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

Lesson 16 of 48

More Advanced Layers


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

Lesson 16 of 48

More Advanced Layers


Lesson Info

More Advanced Layers

So they're just the techniques. How do we actually apply this to our various different shots and images? So let's actually do some edits using those various techniques. So let's go back to where we first started. Uh, which was this image like? So Oops. So if you remember, we had, um retouching notes that looks somewhat like this. So we want him maybe dark in this area down a bit. We want a light in his face to some extent, his trousers a little bit to a lesser extent. And we want to just dark and down the front area bit as well. So we got lots of different sort of places to target in a number of different ways. Before we get over excited and start doing alot or local edits, we still have to, if you like, normalize the image, do as much as we can on the background before getting into layers. So right now we can see that the white balance is probably all right. I might just warm it up a tiny bit. So we've got some warmth, exposure wise. If we look at our levels, as I say, I don't want to...

brighten it too much because then we're going to lose the atmosphere. So it's kind of, Ah, a compromise for where all those different areas are if you like. So I'm sort of happy with that, and we're bringing a little bit of clarity as well. So that's as much as I can do without starting to destroy. Remember at the start if I opened up the shadows too much, then it just looks really weird and HDR and over processed and so on. So I just want a lighting up his face and his legs a little bit. Now, as we saw in the boxes when I was brushing it in, it looked kind of crude. On the second boxer light, you could see my brush lines and stroke. So how do we avoid that? So I show you a slightly different technique Now I want to brighten up his face and his legs, as we said, but I'm not quite sure how to do that. I could do shadow recovery. I could maybe do a curve. I could do exposure. Any of those tools might work, but I want to visualize to see the effect that they're gonna have so I'm going to start by making a new field layer. Now, this is kind of similar to working with, like, an adjustment layer in photo shop, for example. So I filled the entire layer. So any adjustment I make is gonna happen over the whole image. So a zoom in a little bit so we can just see his face and think, OK, let's brighten this up. What's the best tool or the best combination of tools? So I'm gonna try Shadow recovering, so that's pretty good. You know, that's brining up his trousers nicely, but maybe the face works quite well, too. So that's that's an option. So if we go to the curve tool, I'm gonna choose Loomer Curve. Remembering what we spoke about earlier that I want to keep the colors constant. So when I brighten something, I don't the color to shift when I darken it, I don't need to get more saturated, so if I hover the cursor over his face, you can see it's sitting somewhere around here. So what I could do is just pick a point there and just brighten that a little bits that actually works really nicely on his face so we could do something like that. What? We could do a combination as well, then we all think him. But this is happening on the whole image. What's the point of doing it this way? Well, this just gives me the ability to visualize what the adjustments going to do. So that's if we turn the layer runoff. That's without the layer, and that's with the layer. So it looks good on him, but it's obviously too much on the rest of the image. So now what we want to do is right. Click on the layer and we want to clear the mosque so that would get rid of my mask. But it will keep my adjustments intact, and then I could brush them back in where I want to have them. So if I say Clear mosque looks like so, but I've still got that little curve and shadow tweak that I did. Now I can choose my brush traumas brush, zoom in a little bit, and then I can start to brush in theater, just mint. Now, this brings us up to using this slider here called Flow, because if I just start brushing now, that looks super bad, doesn't it? Because it's now really obvious that some clumsy guy has just gone in and done a big crude adjustment over the top. So we don't to do that. We want to build it up slowly and then stopped at the point where it looks good. So if I right click and clear that mask once more and now we're gonna brush it back in. But we're going to change our flow control. So I'm gonna bring this away down to, let's say, three or four on what flow is. It's a movement based adjustment. So with excuse me so with flow of 100 as soon as I make one pass of the pen or mouse, then it's gonna lay down all that adjustment in one hit. So if I turn flow down to three, as it is in this case, every time I moved the brush back and forth, it's adding 3% of the adjustment, so it's gonna go 369 12 15 18 until we get to whatever my capacity is set hit, which is 100. So setting it at three, it's gonna give me lots of painting back and forth to build up the adjustment where I want it toe have much like if we were to paint the wall in the studio here. If I had a really dry brush and I brushed back and forth, it would take me a while to fill up a patch. If I had a super wet brush and I did one pass, then I'd cover the world straight away. So it's a similar analogy. So now if I right click clicks, just make that a bit smaller than softer with my flow it three. I can just gradually brush and stop when I think it looks good and now his, um, trails is down here. They need a bit less. So I'm just going to do a quick couple of brushes like so, and you're probably thinking that hasn't made any difference. But if we turn the layer off and you could see before and after, like so and if I want to change that, if I do a raise now, if I think I went too far, my raise brushes on the same flow because I've matched the brush and a range of settings razor settings so I could just go back and then take out if I've done too much. So it really is a bit like painting