curve. Now pull a loom of curve on the front, if I wanted to have more contrast. We could add in a bit of structure. Just to bring out the grass a bit more. Another nice thing we could do, as we've got this layer, we can just make the inverse of that if we wish. So if we make a new layer and we call this, sky. I can say, copy mask from layer one, so that gives me the same one. And then we can say, invert mask, which gives me the opposite of that. Now if I want to I could just de-saturate that, make that a bit lighter, and so on. Don't forget you've got those additional options as well. Let's look at another example, something like pulling out the sky. This is something where we can look at the benefit of doing it this way compared to an auto-mask, 'cause we could auto-mask around the edge of that building, it would take a very long time, or we could simply go to our color editor, pick the blue sky, like so, look at our view selected color range, pretty good, say, create mask layer from selection. Takes a couple of second. That gives us this mask, like so, and then now that gives me scope, I could just play around with the sky, if I just make drastic changes, you can see exactly what we've got. I could crop the sky down a bit, let's fix our crop, it's kind of distracting. Just fix that. We can play around with our sky, like so, now really without effecting anything else. And we could do the same before, we can add a new layer, let's call this castle, and say, copy mask from layer one. Which gives me the same, and then if we invert that mask, we get the building and the clouds, like so, which we could then lighten a bit. And then to counter-act lightening the clouds, we could high dynamic range and pull the highlights down a bit. Most of the time, using the color mask or the color editor to create masks is a really fast way to cut yourself around complex shapes and so on. And it's quick, you saw how fast it was to get a color selection, create that mask, that's way faster than having to draw around something. Same for this guy, we could do a very similar thing. We could simply go to the color editor once more. Find our color editor, lets make a new pick, so pick the sky, look at our color range, pretty much just the sky. Say create masked layer from selection. This is a 100 megapixel shot so it takes a bit longer. And then we've got the ability just to sort of play around with that. We could also do the same with, we pick the grasses for example, what kind of color range, that pretty much does the tree and the grass. So once again, create mask layer from selection. Then if you press M to look at the mask, that does a pretty nice job of just selecting that grassline and the treeline which we could then go on to make more adjustments with. And it's just a normal mask, so if you wanted to edit that mask, you could take the erase brush, and then just take out any part of that mask, which didn't need to be in that selection. Jathy would like to know, is there any way to blend the layers of two masks, to kind of, bring them together? No, and I have a suspicion, that I've just shocked the viewer. Because you know you can photoshop merge, I guess merge two layers together, but it's not possible. You're limited to 16 layers. You can imagine working with raw data, and lots more number crunching to do than like an 8-bit TIFF or a 16-bit TIFF. We have this 16 layer maximum to give you a good compromise between performance, and the maximum number of masks. 16 is pretty good, it's probably unlikely that you'll need to go more on this kind of work.

Class Description

Imagine if you could capture, tether, adjust color gradient, and manage files in one program? Enter Capture One and, David Grover, a Capture One educator and expert. In this class, you'll learn how to maximize every shot. 

Here's what you'll learn: 
  • The interface and tools, so you can customize a workflow suited to your needs 
  • Techniques to grow a searchable and automated image catalog  
  • Ways to simplify your workflow so you can tether and adjust your RAW files WHILE you shoot 
  • Tips on using the color management tools to get that cinematic crisp look
With Capture One, manage your photos and edit all in one program for a simple streamlined process. 

Software Used: Capture One Pro 10, Adobe Lightroom CC 2015

Newer Class Here: Get The Most Out of Your Photos With Capture One 12 With David Grover


