Skip to main content

Get The Most Out of Your Photos With Capture One Pro 12

Lesson 38 of 48

Creating a Recipe for Web Output


Get The Most Out of Your Photos With Capture One Pro 12

Lesson 38 of 48

Creating a Recipe for Web Output


Lesson Info

Creating a Recipe for Web Output

So the first thing that we're going to do is export this image out toe web. So let's zoom out a second. We goto our process recipes. Let's turn off these Onda. We just delete some of these knows that we made earlier on Let's make a brand new recipe and we're going to call it Web. How put on, let's say, our website or whatever medium we're going to allows for a maximum off 2000 pixels across. So let's say 2000 quite like so. So now when we come down to a process recipe, we're gonna obviously have J. Peg, we're going to change your profile toe s rgb on the scale we're going to say with in this case and our unit two pixels and our changes to 2000 pixels won t three like so, so down here in the process somewhere you can already see that capture one has calculated that to get it to 2000 pixels, it has to downscale it by 35%. That's quite a significant reduction. So what impact does that happen? Have on the sharpness Now, luckily, we can visualize that, So if we go to our adjustments tab, an...

d we're gonna seem to 100% so we can see our image. That's hideout Browser with command Be get rid of talk show opening away. We don't need to look at that now, and we're going to turn this on these two spectacles here, which is recipe proofing, So this will simulate what the recipe is going to do. Eso it resize it. It will proof the recipe. Sorry, it will proof the profile that we have. And it will also prove the J peg compression quality, too. So when I turn this on, you'll see the image is resized like so So it's now representing what 2000 pixels on the screen will look like. So now I can think. Okay, let's have a look at my sharpening. So by default, it says no output shopping. So it's just using the sharpening that we set in the sharpening tool, that structure, tool. And so. But as we've shrunk it down to 35% quite significant, let's bump in a little bit of output shopping. So we're going to say output shopping for screen on when I do that, Did you see the image just snapped up a little bit sharper. So no output show opening output shopping for screen. So it just crisps it up a little bit more now. The defaults that you see here, this is additional sharpening toe what we've already done. This is not changing the sharpening tool. This is specific to this process recipe, which is great because it means, as I said earlier, we don't have to change the sharpening values based on our output in the sharpening tool itself. It's all handled by the process recipe. So if you want, you can change the amount. So if you think that looks about right again, the defaults are generally pretty good. But we can always increase, obviously not that much, or decrease the amount of sharpening. So I'm going to go around here something like that. And now when we process this out, let's just drop this into a the Pictures folder. So that's going to pictures here. So let's process this image out process. Go to this folder Web output 2000 wide and here's our image. Let's open this in for the shop more. No. Oh, that's a strange issue with photo shop one second. Let's There's, ah, interesting moment here. There's a strange bug in Freddie Shop that sometimes it wants to open the process. Jay picked fall into camera raw. So what I need to do is going to preference and go to the camera raw and turn off. Disabled Tiff and J. Pixar. Hopefully, that should do it. So let's try this again. Right click open with for the shop. There we go. So now our image is open up him finish up quite nicely. So if we look at their set, that's 100% sorry. That's 100% looks nice and shop, you know, perfect for for the output size that it was exported at, and we haven't lost anything. So once again, making that image smaller can have a negative impact on the sharpness. Now, when we uploaded to our website or social media, it's optimized perfectly for those dimensions. So even if you're going toe Facebook or instagram or something like that always worth putting a little bit off output sharpening on there. So, for example, I have a process recipe for Instagram upload, and you have to shrink it down a lot to what is it? 10 80 pixels, and that can really take a knock on the sharpening. So adding a little bit off output sharpening to has a big impact on how your images look on cellphones, monitors and so so really important step. So Webb output is generally pixel based. So 2000 pixels, 1000 pixels, whatever. And you could see here in the scaling tab you have lots of different options like width, height, long edge and shortage. But what if we wanted to go to a specific dimensions? Let's turn off proofing. So let's say you wanted Teoh print this out on super nice quality paper again. We're gonna have to compensate for that when we go to the print process. So first of all, let's decide if this image is sharp enough. So I think we can afford to have a little bit more sharpening in general if we look at the various different areas and I think I can get away with a bit of structure ever such a tiny bit a swell. So now I'm satisfied that images as sharp as it can be at 100% so I'm happy with that now. If we wanted to go ahead and print this once again, it might have some scaling implications, so we need to compensate for that. But it's in a slightly different way and involves a trick with the crop tool. So let's make a new recipe and we're gonna print this at print at audience. Shout me a common print size 3 40 20 Boy, let's go for Tim by eight. Something like that. A put it. Okay, so let's do an eight by 10 inch print like so. So how do we crop this toe eight by 10 inches? So do we Guess so. If we first of all changes, we're gonna have tiff un compressed adobe rgb on the scale here in here, we're gonna put into dimensions. So you see, here it's inches, so we're going to do eight by 10 picks up, so I now need to crop this to eight by 10. So how do I do that? Because I don't want to send them the whole frame because then the printer is gonna have, you know, the power over. Do they crop a little bit off the top and bottom? Do they cut a bit off the sides? I want to deliver them a print, which is, or an image, which is exactly 10 by inches. So you'll see if I start changing the crop right up here. It