and drawing to some extent as well. So if I do option em so we look at the grayscale mask, you can see really just what I've added. So that looks a little bit gray. So it's a low rapacity, so my adjustments air coming through less. Where is on the face? It's stronger. It's almost white. So my adjustments were coming through to a greater extent. So if we look at my original sketch, I said I wanted this to be a plus 0.8 of a stop on this to be plus 0.3 so I can now use the same layer and vary the adjustments that come in just by using that flow control. So flow is super, super useful. It's really hard to do these kind of laid and local adjustments without playing around with the flow control, So that's one little bit we've done for him. Let's turn that off. So happy with that, we can turn the light on and off just to see what it's done just lifted him a bit once again I'm super bad at naming my layers. So let's do that. And we call that Brighton Face Face like so And I wanted to. Let's remind me I wanted to darken down this area a little bit. So let's do that. So a couple of ways, we could do this, we could throw in a radio mosque, all we could just try and darken it down by using a big brush. So I think I'm going to try that. So I'm making new filled layer, and again we want to drop this area down. So this is a field layer, remember? So it's gonna happen on the entire image. So what adjustments could I use to achieve that? So we could just drop exposure? Maybe not too Sure if I like that. Because maybe the shadows getting a bit too dark so I could try brightness that would just drop my mid tones down a bit if I hover my cursor on the wall here about here and here we can see where the line is sitting on the curves or indeed the levels. So I'm gonna go for, um, dropping the brightness down a little bit like so. I'm just a tiny bit of exposure, something like that. So it's just darkening it down. But it's not crazy. Um, once again, like I did before, we should name our layer. So I call that dark and warm and we're going to right click, and we're going to say Clear mask once again. So that will clear the mask. But it will keep my adjustments intact. Press beef, a brush right click. I'm gonna make this nice and big and nice and soft, and then we can just gradually brush away and it will slowly darken down. Now, if it's not happening quick enough and you're getting bored brushing right click and just bump up the flow a bit and then now it's gonna jump in much Foster, like so and again if it's too much weaken, take E for a razor. I might drop my flow down a bit, and we can just gradually take out where we didn't want it. So any point I compress b and weaken just selectively just dark and down, burning like we did in the dark room and so on. And if I think I've gone too far, they don't forget you've always got that capacity slider, so that's without the adjustment, and that's 100%. So I'm gonna balance it to around something like that. So that was good to me. And what was the last thing I said on my notes that waas I wanted to just dark and down the bottom here, like so? So we could do that in the same way I could just brush in so I could use the same layer. We could just brush that in quite nicely. But let's use a different technique. So I'm making you later and we call that dark in bottom, I suppose. Grab a linear Grady a mosque and we just draw up like, so shift to keep it nice and straight. Now I think because I want this to be pretty much concentrated to this area, or hold my Okie down and just change the fall off slightly, let's bring that up. So now if I press em, you can see what it's created on our just darken that down a little bit, like so now as it's covering his foot, I've got a couple of choices. I could punch a hole in that radiant mask or what I could do. I could go back to my brightened layer down here, grab the brush, probably make it it's more. And then I just brought in that bit a little bit more like so. So now we've got three different layers in play. We've bright in the face, but it did the legs, too, because it was slightly different. So there's his face. There's this links. And then we darkened our war down so you can see in grayscale how the A pastie varies as well. And then we dark on the bottom, like so so three different layers. And if we, uh, goto our reset button in the layers tool, hold the okey down and we can see before and after. Like so let's actually clone that and we put them up side by side. So we want number one and number four. So number four. I just reset the layers. So you've got number one. Number four. It's hard, my browser so you can see on the right hand side. His face is still very much in the dark, whereas on the left hand side, we've got a nicer balance between his face and then we dark on the wall down, which is was a bit bright, so on. So it was impossible to do that without some level of leads and local adjustments. So that was very much about density, so changing exposure and brightness values over the image. But what about the other one, which we saw earlier on as well? So this had some slightly different criteria and needs. So we still had a little bit about darkening, but also about combating between you like noise reduction and sharpening as well. So it's a little bit noisy. This image. Let's take the annotations off and I just want to reset. So we're back to how it was. If we zoom into 100% see, it's a little bit soft, probably just motion blur from him. Moving may be ever so slightly out of focus, but it's a little bit soft on bits falling out of focus at the back here. I just go to 200%. Now if I start to sharpen this image toe, how I might think it looks good for this part. So if we were to shop in this, let's bring up the show opening the mountain quite aggressively. And also let's throw in some clarity structure adjustment as well, so that sharpening up quite nicely here. But at the back, if I go into 200% starting to get a bit crunchy, it's sharpening up up the noise as well. So perhaps weaken, target sharpening and noise reduction in a similar way too. So I'm going to reset this again on my background layer. Gonna go to my