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Getting Started on an Edit

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

David Grover

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Lesson Info

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.

Lessons

Class Trailer
1

Interface Overview

04:08
2

Customizing Your Workspace and Keyboard Shortcuts

15:55
3

Making Your First Catalog

07:02
4

Importing Your First Images

11:51
5

Virtual Organization

20:21
6

Basic Tool Behavior

13:32
7

Starting Approach to Editing

24:02
8

Next Level Editing

20:10
9

Color Tools Overview

16:28
10

Basic Copy Paste Workflow

10:40
11

Basic Export

13:32
12

Getting Started on an Edit

05:13
13

Adding Layers to Your Toolkit

10:25
14

Radial and Linear Gradients

08:21
15

Luminosity Masking

10:12
16

More Advanced Layers

22:44
17

Removing Simple Objects and Local Adjustments

14:52
18

Advanced Color Edits

05:31
19

Using the Color Range to Select Just What You Need

05:45
20

Editing Colors in General

03:48
21

Editing Skin Tones

14:30
22

Combining Color Selections with Layers

08:58
23

Creating Masks From the Color Editor

10:28
24

Color Grading with the Color Balance Tool

16:34
25

Intro to Second Day

01:37
26

Session Overview

05:47
27

Tethered Basics

05:04
28

Setting Up Simple Sessions and Setting Naming Conventions

10:11
29

Controlling the Camera

05:08
30

Handling Next Capture Adjustments

07:39
31

Using Live View Focusing and Overlay

19:40
32

Selecting Images and Using Smart Albums

14:55
33

Saving a Session Template

03:51
34

Overview of Process Recipes

05:28
35

Tokens Overview

26:21
36

A Simple Round Trip

14:04
37

Sharpening Workflow

08:06
38

Creating a Recipe for Web Output

15:50
39

Selecting with a File Name List

11:46
40

Using Plugins and Sharing to Clients with PRODIBI

06:06
41

Image Review 1 - Sometimes Simple Works!

08:44
42

Image 2 - Radial or Gradient Masks, Object Removal

07:28
43

Image 3 - Keystone Tool and Aspect Ratio

09:11
44

Image 4 - Using Styles in Capture One

10:04
45

Image 5 - Black and White

09:13
46

Image 6 - Landscape

07:22
47

Image 7 - Portrait

05:06
48

Image 8 - Action in Lowlight

07:46

Lesson Info

Getting Started on an Edit

So now in this segment, where digging a bit deeper, getting more involved in editing and color correction. So everything you've seen this so far is more about basic edit and basic workflow. And now we can flex the muscles a bit more and look at some more advanced techniques or again, other ways toe go about your images as well. So, first of all, um, building on what we've already learned then sometimes, of course, we can't necessarily edit an image in in one hit. And this is where we come to a big part of capture, one which is talking about working with layers or local adjustments, whatever you want to call it. I did a little bit of research on this subject before I came to creative life, because often what comes up when we start extensively editing on image is, is it true to the image itself? Should we not do kind of local brightening and darkening and all kinds of other tricks where we can do because it's not faithful to the original captured one? I tend to disagree with that because...

it's something that's always been done since photography existed when I wanted to show you when I was doing some research is about how people used to work in the dark room. I started in the dark room a very long time ago. How we usedto markup are images and manipulate them at that kind of level. So looking at this image here, I'm just going to turn on some annotations, which is, Ah, capture one feature, which is very easy to use. But I used it in this case just to kind of describe maybe my badly drawn artist way about how we can, you know, work with images a bit more extensively. I'm going to try just this image in a minute without sort of doing anything local to it and then see the condom limitations that we come up with. But this kind of drawings, or even if we go to this one, was very similar on working with Prince that we would sketch on the negative or on our test print and say OK, in this area, it's too bright, so I need to take this down a little bit. His face is too dark, so that's bring that up. To a lesser extent. It's a little bit dark here, So that's lighting that. And in general, we want to darken down this area at the bottom because it's a little bit too light on distracting, for example, so all of those things happened in the past, so I personally don't see why we shouldn't tackle those today as well again. When I was researching this, I found a really good quote, which I'd love to take credit for. But I can't. It's from a guy called Toby de Venson, who happened to comment on one of these articles I was reading about darkroom printing. So I just read the first bit and Toby wrote, to not manipulate and neck in the darkroom would in itself be a crime careless and lazy. There is no way a negative can lead to a perfect, manipulated print each time an artist will naturally seek improvement and perfection a straight print would never fulfill. In fact, a few times I've had a perfect print. I felt cheated and unsatisfied, like I have missed something so strong words. But I think I agree with that. And Ansel Adams also once said, the negative is the score. The print is the performance, and I think we can employ exactly the same thing. We did you toe work as well. So with this image, what kind of limitations are, um, I gonna cup up against? So if we think about all the different things that we've learned so far, let's just reset this one. We do a quick order. What balance Like some and looking at the levels we can see. It's a bit too dark, so I'll bring up the exposure to some extent. But it's kind of nice and moody. I don't make it too bright or too, you know, one interesting. So that's where I'm kind of at the limit for exposure. If I do in auto levels, it's actually not looking too bad. But I want to brighten up our subject a little bit because he's falling into the shadows too much. So, obviously, I would use high dynamic range. So then, if I raise the shadows once I get to this point, he's looking a bit better. But now it's too bright, sort of down here in the foreground. It doesn't, you know. It doesn't look nice. It it's kind of got that. We'd hdr look, which I don't like so the only really, really way to solve this is to kind of tackle it in a local sense. So going back to my sort of crude sketches here about how we would dis dissect this image into different areas that we want to treat on the way we do. That is with working with layers much like you would do with photo shop and that we can target different areas of the image on applied different treatments to it. So in this case, it's mostly about exposure and then, in the other exam example here, talking about working locally with noise reduction and sharpening so on. So there's lots of different techniques we can do with local adjustments.

Class Materials

Bonus Materials with Purchase

Windows Keyboard Shortcuts
Mac Keyboard Shortcuts

Ratings and 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.

Student Work

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