says it's 10 inches across and it's 6. here, so I can fuss around and try and make this fit, or I can do a really simple thing with the crop, Tool said. I came right click, and I can set the ratio to my currently selected output. So that means this recipe here. So if I change this to output as soon as I touched the corner of my crop tool, see it snaps to 10 by eight. So however I change it. It's stuck if you like on Tim Boy, and you'll see as I make whips. As I make the crop bigger and smaller, the scaling will adjust that's required now, in this case, when we're dealing with Prince, it's important. That's just get a framing like so it's important that you set your resolution correctly for Web output. When it's pixel dimensions, this could be set to one billion pixels per inch or two pixels. Bridge doesn't make any difference because we're scaling to an exact pixel dimensions. So the resolution is not gonna have any bearing how it displays on cellphones, monitors and so on. When we're printing and we're going to specific measurements like inches centimeters Millimeters, it's really important to get the resolution correct, because that's part the calculation, which will decide on the scaling and ultimately will decide how much output charming we need to put on a swell. So let's say we have a printer that prints at pixels French. That's fine if it's more or less than we have to change it here a swell. So if we went up to say 300 pixels per inch, you see the scaling goes to 63%. If it was only a 200 pixels per inch, then the scaling goes to 42%. So it's really important that you get that figure right as well. And to find that out, that's a conversation with your print house or, of course, the specifications of your printer as well. So now my printing recipe is set up correctly, so we've sharpened, if you recall correctly, to 100%. So now it's the same process that We want proof what this recipe is doing when it scales down to, in this case, 63%. So let's turn on recipe proofing, and then we're gonna go to adjustments and sharpening. We had output sharpening for screen and output sharpening for print. It's two slightly different algorithms, if you like. So if we go to output shortening for print, we have slightly different options here so we can go for viewing distance. So let's say in centimeters, I can't do inches, I'm afraid. But let's say we're gonna hang this picture or it's gonna be a portfolio print. It's 10 by eight. So it's something that we want to pass around to our friends or clients or whatever. So my viewing distance is gonna be, How long is your arm? 40 centimeters? I guess. So. That will change how much sharpening was required. So if this is gonna be further away, if we're hanging on a wall, so so two meters, then it's going to apply more. Shelf me now. It might look super aggressive when you do this, So you think Well, that's a lot of shell pinning, but you have to remember that the print process again is a little bit unforgiving, and it will soften your image to some extent. So you'd be surprised how much additional sharpening you can add in but no. Two printers of the same. So let's go back to 40 centimeters. No. Two printers of the same. So it's again a taste of testing and judgment on our personal tastes different as well. So you might find that thesis Eyes 10 by eight going to your ink jet printer. The defaults work for him. You might find, if you're printing commercially, that it needs to be a bit more or a bit less so. The last time I did this, I went through and I did a bunch of test prints at, say, 40 on the amount and then 80 and 1 20 like that, and I got three prints done made sure I knew which was which, so that I could see which worked perfectly. What I did find is that the viewing distance calculation seemed to work really nicely. So for ah, portfolio print at arm's length, the distance was spot on, and I also found that the default of around 80 worked really well the only thing I would say if you have an image that is less than perfect or not, the shop is It could be It won't workers nicely in this respect as an image that has tons of sharpness. So the better the start point, the better. It will take this additional sharpening. So now let's process this one out. Just check. We've only got the one process recipe, so let's a process. It's gonna my pictures folder. So it's this one here. Print at eight by 10. Let's right click and open this with for the shop, so there's our image. If we go to image, size it in centimeters, let's go two inches so you can see it's perfectly sized 10 by eight at 300 d. P. I. So when we deliver this to our print house whips extreme zoom that. So when we deliver this to our print house, it fits exactly eight by 10. So they're not going to trim you know, the borders or the tops and bottoms or or anything like that. So the controllers on you that means you can deliver the perfect print to your printing medium, whether that's your printer, or commercial princes. Okay, so let's close that one down. Go back, Teoh, Capture one on. The last thing that we can see in adjustments under sharpening is that we can actually say disable everything. So that will cut out all the sharpening in the process. So it will turn off diffraction correction. It'll turn off anything you've done in the sharp until and of course, do no additional output sharpening. That can be very useful, especially if you're out putting an image that you know is gonna have extensive retouching work. So sometimes the retouching might request Don't do any show opening deliberate. To me, it's no sharpening settings and I'll worry about that in the final moments of my retouch, especially if it involves composite workers. Well, sometimes having shell pond image isn't so great for heavy retouch work. So you could also make yourself a recipe and as long as you put in it no shop, for example that, you know, it turns off all sharpening. So there we go, sharpened disable. So no output sharpening, which I would set if you're not doing any scaling, if you're going straight to 100% because that's gonna look exactly as you were expecting. Capture one and then the sharpening for screen or print based on whether you're going for Web output or for screen. Don't forget the trick in the crop tool to export to the output dimensions that will save you loads of time fussing around with the crop tool trying to nail it a 10 by eight A Soon as you go to output and touch the crop tool snap straight away. There you are.

