What's Possible with Capture One: Quick Edit
So what I thought the very first thing that we would do is just basically look at within a couple of minutes the potential that Capture One can do, just to get you thinking about when you first look at your file out of the camera, not to disregard it, not to chuck it away, but to really think how can I shape this image into my, sort of, end result? So we have this image here shot by my friend Drew, also working at Phase One, but it actually began life looking like this as it came out of the camera. So it's kind of wonky, it's underexposed, you know, the white balance is off and so on. You might think, you know what, I don't think that really makes a very interesting shot. I'm gonna toss that in the bin. But before you do that, I would really urge you just to spend, it could only be 15 seconds just on a shot, just seeing what's possible. So, just to run down with this one for example. As I said, we notice it's a little bit wonky, so I can grab a cursor tool up at the top here and we can...
just draw along and straighten up the horizon. So a simple fix like that. Personally, before I really start doing anything else, sometimes I like to just get the crop or composition to where I think it might be useful because then that helps me visualize better the end result. So now we're getting somewhere. And as I said at the start, we can tell that, you know, the exposure's a bit off, looking at the histogram we can tell, you know, it's a little bit dark, so it does make sense just to grab our exposure and just lift that a little bit until something is looking good. Now white balance wise, it's always tricky in Antarctica because it can fool the camera with all that bright, white light around, but I'm guessing the iceberg is probably pretty neutral. So grabbing my white balance picker, you can just pick off the iceberg and neutralize it quite nicely. Now there's no such thing as the correct white balance as such. We can have the mathematically correct one but if perhaps you want to add a creative vision in there again, I might personally just make that a little bit colder, just a touch, just so it's a bit more realistic to the situation. So that's already a hell of a lot better than it was before. So now we can tell it's looking a little bit flat. So a quick fix of the levels, which we're gonna talk about extensively, so don't worry, all this stuff that I'm doing here we're going to go into lots of detail. So already that's looking much better again. So a little bit more contrast, and then finally add some clarity, and clarity is a great adjustment just for giving an image that extra pop. So we're nearly there. Last few steps, local adjustments, as I said in the introduction, really great for just picking at parts of the image to really adjust those individual zones which is fantastic especially as you have all the flexibility of the raw file. So if I grab my gradient mask and just draw on the image like so, which is gonna give me just an adjustment in that red zone at the top of the image, then I can darken my sky to make it a bit more dramatic and even more clarity to up that as well. Last final thing, again we can make use of local adjustments once more. This is our subject, spiky iceberg, so I'm gonna draw an actual mask roughly, I don't have to be super critical, so I'm just gonna draw a mask, whoops. What I meant to do before that was to make a new layer and call that iceberg. So let's just mask on our iceberg. So gonna do it just pretty rough, like so, and then that will give us the ability just to work specifically on that. Now, a quick shortcut, I've drawn 'round the edge. I can just fill that mask in. So that gives me my iceberg like so. And then add a little bit more clarity into that as well. So not only did that have my base adjustment of clarity that we did to the whole image, we've now got a bit more on the iceberg and if I turn that layer on and off you can see the effect that has just to bring out that structure a little bit. If we zoom into a hundred percent, and we can see it's got some pretty nice detail, but using our structure slider just a little bit on the image itself will just help bring up those cracks, crack and nooks and so on, to make it look even better. Last thing to do, Drew obviously didn't clean his camera while he was out in Antarctica, so we've got a couple of spots which we can just take out with our spot removal tool. I think it's just those two. Yeah, and pretty much I think I'll throw in a little bit of vignetting just around the edges and we'll call that I think just about done, like so. Let's hide my tools, that's command-t. So really, I don't know how long I spent on that, probably two minutes, but we went from, if you remember, let's bring up, um, original, so let's just make a virtual copy of that so we can look at them side by side, and see where we came from and where we ended up. So it's, as I said at the start, it's pretty easy to sometimes disregard an image we think is too dark or white balance is no good, I didn't get the right composition, the angle wasn't quite right and so on. So we've got so much flexibility in that raw file. I mean this is shot with a Phase One camera but any modern day camera these days really has incredible dynamic range which we can really pull around and create the file that we want. You know, ten years ago we were restricted with megapixel size so we couldn't crop so much, high ISO was kind of difficult to work with, but we're blessed now with modern technology to really give us the power to do these things. So that was my, kind of, quick edit and I hope that inspires you that, really without much, kind of, trouble, you can go from something like that on the right, to something like that on the left, with just a few simple steps.