  1. Introduction
  2. What's Possible with Capture One: Quick Edit
  3. Capture One Versions: Installation Basics
  4. Interface Introduction and Customization
  5. The Power of Keyboard Shortcuts
  6. Image Management Basics
  7. Organization Best Practices
  8. Building your First Catalog
  9. Image File Management Automation
  10. Advanced Catalog Organization
  11. How to Add Meta Data
  12. Searching and Filtering Techniques
  13. Further Catalog Strategies
  14. Basic Selecting, Rating and Culling Techniques
  15. Advanced Selecting, Rating and Culling Techniques
  16. Basic Composing Techniques: Cropping, Rotation, Straightening
  17. How to Correct for Perspective
  18. Basic Tool Behavior
  19. Tool Basics Part 1
  20. Tool Basics Part 2
  21. Converting to Black and White and Adding Grain
  22. How to Apply Image Adjustments Globally
  23. Sharpening and Noise Reduction
  24. How to Create and Save Styles and Presets
  25. Why Should You Shoot Tethered?
  26. How to Set-Up Your Tethered Hardware
  27. How To Set Up A Tethered Photoshoot Project
  28. Basic Session Workflow Organizing And Making Selects
  29. Basic Session Workflow Exporting
  30. Advanced Session Workflow
  31. Creating Selections With Smart Albums
  32. Advanced Exporting
  33. Saving Session Templates
  34. Collaborating On Set With Capture Pilot
  35. Using The Color Editor Basic Color Adjustment
  36. Skin Tone Adjustments
  37. Color Grading Using The Color Balance Tool
  38. Image Processing Demo Perfecting Color
  39. Create Masks for Local Adjustments using Brushes & Gradients
  40. Advanced Local Adjustments using Masks
  41. Dodging and Burning in Capture One
  42. Creating Local Adjustments with the Color Editor
  43. How to Use Local Adjustment Masks for Color Editing
  44. How to Remove Objects in your Image
  45. Image Processing Demo: Local Adjustments
  46. Exporting with File>Export
  47. Export Strategies and Proofing Previews with Process Recipes
  48. How to Export for Social Media
  49. More Clever Tricks with Capture One Pro 10
  50. Final Q&A



This is a good overview of Capture One 10. The course is well structured and presented logically and progressively with clear and concise examples. The software is intricate and the amount of details presented will benefit from a second or third viewing, along with sufficient practice. David is an excellent teacher, slow enough to follow, fast enough to keep the listener's interest. I would agree with a previous reviewer that the shooting session was uninspired but the tethered demo was thoroughly useful nevertheless for someone to become an assistant, for instance. If you have ever used LR in this role, you will appreciate the power and stability of C1 for tethering. With regards to the comment about this class being non-creative; before you can run you have to walk and this course is all about understanding how to operate the software not about what you eventually want to do with it. Capture One is well designed, speedy and its homogeneous interface makes it easy to get to a result once you have a good knowledge of its layout and principles, compared for example with LR which is all over the place with modes, inconsistent and slow operations. Likewise, the C1 color editor is miles ahead of LR color functions, in simplicity and overall efficiency. This class is about mechanics for a reason; creativity is a parallel stream. It would have been beneficial to have a module highlighting major differences with LR for people migrating to Capture One as the word on the street is that C1 is hard. I would suggest to listen in to convince yourself of the contrary. All in all, I recommend this class; it is time well invested if you want to become more comfortable with Capture One and discover its potential.


The course is excellent and David does a nice job. However, I'm an advanced armature, not a professional. I had my own personal color darkroom, then Photoshop/Bridge, and NIK which I still use occasionally. My intention is to rely on Capture One which I purchased about 90 days ago. I would have appreciated a SIMPLE, here is how you load (Import) an image, "save" or "save as" and how to simply export an image (Variant). Yes those items are covered but, David has a tendency to casually and very quickly jump from Tool Tabs or Cursor Tools or the Tool Bar and then magically it's done and he has moved on. How did he do it. Based on David's training, I love the results I get with Capture One Pro. Yes, I know this is not Photoshop - it's much better. I never used Lightroom. I added variant to my vocabulary and I understand all the tools. I still struggle with the simple import, save, save as, and export of a image I worked on and cropped, then trying to consistently open that image as I see it in Capture One Pro. Sometimes it works, sometimes it doesn't and I don't know why. I will continue to re-review the course materials and I will figure it out. I know there is something simple I missed as David navigated the various tools and pull downs. I recommend this class but it does little for the armature. Capture One Pro is second nature to him and he knows all the ins and outs. I would help me a lot if he just add a 5 minute intro, importing an image from a folder, just crop it, then export the variant and open it in Photoshop.

Maria Baptiste

I recently purchased Capture One because I needed a RAW converter that was more dependable and also more reliable when it came to shooting tethered. I also noticed that many of the photogs I follow really enjoy using Capture One and rave about its efficiency. After looking at a few YouTube videos I decided that I needed something more thorough and of course CreativeLive delivered. This is an excellent course and David Grover is a superb instructor. His in depth and thorough knowledge of the software is obvious but his manner of speaking and the simplicity with which he provides directions makes it easy to learn Capture One and lets you appreciate a sophisticated and expertly engineered software. If you're working with Capture One 11, layers is a little different than in version 10 but otherwise everything David discusses is the same. I thoroughly enjoyed the course and will continue to refer back to sections as needed. Thank you Creative Live and David Grover!!