sharpening till I'm gonna put that at zero Hopes so right. Computer froze for a second or welcome. So I'm gonna put that down to zero. So now there's no shopping on the image it'll So now this gives me the opportunity to put it exactly where I want. So first of all, are going to make a new field layer like so double click on it and we call it sharpening like so. So we go up to this bit and remember, this is a filled layer that's gonna happen everywhere, but I just want to visualize where it's gonna be. So let's look can't. So, as I said, if we go to shop me, I'm gonna bunch up the shell opening quite a bit and I'm gonna be quite aggressive because I know I'm just going to target it to the sharpest areas of the image. And then for good measure, I'll also add a little bit of structure A Z. Well, now, on the background land want to make sure that our sharpening is off so that we're really targeting just the sharpening to where we need it. So I'm happy with that now, And I might just add a little bit of extra noise reduction to So we've got a combination of sharpening and noise reduction just so this area looks as crispy as it could. So if we turn this layer off off like so you can see before and then we can see after so much, much sharper. But probably the side effect is if we go sort of into these areas, it's starting to sharpen up on noise a little bit as well, which we don't want. So I'm happy with that. So let's right click and say clear mosque and we've got a couple of choices. We could do a radio mask, maybe, but I just think I'm just gonna brush this in where we need it, So I grabbed my brush right click, and I'll probably still keep the flow relatively low. And then now what we can do is I can just brush exactly where I wanna have that show opening just on these areas, probably about as low as his boot. Isas faras I want to go and keeping that brush nice and soft just means it's gonna feather off into those bots to. So if we zoom into 100% let's go over to this area and we turn this layer on off. Then we can see before and after, So just sharpening those areas. So that's our first job done. What else did we want to do on this image? Okay, we want to darken it and reduce, um, noise in those background areas. So let's do that with a radio mosque, so I'll make a new layer. Andi, let's call this dark and background like So grab my radio. Grady in Mosque gives me the different kind of cursor that cross with the spot on. Then we're just gonna drag out a radio mosque, probably need to spin it around and come out into this area, maybe squeeze it down so it's just a bit more centered on the bike. So if I press m, I can see what that's doing. So I think that will be pretty good. So in this case, I didn't really need to pre visualize it, cause I'm sure that if I just drop exposure, that's pretty much gonna have the desired effect. And I can always play around with other different adjustments to, but I think that looks pretty good. And again if I if I need to feather that a bit more, Aiken just always hop the curse of back over onto the viewer and then feather that off slightly as well. So I'm pretty happy with that, talking it down a bit more. And what else did I need to do? So we've darken that down and maybe what? We want to remove some of the noise as well. Now there's no reason why I can't use the same layer because it's kind of centered in the same area. So as well as darkening the background, it's also gonna just have a bit more noise reduction as well, like so almost done. So let's look at what else So we did our additional sharpening we darkened it down, We reduce some noise and I want a little bit of extra saturation. Over here is well, so I could use the same mosque that we did for shortening. If I do option him, maybe so. That's the mosque there. If I press em, we can see it in bread. But I think what I do is are making new filled layer like so on. Then we're see, maybe with just the saturation slider. I think that will probably give us the desired effect. So if I bump up, the saturation looks pretty nice. So if we turn this layer on and off sets before and after, but I really want the bike to stand out, so I don't necessarily want to saturate the background so again are right. Click and we're clear. That mask grab my dramas brush and we just Pete this in, and I'm still going to keep the flow low because I can give a little bit more off the top here, where his jacket is on a little bit less on the bike as well, and just gradually do that and it may be getting a bit too dark. I'm thinking in that corner now. So if I revisit my darkened background and then I think if if we go back and pick our radio Grady Int Mosque, I can just move it a little bit in that direction and rotates slightly as well. So that's the nice thing about the ladies. We can always go back and finesse and adopt and change a little bit like now. I think I just darken that even more, and so on. If I go to the background if I think you know overall, maybe it's just a little bit too dark. I can still raise my exposure ever so slightly, go back to my dark and background and then dropped in as well. So with all these different layers, you can still juggle it and finesse on DSO on. So it's a lot more flexible than doing everything on one layer because it's kind of harder to back out even if we come to something like the Let's groups just managed to delete that shot. So Command said, always useful s a command said, works on everything, so I use command backspace instead of command, plus to zoom in and it deleted it so command. It got me out of jail there as well. So looking at where was I? So let's go to 100% like so and then with sharpening if I feel maybe that's too much, I could just drop my capacity Dale to where I think it looks good. So it's so versatile with all those different, you know, a pass ity flow and so on. Tons of control. Now, if I turn my annotations back on, I think I satisfied everything that I needed to do for this particular image. So if we want to see before and after, remember okey down click on Reset. So that's before edit and after edits like so.

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.