Image 6 - Landscape
So this is El Capitan. I think in a certain point in the year you get this sunset or sunrise, see if the meta data time is correct. 2 30 in the morning, apparently so. I'm not sure if that's correct, but I the sunrise or sunset, you get this effect on the side of El Capitan that looks like it's on fire or a red waterfall. So first of all, we're going to go back to our keystone to, and we're just gonna manually do it because obviously we're standing on the ground or the photographer is and we're looking up eso. It's kind of making the mountain fall over a bit, so it kind of reduces its drama. So if we take the vertical spider and then we can go in this direction and then that will essentially spread out the image like so so it looks a little bit more imposing. So that's before, and that's after, like so if we look at our crop, you could see what it's done. It's just stretched out the top of the image once again. If we wanted to crop outside, we could take that box and then you could see...
, I can actually speak outside of the image and fill that in him. Photoshopped. Later. If I wanted to selects Look at our crop. Gonna do something like this h on the keyboard. It's probably a little bit under exposed, I'm guessing. So if we look at our levels, yes, it is because the hissed a gram is lead over to that left hand side. Eso. Let's brighten it up ever so slightly. Not too much, because it's the sunrise or a sunset. So we don't remove that drama side of things. So just a touch and we go a for all time and we want to bring up the saturation for sure. So let's bring that up. That looks better, I'm told. It does look pretty impressive in real life, a swell. So this is really the focus of the shot. So we want to kind of, you know, concentrate arise over in that direction. So let's add a new empty layer on Let's go for a radio, Grady, a mask. So let's start drawing here, and we're going to sit there right on top of our fiery goodness there. Remember em so you can see the mosque on. I'm going to darken down the outside a little bit and also the brightness as well. Now that feathering is a bit too harsh. I think you're agree. So let's soften that off to some extent as well. So that's a little bit better. Um, if we go back to my background, one thing that we didn't do is play with a bit of clarity, and I'm sure this will lend itself really well. Toe having some clarity. Let's name this one is our radio last radio mosque like so? So that's this one. Now are quite neat. Thing you could do is that you can copy layers so you can duplicate it. So we use that radio mask, this one to darken down those different areas. But I want to get the opposite of that, and just to maybe play around with this area a little bit more so I'm gonna make a new layer, and then we call this the for every bit for one of better expression. And if we right click on that layer, you'll see the option called copy mask from. So I want to copy my radio mosque, so that's going to give me an exact duplicate of that one. But now what I'm going to do is right. Click and invert it, so that gives me the opposite. So it's just this bit in the middle. So now I don't if it's gonna work. But I think if we go for contrast and maybe a bit of clarity, we can make that a little bit brighter. And also where maybe got a bit too much highlights stuff going on. So if we grab our highlight slider, weaken, darken that down ever so slightly and we're still on this part. So that's just this one Here are fiery bit, so why don't we see if we can use the color editor? So let's go to the color editor. Pick on here and I won't make this a bit ever so slightly darker and a bit more saturated as well. So it looks much more orange and so on, so that's looking pretty good. I think now this fir tree in the foreground is maybe a bit distracting, so let's see if we can get rid of that. I'm not sure if it worked, but let's try. So let's add a new hell layer like. So let's call that tree. Grab my dramas brush to make it a little bit bigger, not too soft on. I want to try and pick a source point that's relatively close to it. So if I do option click, let's go here and then see if I can just mosque my way around the tree like so and see I might have to adjust my source point. So let's hide my mosque. Yeah, we just see clipping the edge of the rocks there. So if I pick this up on DSHEA, shove it over a bit, then we can almost almost almost get rid of that. Maybe I've got to go up here a bit. Say, I thought it was maybe a slight risk. Yeah, not too bad. Let's struck back down there. We might be out to get rid of some of it. So let's try that. Why? It's got rid of a little bit of it, but it's not perfect. Maybe if I just dropped capacity down to some extent on brush in a little bit more, there may be my brush was too hard. A swell said to make it softer and then just fill in some of those edges, so it can be a bit hit miss some time. So I think I'm gonna chalk that one up to experience and say, Let's keep the fir tree in. Do a round trip to photo shop Something like content where will probably work really nicely anyway, I think I'm pretty happy with that. So our radio mask is just darkening down those edges. And then the fiery bit that's the inverse of the other radio mosque is just making that a bit richer, more saturated as well. So option key reset. So that's before and after. Like so, if we look at the original by cloning a Berrian, Sorry, let's reset that theory. Genel. When we do the reset, it doesn't reset the crop. And it doesn't reset the Keystone Corrections because that would be kind of irritating to see the image jumping back and forth with that keystone correction. So the research avoids any of those competition composition tools
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
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- Professional photographers switching from another editing program
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.