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

Lesson 17 of 48

Removing Simple Objects and Local Adjustments


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

Lesson 17 of 48

Removing Simple Objects and Local Adjustments


Lesson Info

Removing Simple Objects and Local Adjustments

So let's continue and look at removing some simple objects. So let's go to a different one here and let's take this show, for example, because sometimes we have some distracting objects that you want to get rid off. So in this case, we've got some people in the sea on Dis. One in particular is kind of the most distracting. So let's first of all, edit image to a point that we think is good. And then we can start to use some layers. So once again, I think the horizon is off. So let's grab my straight until and drawer along the horizon gives me a perfect place to see, like so on. Then we're going to proceed for crop and crop the image as we see fit something like this and press H to get the hand tool back now. Adjustment wise. Let's look at the levels, too, and it's a little bit dark. So let's bring up the exposure to some extent and let's say a for auto on the levels, and that brings that up nice and snap early on. Then we can just dark in the mid, toned down a bit. And even though this ...

is going a little bit too dark. I'm pretty sure we can bring this up with just the shadows. Slider like so? So that gives us some good based corrections. But we've got some of these, you know, annoying distractions in the background or just turn my mouse located back on that. Didn't wasn't owning the restart. Okay, so we've got some annoying distractions in the background on. We can also use layers to get rid of those as well, but it's a different kind of layer once again. So we had our luminosity masking, drawing masks on by hand. And now we have this different kind of layer, which is called a hell, ORAC Lonely. So if we go over to the plus icon and we say new, he will layer this makes me land has a slightly different symbol, you see, with the sticking plaster here. So if I zoom in to 100% I want to get rid of this guy here. So we do that just by grabbing a dramas brush and you see the brush icon looks likely different. It's got those arrows around the edge, so I know this is a clone or he'll brush. So first of all, I want to pick a point where we're going to take some part of the image and drop that on top of the other bit to hide that guy. So if I ate press option or vote on my keyboard, you see, it changes to across there, So I want to pick a point around here. So then I get a small dot and then I'm gonna brush over this guy, and when I hide the mosque, you can see it's disappeared. Now, this wave isn't lining up to good. So what I can do is hover over this point here. And I could just move that down and match that quite nicely and just brush a little bit more over his head. So that's what we call a repair layer. And as you might have spotted, there was clone or he'll So what hell does is it tries to match the luminosity at the site we've healed up, so it actually blends in much better. So if I change this to clone and what I can do so here, also in the layers to then you could just see the color shift ever so slightly because it's just a like for, like, copy where the hell tries to blend the luminosity in better Now there's a slight limitation, or maybe a big limitation with the way he will layers work is because we can only have one source point per layer. So let's say we wanted to get rid off this person to If I I can't do the option click now because I've already got my source point. So if I start brushing here, then what it's actually doing is copying a piece of the sea, which is at the same distance and direction is the 1st 1 So you see, it's actually picking up the man which we tried to get rid off so I might be out to get away with it if I just move it that way so you can see how it's working like so So it is a bit of an annoying limitation, but you can sometimes get away with it. But in this case, not so good. So if you wanted to get rid of, say, some more people here than we could make additional here layers, but if I'm lucky, I might just be able to get rid of those as well. So there we go. So capture one. It's not a retouching tool, but for getting rid of kind of simple, annoying distractions like that. It actually works really, really nicely. So that saves you a job of perhaps having to go into a photo shop for something else. Let's have a look. It another example as well. We're finish up there. So another example here, which looks pretty good out of camera. Let's just command are to reset. That's how it's come out of the camera itself. I'm just going to rotate a little bit because it's slightly wonky. The way I prefer to rotate is to go into the rotation and flipped all and use my cursor keys. So if I press up and down cursor or shift up and down, shift up and down makes it in 0.10 degree increments, and if I'd issues the cursor key, it's in 0.1 increments. So super fine. So I preferred to just nudge the rotation like that and based corrections. It doesn't really need much doing to it, so we just put in a little bit of clarity. But What I don't like is that their faces are just kind of falling into shadow here, for example, which is not what we wanna have. So once again, our do this technique off the new filled layer so that an image sorry, a layer over the whole image and then we're dialing are