Class Description


  • Understand the interface and terminology in Capture One Pro 12
  • Setup your workspace and shortcuts to fit your habits
  • Build a workflow and editing strategy to save time and maximize results
  • Control the dynamics of color and texture with Capture One’s RAW conversion engine
  • Tackle a wide variety of image problems with photo editing
  • Learn the new features inside Capture One Pro 12
  • Master advanced image editing techniques
  • Shoot tethered photos -- and edit as you shoot


Capture One Pro 12 allows you to seamlessly capture, organize and edit your images all in one space. But the wide variety of tools and customization options in the photo editing program from Phase One can make the software a challenge for new users.

In this course, David Grover, a Capture One educator and expert, shows you how to overcome the initial hurdles of learning this program so you can hit the ground running. From basic techniques to advanced edits, you'll learn start-to-finish photo editing and asset management inside Capture One Pro 12.

Whether you are new to Capture One, are coming from an older version of the program, or are switching from another photo editor, you'll master everything from import to export. In this class, David shares everything from workflow to editing, exporting and even shooting tethered- all the while giving you helpful examples and visual aids to drive home each lesson. By the end of this intensive course, you’ll be ready to manage and edit your photos in one streamlined process.


  • Beginner and intermediate Capture One users
  • Photographers in need of a post-processing workflow that are working with one of the more than 500 compatible camera models
  • from Sony, Fujifilm, Nikon, Canon, Phase One, and others
  • Photographers who want to enhance RAW images and make them look extraordinary
  • Photographers incorporating tethered shooting into their process
  • Professional photographers switching from another editing program


Capture One Pro 12


As a member of the software team behind Capture One, David Grover is an expert on the ins and outs of Capture One Pro 12. But with experience running weekly webinars on the photo editing software, David is also a respected educator in the industry. Shooting since the age of 16, David is both a photographer and a photo editor. He lives in the UK with his wife and two children.


  1. Interface Overview

    Get acquainted with Capture One Pro with a quick overview of the program, including where the different controls and options are located. In the first half of the class, David walks through a quick start of the software before diving into the advanced tools.

  2. Customizing Your Workspace and Keyboard Shortcuts

    Capture One Pro offers full control of your workspace, allowing you to customize where the controls are situated. Learn how to design a workspace that works for you, along with tips for creating your own custom keyboard shortcuts. In this lesson, David also notes the differences between running the image editor on Mac and on a PC.

  3. Making Your First Catalog

    With a workspace in place, begin working with your images by creating your first catalog. Learn how to create an organized home for your photos in the editing software. Here, David also shares tips for organizing images and maximizing performance.

  4. Importing Your First Images

    Add your RAW files to the catalog in this lesson, picking up tricks for including subfolders and avoiding duplicate images. Work on asset management essentials like where to save files and renaming images.

  5. Virtual Organization

    Starting Capture One Pro with a basic organization scheme will save time and trouble in the long run. Pick up basics on getting images organized inside the imaging software -- and keeping them that way. Work with moving files, managing folders, finding images on the hard drive and more.

