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

Lesson 21 of 48

Editing Skin Tones

 

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

Lesson 21 of 48

Editing Skin Tones

 

Lesson Info

Editing Skin Tones

editing general colors you saw that was all done in the advanced tab. But there's also a specific tab her for skin tones. Now, the main difference between the advance term this one hit on the skin tone tab is that we have three additional sliders under the banner of uniformity. Everything else works pretty much in the same way. The only thing that is different is that the range of these sliders is much less so. It's quite subtle. So if you're wondering, well, what's the point of having a skin tone tab? I could just use the advance tab. First of all, the sliders do a little bit less, and also we have this uniformity banner as well. So let's first of all, let's go back to this gentleman who we started with earlier on with late adjustments. So we've still got some of our edits that we did. So I think that was ah, sharpening and so on. Or in this image, that's just our radio mask like, So if we look at his skin or zoom out a slight bit, everybody has variation in their skin color. No way c...

an avoid that so we can see here is nose is like a little bit redder, and there's a bit of variation and so on. So to correct for that, typically you'd go out to photo shop and you do stuff that I don't know how to do and her correct for those colors. But it's really easy in capture one to do it, especially with this color editor. So in the skin tone tab, we start with the color picker and we look at our subject and we think, What is the desirable skin tone on this subject? So it's not his nose, because that's a bit to read time thinking, you know, somewhere over here or here, where there's a warmer tone. So we're picking the skin tone that we want to represent on the subject. So I'm gonna go somewhere around here and then capture one again will give me an indication, like so, if you want to weaken, turn on view selective color range, and you can see what that's picking up. So I'm gonna just expand this out a little bit because I want to make sure I'm capturing all of his skin tones in this triangle. So which I think I've got pretty much now with the 1st 3 sliders. They work much the same way as the advance tab. So if I wanted to, de saturated skin could come down a little bit. Or if you wanted to saturate, I could do more. But it is kind of very subtle. It's only a small, a small adjustment. Whips helps if you're on the background life one second, So I need to be on the background last. Let's do that again because that first lay was the radio mosque that we don't want to be on that layer. We want to be on the background layer. So start again. I'm gonna click on the desirable skin tone, turn on views, selective color range. And I just want to make sure that I've got asthma. Much of his skin tones as possible. Now, when I'm making it it. So let's see if we grab saturation. You can just see if I go from full saturation toe low saturation. It's a little bit more subtle. Same for lightness, just slightly more subtle adjustments than the advanced. You see, I have a maximum level of 10 advanced. It's much more than that, but the real power comes to uniformity with these three sliders, hue, saturation and lightness. And what happens is if we look at the dot in the center here. That was my picked skin tone as we drag those sliders to the right, everything that's in my triangle will get transformed to that pick point, so everything in that range gets transformed to that pick point. So as we drag you across like so you can see all the skin tones become uniform. If we do lightness, then we get the sort of bad face tune filter that flattens everything else. So now we have a completely even skin tone across the subject, but the issue is it can also affect things that we necessary don't want to effect. Like if we look at his lips, for example. So if we take you back down to zero in saturation, so we've got there more red nose back. But if we bring Hugh up across, it fixes the skin here, but it's also affecting his lips. Now, if you're super lucky, you might be able to just play with the boundaries a bit and fix that the chances are you calling. So what do we do? We have to do this on a layer, and it's really quick and easy to do once you get into the swing of it. So I'm going to reset this. Let's just collapse that down for a second. And we're going to make the new layer, which we're going to call skin tone, who skint skin tone like So now there's two ways to do this. Um, the second method is my preferred method. The first method is the most common one. So we start with the most common one where we grab a brush and we right click and we have a passivity and flow on 100%. And we mask, if you like the area of skin that we want to fix. So I'm going to go around here across the nose like so cheeks, and let's also go up here a swell. So we're a clown mask, as we call it, like so Okay, so just mask the areas of skin that we want to fix em to hide the mosque back into our color editor. We're now working on this layer. A good indication if you you know you're working on a layer because there's a little paintbrush icon that pops up next to the name of the tool so far on the background, which I should have spotted earlier. Then there's no little paintbrush. If we're on the layer, then you see right away you know that you're working on the land. So now we've just got this mast area, so it's not going to affect his lips anymore. So once again, we can grab a picker, pick on the good skin tone, the one that you wanna have across the image as I'm working on a layer. I'm going to span my full saturation range and just wide in this out years to make sure I've got everything I need. And then I can bring the hue all the way across like so, and it only effects that area now. If we go all the way, it's quite a maybe a bit too good. Nobody's that perfect. So we want to have some kind of nuance in there, so I just back it off a little bit on the same for saturation and lightness as well. This kind of image. We don't really want to change the lightness because it's more of a nice