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Skin Tone Adjustments

Lesson 36 from: Get The Most Out of Your Photos with Capture One Pro 10

David Grover

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Lesson Info

36. Skin Tone Adjustments


Class Trailer



What's Possible with Capture One: Quick Edit


Capture One Versions: Installation Basics


Interface Introduction and Customization


The Power of Keyboard Shortcuts


Image Management Basics


Organization Best Practices


Building your First Catalog


Image File Management Automation


Advanced Catalog Organization


How to Add Meta Data


Searching and Filtering Techniques


Further Catalog Strategies


Basic Selecting, Rating and Culling Techniques


Advanced Selecting, Rating and Culling Techniques


Basic Composing Techniques: Cropping, Rotation, Straightening


How to Correct for Perspective


Basic Tool Behavior


Tool Basics Part 1


Tool Basics Part 2


Converting to Black and White and Adding Grain


How to Apply Image Adjustments Globally


Sharpening and Noise Reduction


How to Create and Save Styles and Presets


Why Should You Shoot Tethered?


How to Set-Up Your Tethered Hardware


How To Set Up A Tethered Photoshoot Project


Basic Session Workflow Organizing And Making Selects


Basic Session Workflow Exporting


Advanced Session Workflow


Creating Selections With Smart Albums


Advanced Exporting


Saving Session Templates


Collaborating On Set With Capture Pilot


Using The Color Editor Basic Color Adjustment


Skin Tone Adjustments


Color Grading Using The Color Balance Tool


Image Processing Demo Perfecting Color


Create Masks for Local Adjustments using Brushes & Gradients


Advanced Local Adjustments using Masks


Dodging and Burning in Capture One


Creating Local Adjustments with the Color Editor


How to Use Local Adjustment Masks for Color Editing


How to Remove Objects in your Image


Image Processing Demo: Local Adjustments


Exporting with File>Export


Export Strategies and Proofing Previews with Process Recipes


How to Export for Social Media


More Clever Tricks with Capture One Pro 10


Final Q&A


Lesson Info

Skin Tone Adjustments

So, I mentioned, we have the skin tone tab as well, which looks pretty similar to the advanced tab, but it has down the bottom here, three additional sliders, called uniformity. So, what the uniformity sliders do, is that they hope to take a range of colors, and make them uniform, funny enough. So, what we do, is we just, we switch. We go to the session, that we did with... Jeff, just earlier. And then, we use one of the shots, to show exactly what that can do... If we just bring back up our color editor, like so, and go to skin tone. So, the process is kind of similar, to what we want to do. Generally, what we are gonna do, is when we work with skin tone, is we're probably gonna do it on a local adjustment, and I'll show you why, by doing it, without a local adjustment, first of all. So, the skin tone, or the process of the skin tone tab, kind of works a little bit differently. We have a picker here, once more. And what we want to do, is we wanna look on our subject, and decide the sk...