  6. Basic Tool Behavior

    Jump into image processing by learning how the different tools work. Pick up essentials like the hidden tools for returning the settings back to zero and reviewing the before and after of just a single adjustment. By starting with an understanding of the options that comes with each type of control, you'll be better poised to diving into the nitty-gritty of photo editing.

  7. Starting Approach to Editing

    What do you edit first? Establish a basic editing workflow and optimize both your time and the image quality. Dan shares tips on which edits to tackle first and why. Work with tools like exposure and white balance, then move into levels for adjusting shadows, mid-tones, and highlights.

  8. Next Level Editing

    Continue layering on adjustments. Learn the difference between the brightness slider and the exposure slider, then move to next level tools like saturation, clarity, contrast, the RGB curve, and the luminosity curve. See a comparison between similar tools to see the difference between each one.

  9. Color Tools Overview

    Fine-tune the colors in images using the color editor and color balance tools. Learn the difference between the two options and how to use each one. Then, move into specifics like the skin tone tool and adjusting specific colors.

  10. Basic Copy Paste Workflow

    Capture One Pro includes tools to help you avoid repetitive work. See how to copy the adjustments from one image to paste them onto the next. Then, adjust the default options on how the tool works.

  11. Basic Export

    Once you are finished with a basic edit, images need to be exported for sharing or printing. Navigate the different export options like file type, recipes, and more.

  12. Getting Started on an Edit

    Capture One is good for more than just quick edits -- get started in more advanced editing tools in the second segment of the class. In this lesson, discuss topics like how much editing is too much, planning the edit, and more.

  13. Adding Layers to Your Toolkit

    In Capture One Pro, layers allow you to apply local adjustments, or changes made only to a small portion of the image. Learn how to use separate layers and masks to fine-tune an image using the brush tools and other local adjustment options.

  14. Radial and Linear Gradients

    The linear and radial gradient masks allow for creating layer masks that follow a shape for local adjustments without painting on with a brush. Work with these two types of masks to fine-tune the image through more local adjustment options.

  15. Luminosity Masking

    The luminosity mask tool adjusts images based on light, applying the masked effect to just the shadows or highlights, for example. Master this more advanced local adjustment to fine-tune the photograph.

  16. More Advanced Layers

    Now that you know how to use layers for local adjustments, see them in action. In this lesson, David walks through layer adjustments on a handful of images to demonstrate the different possibilities of these tools.

  17. Removing Simple Objects and Local Adjustments

    Learn how to remove an object from a photograph inside Capture One Pro. Using the clone and heal layers, remove distractions from images with this toolset.

  18. Advanced Color Edits

    Head back into the color editor tool and build in advanced techniques. Learn how to select and adjust specific color ranges, including helpful shortcuts.

  19. Using the Color Range to Select Just What You Need

    Put those color tools in action on sample edits. In this lesson, David demonstrates how to use the color editor tool to adjust a single object, without affecting the rest of the image.

  20. Editing Colors in General

    Expand your color editing repertoire with several real-world samples. Learn how to use the color tools to enhance the sky in a landscape image or to remove distractions in street photography.

  21. Editing Skin Tones

    Capture One Pro breaks out skin tones into a dedicated tab to better help photo editors easily work with portraits. Find out how to correct skin color to remove redness and other imperfections.

  22. Combining Color Selections with Layers

    What if you have an image with two objects that have identical color, but you only want to adjust one of them? Fine-tune your color adjustments using layers to adjust only a single area of color.

  23. Creating Masks From the Color Editor

    The same selections that you make in the color editor can be converted into masks to adjust more than just the color in that area. Unlike the color tools, this technique can be used to make a selection that adjusts other elements, like sharpness, contrast, and clarity.

  24. Color Grading with the Color Balance Tool

    Get creative with color grading by using the color balance tool. See how the tool works, then see real-life examples of the technique in action. Build your own color grading station by adding a custom tab into the workflow.

  25. Intro to Second Day

    Ahead of a live shoot, get a jump start on what's next: tethered shooting and sessions.

  26. Session Overview

    Unlike a catalog, a session is designed to organize a single event. Learn how sessions are organized, how the software manages the files, how to create a new session and more.

  27. Tethered Basics

    If you've never shot with a tether before, there are a few basics you need to know first. In this lesson, David shares beginner's tips on connecting the camera and computer for a tethered session. Then, see the camera and software prepped for the tether live.

  28. Setting Up Simple Sessions and Setting Naming Conventions

    Tethered sessions do not need to be organized into a single folder. Learn how to separate images into folders as you shoot and how to create a custom file name.

