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

Lesson 15 of 48

Luminosity Masking

 

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

Lesson 15 of 48

Luminosity Masking

 

Lesson Info

Luminosity Masking

so luminosity masking is a little bit more involved. So if we go to this collection of images here and have a look, okay, so let's remove this one. Luminosity. Masking first requires you to create a mask for it to apply constraint on and to explain. The luminosity mask essentially creates the mask based on luminant values in the image so we can ask capture one to constrain the mass to just the shadows, for example, just the highlights and so on. So we need to have a mask first before we can apply those loomer constraints so we can do this in two ways. We can fill the image with a mask first or weaken, draw a masking and then apply constraint to it. So I'm going to click on the plus and hold this time, and you'll see we have some other options, like empty layer and field layer. So empty layer is what we've been creating so far. So just giving us a layer that we can start to brush in filled layer if I choose this impressed him. This feels the entire lay with the mosque, and there's a cou...

ple of different things we can do with this, but it's very useful for luminosity masking. So now that we have this mosque, we can then put a constraint on it based on the luminosity values. So right up above here, you'll see a button that is called loom arrange. So if we click this, this opens the loom arrange to like so on. What we start off with is basically RGB values from 0 to 255 at the top. Sorry at the top. So shadows down this end much like a hist a gram and highlights up dissent and then the fall off down the bottom. So, for example, if we just wanted Teoh limit our master the shadows, we could bring the top one up and then gradually constrain it down. And then now we've only got a mosque in the shadow areas, like so the two, If you like tags at the bottom, they control the fall off. So how it bleeds into the surrounding tones. So if we move this right underneath, it gives us a very hard fall off. If we drag it out, it softens the fall off. Now we can see the mass changing as we do this, but it's actually a little bit tricky to see exactly what's happening on the image because we're looking at the mosque and we're looking at the image itself, so that's a bit hard to visualize. So if I can't sell out of that and we're going to turn on a really handy thing called Grayscale Mosque so you can see it down here with the same options. It's drama asking a raise mask and so on, and it's option him or about him. So if you remember em to show and hide the mosque, if I do, option him gives me a great scowl mosque. Now, right now, it's completely white because the whole layer is most so white. Areas show you where the mask is. Black areas show you where there's no mosque. So now if we go back into bloom, arrange and start to squeeze down, say, the highlight two bit. We can now see exactly which areas that we're gonna mosque. So if I wanted to just target the mid tones, then I could do something like this. So now the areas and white like the buildings here. These is where the mosque would be applied So the Lumia range tool is saying, Don't touch the shadows. Don't touch the highlights in this case. Now you can see. Right now it's sort of it's a little bit crude, like the edges, a kind of clumsy in the heart. And that might be OK for some adjustments. But sometimes, like if we apply this mosque now free, press him to bring it back. When we start, say, adjusting, it's not actually too bad. But sometimes you want the mass to be a bit softer, so it's less obvious, or we want it to really wrap around edges quite tightly now, like the radio masks the radio one in the linear one. We can always go back in and change the luminosity ranges, so all I need to do is hit the loom, arrange button once more, and we're back into the loo. Marines dialogue. So let's turn on a great scale mosque option in, go back into the loo Marines dialogue and look it underneath these two further sliders. So we have radius and sensitivity by default. Radius is at zero, which means this slider will have no effect whatsoever. So radius is kind of going to control the effect or the strength of the sensitivity slider. So if we bring up the radius slider to a certain level and bring sensitivity down to zero, see, the mosque is now really soft and fluffy. So it's like feathering a mile skin photo shop very similar. If we bring up sensitivity away 200 you could see how it wraps really tightly in it to really high quality mosque around those particular edges. Again, White is Theo areas that's going to be affected by the mosque. So if we just wanted to do mid tones, for example, we could just squeeze this down, and you can very easily see exactly what's gonna be affected. If you want to turn the mask off for any point whilst you're playing around, we can turn that off. Just if you need to refresh yourself what the image looks like. You can turn this check box on and off like so Okay, so let's see how we do in there looks pretty good. So let's say a ploy. I am again to get rid of that mosque, and now any of our red. It's our only on that luminosity range. So in this case, it was kind of just the mid tones. So if we want to just drop the mid toned down a bit as it was a bit strong, weaken do so quite nicely. So it gives you, you know, loads of control. And it's not something which you should start thinking. Well, that's really cool. It is called, but it's not like you suddenly have to think I've got to do this on every single image. Sometimes it lends itself really, really well. Other times it's may be overkill to use it, and it's easier to draw her just by hand. So we created that luminosity masked by filling the layer first. But you can always apply a lunatic in strength on any other mosque. So if we go to this shot here, for example, let's just clear the test one I did. So we've got these two guys here and let's say we just want to lift the shadows a little bit, So if we go to our high dynamic range tool and we lift the shadows, if I just push it harder, you can see exactly where it's happening on the image. Now I want to raise the shadows here a little bit, maybe on him. But I don't actually want it to effect the sides here, so I want to target it a bit more closely. Or perhaps I just want to target target it on the box of here. So what I can do, rather than starting with the new filled layer, are just grab my brush dramas brush, zoom in a little bit, Gonna make this a little bit harder. So right click to get up the parameters. And I'm just going to draw roughly around like so. So that's my mosque. Option him. That's the Grayscale Mosque. So why is where I've just mask? And now if I snap on Blue Marange, I can then start to just limit at mask to a particular particular range. So you see, is I reduce it down. It starts to just snap quite nicely around the body of the box. And now I've gotten too far there, so I can just back that off a little bit on Open out the fallout somewhat Now again, it's still a little bit crude, so it's not snapping quite nicely around the edge. Eso What I'll do is I'll bring up the radius and the sensitivity, and you see it's now Mars quite nicely around that boxer. So if I say a ploy, press Emam, a keyboard can see the mass popping on off like so and now, if I bring up the shadows, it's targeted really nicely just on him. So that would have been quite difficult to do by hand. But it only takes a couple of seconds to do it by the loom. Arrange now. If I started to brush in wherever I brush, it's gonna follow those loom arrange constraints. So if I just wanted to open up the shadows over here, for example, you see as I brush, it's dots lifting that up like so because it's now affecting that zone. And again, if I go Eva a raise, then we can take that away. Like so Now you probably noticed that when we start brushing in, it looks a bit crude. It's like all or nothing, so that's not necessarily the way we want to do. Local adjustments gotta look subtle and natural. So as we do Morvan stuff, you'll pick up on ways how to make it looked like there was no master. It'll cause you should look at this image and you shouldn't see my sort of big, obvious brush flat around the edge here. It should be really nice and natural and shouldn't look bad like that. So we're going to show techniques, help to overcome that, too. But a simple way to drop that mask on their video option m loom arranged just really helps with that. And certainly the grayscale mask you just get rid of that just helps you see exactly where your mosque in as well.

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.