environmental portrait. So now if we turn the skin tone layer or enough, we've got the skin tone that we chose. And that was the picked point. Now, if you want to modify what the skin tone looks like, you can actually pick up the point. And then if I just drag it anywhere, you can make the exact skin tone that you wanna have just by moving that point around. So it's really powerful. But now, completely. Even so, that's the first method where you draw the mask on and then make your edits. I preferred to do it in a slightly more such a way. So this is, Ah, you know, relatively common thing that we see that the skin tone on the hands is quite different to what's on the face. If we look around here, you see there's a bit of magenta or read this. She's probably outside and cold, and also it's different on the forehead as well. So rather than draw that mask first, I do it the other way around because I think you get a slightly better result doing some of the techniques that we learned earlier with local adjustments. So first of all, we're going to make a new filled layer. So that's a mask on the whole image. We're gonna be clever and remember to call it skin Tone like so go into our cholera editor skin tone tab. Grab the picker on once again, choose the kind of skin turn that we want tohave. So I'm gonna go around Here's someone like some span my full saturation range Just widen it little bit. Make sure, of course, everything on then go for my hue, saturation and light is probably a bit more than I normally would. I'm gonna overcook it slightly now you can see that's got the undesirable effect of it working on our lips as well, which we don't want. But now I want to just brush it in where I need it. So like we did earlier when looking with local adjustments on going to right, click and clear that mosque Let's just point our color editor grab a brush And now I'm free to brush in the skin tone adjustment where I want now some places which need more of it. I can brush more some places which I just wanna maybe throw a little bit in Aiken brush less so if I right click, I'm gonna drop my flow down again and then look where we need to fix. So let's make my brush smaller so you can see just if I zoom in a bit more. Let's just brush around here, said She's probably cold. So there's just a little bit of variants in the skin tone down here so we can fix that for brush Mauritz gonna be stronger going to avoid the lips because we want them to be their natural color and just to bed around the nose here like so and under the eyes. Right click to make it smaller if you prefer. Just so you know you can use square brackets on your keyboard to go bigger and smaller. You might prefer that or shift square brackets, changes the hardness. So let's fix there and then let's fix around here and then also a larger brush and then fix where we need to, like so simple. If we do option him to look at the Grayscale mosque, then oversee it looks somewhat different to just the sort of clown whilst we might have painted him before, so it's just a little bit more subtle if you know what I mean. And I think that's just a better way of doing it more accurate. And it also means if you've missed anywhere like hold down here, we could potentially, if we were really wanted the skin tone to match, we could drop it. Drop the mask down on this point as well. So it just makes you a skin tone correcting brush. So it's really powerful and really easy to do. This is something I personally would not have a clue how to start in photo shop, but have no idea. But anybody can do this in capture one. It's it's really, really simple. So that's my preferred method. So fill the layer like we did earlier with local adjustments. Dial in the skin tone adjustment. Still, it's about right and then brushing him where you need it. And if you think you're a bit heavy handed like maybe that's too perfect. Rather than going back and fiddling around with the cholera editor, for example, or trying to erase parts of the brush, you've got the capacity slider. So if I go down to zero that's without the edits and then up to 100. That's with the edits, and I've got any range of sort of nuance in between to pick exactly where I think it should be. So if you haven't tried the skin tone tab on the first to admit, it's kind of completely intimidating how to use it at first Because it's a process which you have to do in the right steps will want to nail it down. It works really, really well. I imagine we'd have, ah, similar kind of potential with this. This guy, he has a little bit of whips. Keep doing the wrong shortcut. So he has a little bit of variation, which maybe is an important but just to run through those steps again. New filled layer. Remember to give it a name so you don't forget skin tone. Go to my color and it's a total Just check. We did feel the lion. Yes, go on, click the good skin tones. I'm gonna go around here somewhere, expand this out. So I'm just positive I've got every possible nuance and then bring my huse lighter across can see the change. It's having saturation and lightness to some extent. Now I'm happy to clear my mask. Remember that just gets rid of the mosque. It doesn't get rid of the adjustments. Then I can take my brush closed my color editor. Make sure I'm on a nice low flow and then just brush it in where I need it. In this case, really, It's just the bridge of his nose and maybe just up here really simple and only takes a few seconds. And once again, if you think you've gone too far, don't go back and fiddle with color editor. Just grab your pastie slider and bring it down to where you think is corrected but still believable.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • 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

ABOUT DAVID'S CLASS:

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.

WHO THIS CLASS IS FOR:

  • 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

SOFTWARE USED:

Capture One Pro 12

ABOUT YOUR INSTRUCTOR:

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.

Lessons

  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.

Reviews

Leon
 

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.

lakiut
 

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.