in tone, that we want to be uniform. Because, none of us have totally perfect skin tone, unless you're extremely lucky. We all have variations, around the eyes, on the neck, whether we're hot, cold, or whatever. Nobody normally has a totally perfect skin tone, even with makeup. Because makeup, they might miss a bit, or just sort of down on the neck, or whatever. It's very rare, that it's perfect. So, first of all, we look at the subject and we think, where is our good skin tones? Like, what do we want to make uniform, across the whole subject? So, if I sorta pick around, let's go there, then straight away, in the color editor, that shows me where I've picked. And once again, a suggested range. Now, what we're hoping to achieve, is everything within... This range... When we drag those uniformity sliders. So, everything within our boundary lines, when we drag the uniformity sliders, will be converted to the picked color. So, what you have to think about, in this way, is perhaps wanting to extend this, to encompass all the possible skin tones, in the image. And once again, you can do that, with turning on view select color range. You can see exactly what we're gonna make uniform, which might include stuff that you don't actually want to affect, like lips, eye shadow, that kinda thing. So, I'll show you what happens, if we don't use a local adjustment. So, we've got hue, saturation, lightness. So, as we drag the hue to the right, everything in this range gets converted to that picked point. So, drag this across, and straight away, you can see the conversion, but it's also affected the lips. Saturation... We can make uniform, too. Lightness, you have to be careful with this one, because it can... Then look a bit over the top, Instagram filter, if you go too far. But, that will basically make the lightness of that picked point, again, anything in that range will get converted to that lightness. So, it can help adjust, for variation, and density of skin tone, but you just have to be a little bit careful. Now, if we option-click to see what happened... You see its affected areas, that we don't want it to happen. So generally, when we're using this skin tone tab, is that we draw a mask, first. So, working with masks is coming up in a later lesson. So... I'm just gonna do it quickly, without too much detail. But, what we will generally do, is just do a quick mask on the area, that you want to affect. So, if I do an outline, like that, then we can use a nice shortcut, which is fill mask, so that will block everything off. Then, I can erase out the bits that we don't want to affect. You would probably spend a bit more time doing this, than... I would. But, roughly, we would end up with something like this. And then, we would take our color editor skin tone tab, do the same process, pick within the mask. And then now, because we're using a local adjustment, we can be a bit more aggressive with expanding out that range, because we know we're only going to affect what's going on, within that particular mask. So now, if we drag hue across... Saturation and lightness. Then, it will do a nice job. And if we turn local adjustments on and off, then it's only affecting the areas of our mask. And of course, if we want to dial that back a little bit, we don't have to go to 100. If we wanna have... Some semblance of the natural variations skin tone, we just drop that back, a little bit. So you'll see, as we drag the slider, we go from how it was captured, to the complete uniform tone. And if you want to, you can even pick up the picked point, and drag that to the skin tone, that you actually wanna emulate. So, if I just do a drastic change, that will give you an impression of exactly what this tool is doing. So, everything in that range is being transformed to that color, which is something we won't wanna do. So, we put it towards a more natural skin tone, that we want it to have. And then, of course, change the sliders. Then again, the same sliders here, we could drop, change the saturation. We could change the density. But, these are a little bit more subtle, than what's going on, in the advanced tab. Their affect is just dialed back, ever so slightly, so just to make them a little bit more subtle. Again, you've got the same smoothness control again, but once again, as we were working on that, in a local adjustment mask, you generally don't have to worry about that too much. So, just be aware, if you wanna use the uniformity tools, then you might have to do it, in a local adjustment. Now, it is designed for skin tone, but there's no reason why you can't use it on anything else. So, if you think of what we've got going on here, we've got this blue sky, but it's slightly more dense over here, than it is over here. So, if we grab the picker, like so... Probably expand this out a bit... And then, drag hue, saturation, lightness, and now I've made a uniform blue sky, simple as that. You could do that on various different things. I've seen people use it on landscapes. If there's some variation, in greens, or browns, or whatever, just to pull all that together, sometimes, if you have the sea, the sea can vary its tones, so we can move that together as well. So, it doesn't have to be skin tone. It will make any color uniform. And if we drag this around, we can just change... If we pulled that all the way around here, and move that over there, then we can really sort of do... Quite different manipulations as well. So, the sky is the limit, really. Hue, to the nature of how color works in Capture One, it's all based on ICC profiles. It's very, very unlikely, you're gonna get weird effects, like posterization, and odd stuff going on. There's no limited color space, within... Capture One. It's to like Capture One has a working color space of... Profoto LGB, or Adobe LGB, or whatever. It is the maximum gamma, that that particular camera allows. So, we have all the scope of that particular sensor and such. Any questions on that, Jude? (clears throat) Yes, David. We do have one. Javi Mendoza wanted to know, "Is there any way to stack multiple color selections, "and edit them all together?" No. (laughs) So, 'cause you'd, what, I guess he'd be looking for would be like, link those together, and then do global saturation, or global lightness, or something like that. So, no, there isn't. I'm just trying to think of a way you could... Force that, perhaps. Maybe, within local adjustment somehow. But, I can't think on the spot, for that one. Maybe, if he keeps watching, until we get to local adjustments, that could be it. A clue or two, that we can do in there. Great. And then, second question, "Is there a quick alternate, "to do a quick before and after view?" In the color editor, specifically in any other tool, yes. So, we can do option-click. That will show us before and after... Of all various edits... Like so. And for the entire image, we can either do... Command-R, which will reset, and then command-zed, to undo that reset. So, that will show before and after. Or, like we spoke about, in earlier lessons, we can also see a new variant, like so, which will give us a virtual copy, with no adjustments. And then, we can always put those two next to each other, to see before and afters. But, there isn't a one button push, for before and after, for example. But, it's a good suggestion. Thank you. Okay. Any other questions? We're good. Okay! So, that's... The color editor. Advanced in skin tone. You know, I feel that we could talk for more, about that, but it actually really is very simple, and you shouldn't feel intimidated by it. Just pick the color, decide the range, make the adjustments.

Class Materials

Bonus Materials

Capture One Discount Code
Wacom Discount Code
Tether Tools Discount Code

Bonus Materials with Purchase

Workspace Layout Visual
Windows Keyboard Shortcuts
Mac Keyboard Shortcuts
Session Users Glossary of Terms
Catalog Users Glossary of Terms

Ratings and Reviews


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!!

Student Work