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

Lesson 44 of 48

Image 4 - Using Styles in Capture One


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

Lesson 44 of 48

Image 4 - Using Styles in Capture One


Lesson Info

Image 4 - Using Styles in Capture One

now styles and capture. One is kind of if you like a preset, which you might know from Light Group, for example. So capture one has styles and presets, and it's important to know the difference between the two. So in capture one terms, a preset is a tool presets. So if we go to the exposure till thes air exposure toe presets because they only effect the exposure toe itself. So that's a preset in capture. One style, which we confined from the adjustments tab here, is a combination of all those different presets, so it could be an exposure pool, the color balance change, a curve change and so on. So a style was really a collection of preset. Now there is some built in styles, as you can see, and there's also a number of companies capture, one included who sell different style packs, a swell which you can install and use. Now, the unique thing about styles in capture one is once again you can apply them as a layer. So if I go down this list of styles head, this is the PAC called Spring, w...

hich is included by default. So as you roll over the different styles. You can see the image changes straightaway, giving you an impression of what it could look like. So I think I might like to try this one spring number eight, but it's a bit too heavy. It's kind of doing mawr than I would expect it to do. If I click on it once you can see it's shown that I have applied this style spring Number eight. If I hover over it, then it gives me this kind of summary of all the different things that's going on in this style, which is quite a lot now. It's a bit too heavy handed for me, so I'm going to right click and say, Clear that will remove that style. If I go back to spring number eight and right click, I can say Apply it to a new layer. So in one action, capture one will make me new layer, fill that layer and then applied the stylus well. So let's say a ploy to new layer. If we look in our layers till we can see we've got spring number eight, and like any other layer, I can apply or change the A pass ity of this. So I think this is a little bit heavy handed, so zero is no style. The 100 is maximum of that style. So I'm gonna settle. Let's start, because I might change it later with something around here. So now I go through my normal process, see for crop and let's crop this a little bit better. Perhaps something like this press H. Let's get rid of our viewer labels is it's taking up space and think about what we can do next now because we're looking through a car window, I'm guessing it's kind of dark and offer face a bit too much on this side and her eyes almost like two different density. So it's a bit uncomfortable to look at. So what I'd like to do is just brighten up this side. So it matches not perfectly, but a little bit closer to that side and remove some of that hates. So I'm gonna make a new filled layer one small, and let's cool that lighten again at home. I would do hell for short and think about what kind of adjustments that we can use, so I, in this case, would be tempted with using the curve on a loom occur because I don't want to mess with the color too much. Don't know saturation to change. I just want to lift it a little bit. Now if I hover my cursor on a cheek, we can see it's kind of sitting around kind of the mid tone. So I'm going to take a point around here and just lift that up a little bit. So if I turn that layer off, I'm pretty sure it will do a better job off equalizing the two halves of the face. Now I don't reply over the whole a recourse. I'm going to right click and say Clear Mosque like, So grab my dramas, brush, zoom in a little bit and we're gonna make this nice and big and soft and we just do a little bit of lightning over on this side, like so. So I think that's pretty good if we turn this off so you can see before and after. Maybe it's a bit too much, so I just instead of going back and choosing the Rays tool and changing it much, much easier just to go to the A pastie slider and take this down to somewhere in between like suck. So if we zoom back out, let's see where we've got so far. So option. Click on reset. So that's before. And that's after, uh, this time I do want tohave a new empty layer. Then we're gonna call this radio because I know it's gonna be a radio mosque. Grab my read your master or tea on my keyboard, and we're going to do something. I think around like that. So no, a perfect vignette, but something that's a bit more random, so m so we can see the mosque and I'm gonna drop down the exposure. And also because we got this highlight going on up here, I'm going to try to just bring the highlights down quite a bit. So that would just knock that down and also take out the saturation So it's kind of d Ceta rates D. That's a hard word to say. D saturates the edges as well, like So now I get the feeling this is sort of got a bit of a vintage feel to it. The focus is slightly off, or there's a little bit off camera shake, so there's no point throwing in tons of extra sharpening. I don't think that makes picks any sense, but it might look quite nice with some film grain attached. So if we go to the film Grain Tool, I'll bring it out now. A slight caveat about the film Grain Talk is that it doesn't work on the layer, so you can only put film grain on the background layer. It's just a technical limitation, apparently so we have five different types of film. Grain. On what's different about this film grain tool in Capture one is that it does a really good job of emulating the real thing. So a lot of applications that promise to add film grain. It's almost like an overlay on top of the image. Now, if you're actually shooting film, the film grain structure varies whether you're on shadows, mid tones or highlights, so the grain structure varies a bit. So when we add film grain to an image, capture one. It's actually reacting to the image underneath, and it looks much more natural. So let's try, um, silver rich and we have two sliders impact and granularity, so impact is almost like the A pass ity. So the greater the impact, the more obvious the grain is like so so zero No grain, 100. Very obvious green and granularity. You can probably guess is hell chunky. The grain is from very fine to something that's much harder. So it's just a case of playing with those two to getting ah green effect that you think you might like their recent presets as well. So you can always dive through those presets and straight away you'll see the various different grain types. So also means if you find something that you like, So if we just go down these and think actually, let's Troy this one silver plus I think looks quite nice. Okay, So that silver rich with a relatively high impact and low granularity So I've won it slightly more greeny. So I just put that up. That's a really sort of super nice soft grain. Okay, um, do we need to do any other things? Pretty much. I think that's really good. So, um, what I might do? I'm gonna go back to my lighten layer. I think I went a bit too low on the opacity, so I'm just going to bring that up back up again. I feel that I feel that's better. And also, if I bring my brush back and make it a bit smaller just gonna lighten up This are the eyes in touch as well. Okay, so if I hold my option key down again, click on reset, then we can see before and after like so, so quite a bit different. Let's also put them side by side. So we make a new variant. We can see the one we just edited and how it came out of camera. What? It's moved. Film Green Help the way. Uh, what's up? If we want to see both at full screen shift, click your plus button up here and then they're both going to go, and we can see the impact of the grain in that respect. But yeah, it's funny again we by cameras which have super amazing qualities that higher so and then we go on, throw grain back in again it in an application, but it works really nicely and capture one. So if you haven't tried the film grain tool, I'd thoroughly recommend it

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.