  29. Controlling the Camera

    Adjust camera options directly inside Capture One Pro. Here, David shows how to customize the tethered workspace, how to connect the camera, and how to remotely adjust camera settings.

  30. Handling Next Capture Adjustments

    Start shooting from inside Capture One, then learn how to make adjustments that will apply to all the subsequent photographs. Explore advanced options for tethered shooting.

  31. Using Live View Focusing and Overlay

    See what your camera sees while working remotely using Live View. In this lesson, David shares how to use the Live View feature, along with the Overlay option when working with composites or images with text.

  32. Selecting Images and Using Smart Albums

    With the tethered shooting session finished, choose the images from the live shoot using tools like color tags and ratings. Then, work with filtering options and smart albums.

  33. Saving a Session Template

    Starting a new tethered shoot doesn't necessarily mean starting everything over from scratch. Learn how to save a session template so you can easily re-use that organization scheme.

  34. Overview of Process Recipes

    Process recipes make exporting simple. Build your own process recipes for working with image files inside Capture One.

  35. Tokens Overview

    In Capture One Pro, tokens help organize images with metadata and keywords. Learn how to use tokens to create custom file names based on factors like when the image was shot. Use tokens to save images in specific folders based on their color tag or rating, rather than doing multiple exports.

  36. A Simple Round Trip

    Capture One Pro plays well with other image editors. Learn how to take a photo out of Capture One and into Adobe Photoshop or other programs, then bring the file back into the catalog. Work with a PSD file inside Capture One.

  37. Sharpening Workflow

    Sharpening can be adjusted in three different ways in Capture One. In this lesson, work with lens corrections to apply specific sharpening algorithms, sharpening sliders, and sharpening at the export.

  38. Creating a Recipe for Web Output

    Quickly share files online by creating your own recipe for exporting images. David walks through the options and some of the best settings for prepping images for the web as well as how to preview what the file will look like compressed.

  39. Selecting with a File Name List

    Design a process recipe for uploading to cloud storage and adding a watermark. Then, learn how to easily select images based on a list of filenames, such as when a client sends you a list of the photos that they like.

  40. Using Plugins and Sharing to Clients with PRODIBI

    Plugins can expand Capture One's capabilities. In this lesson, lean how to install plugins and how to use the PRODIBI option for online proofing and galleries.

  41. Image Review 1 - Sometimes Simple Works!

    In the final segment of the course, walk through full edits for various types of shots. In the first set, work with an image that needs just a few basic adjustments.

  42. Image 2 - Radial or Gradient Masks, Object Removal

    Continue perfecting real, RAW images with this pet shot. Work with a radial gradient mask, apply selective sharpening, and more.

  43. Image 3 - Keystone Tool and Aspect Ratio

    Correct perspective on architectural images using the Keystone tool. Then work with structural adjustments, lens corrections, and other adjustments.

  44. Image 4 - Using Styles in Capture One

    Work with styles to make quick adjustments to an entire image. Learn how to work with styles as a layer and further fine-tuning tips.

  45. Image 5 - Black and White

    Continue building your editing strategy and workflow and work with a black and white conversion. Customize the look of a black and white conversion and make monochrome-specific edits.

  46. Image 6 - Landscape

    Correct a landscape image, using tools common for the category like the Keystone tool, saturation, radial gradients, and more.

  47. Image 7 - Portrait

    Explore the tools for editing a portrait. Revisit skin tone adjustments, remove distractions and more in the edit for a casual portrait.

  48. Image 8 - Action in Lowlight

    Editing low light images is often a challenge -- see how to tackle this type of edit. Work with gradient masks, selective brightening, color grading and more. Finally, gain additional insight from student questions.



This is a superb course. David is an excellent teacher. I'm coming to the end of it and have learnt so much. I've been using the software for a year, self-learning as I went along. I had watched the odd David Grover video on YouTube, but never got much further in my understanding of the software. Capture One is brilliant software and to do it justice you need to learn it properly from an expert. Highly recommend this course if you want to produce professional results.


Excellent course and a very engaging speaker. If you are starting with Capture One 12, this is the best class to take. The lessons are presented and explained in an organized way that it shortens the learning curve. Thank you, David. Cheers!

Jino Lee

One of the best course I've purchased. Very helpful and I learned so much more with this course and in a short period of time, than all the official Capture One You Tube videos put together! Anyways David Grover is the same guy who does the Phase One C1 official YouTube videos, so there's no better person to conduct this course than him! Truly excellent and if you think you know all about C1 Pro 12 interface, wait till you watch this course.