adjustments. So probably in this case, I just want to lift the shadows a little bit. But it's not having a huge amount of effect, so maybe a curve is better in this case. So again, if I hover the cursor over the right hand side of her face, it's sitting somewhere down here. So I just lift this point of the curve. Doesn't matter that it looks a bit weird now because we're just gonna brush it in. And also it works quite nicely on the side of her face as well. So let's go back into our layers to let's just remember to name this. So recall this lighten. Grab a brush, gonna right click and make this considerably smaller and have a nice low flow down here, lower the better. There's no disadvantage of going too low. It will just take you longer to brush, but you'll get a better result so we can see what our layer is doing. So let's right click and clear that mosque. And then now I can just gradually lighting it up ever so subtly and the same goes over here a swell. If I turn this layer on and off, then you can just see the ever so slight difference it's made, and again, if it's too much, could just raise a little bit as well. Now, so far, everything we've done on the course I've been using a pen and a tablet. It's not a requirement. I just find it more comfortable and easier to use, especially when we're drawing and brushing. But there's no reason why you can't do any of this with the mouse as well. I just personally find it much more comfortable, especially if you're editing for a long time as well, especially with masking when we're drawing. In a way, I find it quite difficult with the mouse to make those arcs and sweeping movements or quick brushing much, much easier with a pen on the tablet. Okay, so that's just a little tweak that just lifted their faces ever so slightly. Um, over here is a bit distracting. Quite feel. So we're gonna make another layer, and we call that radio Darken edges. Grab our radio, Grady. A mosque where I start drawing. That's the center. So I'm going to sit it something like that. Turn it slightly by going into the center and grabbing one of the handles and just moving that out. Like so and again. If we press em, we can see what that's doing. So let's move it over there a bit. And if we go to exposure, I think that's gonna work pretty nicely. So I could just drop the exposure down can if it's a bit heavy handed. If the shadows getting a bit too dark you might find you're better off with brightness is as that would just bring the mid tones down. But hold on to the shadows a bit. If we drop their exposure down, you see, it's getting quite dark up in this corner almost a bit too much. So I find if we just take brightness down, it's just a little bit or subtle, and once again, if we've gone too far, we could just take the balance. It with the capacity as well on my even d century slowly to as that just brings it, the focus much more on the center now, talking and explaining this to you, You can see you know, you think well, that slow. That takes a long time to do that. As soon as you get fast with this and using shortcuts as well, you can knock out this kind of dodge and burn exercise really, really quickly. So functions like adding a new empty layer or a new filled layer or a clone layer weaken. Do all of this with short cuts as well. Now the reason why you know I choose not to short cuts here is that it makes it very difficult to follow. But at home, I always use shortcuts to that new layer had newfield layer and so on. And to find it if we go to the edit menu, edit cable, Joe cuts find anything to do with layers. So let's just type in layer and you can see we've got Ed adds new adjustment field clone Hell delete and so on. There's even short cuts for the layer rapacity and for going up and down the layers stack like so. So colon and apostrophe here allows us to move up and down the steps quite quickly so you can limit the amount of See, I'm just pressing colon. So semi colon, I can go up and down the layers stack quite nicely. So all of that, we can drive with your cuts to super simple. All right, Um, I think that brings us to almost the end of this segment. So I see that we have a couple of questions coming in from the online audience. But we'll ask you guys first as well. Do you have any questions? All clear is month good? Okay, s So the first question from Nat is there a short cut to undo the crop? Straightening edits that doesn't make your open both tools and reset using the back arrow. Unfortunately, Nat, there is not. So if we crop here, for example. So if we've crop this guy and we want to reset that, there's a one kind of get out thing you can do with the crop tool. If you want to disregard the current crop on the image like you see, I'm in the middle, it's changed to this cross hair, so that means I can only move the crop around the image. If you want to disregard that, if you hold down shift, then I can re draw a crop anywhere. So if I wanted to crop in the middle of this image, I can do so. So holding down shift will disregard that current image. But unfortunately, if I want O reset it, I've gotta go to the crop tool and hit the little reset button. It's a bit of a shame, but there is no way around it. And it's the same for rotation and flip A swell. Okay, thanks. That was there. One more question. A swell from man. Did the shopping algorithm improved in capture 1 In general, I would say no when it came to sharpening, there was some changes in capture one 11. I think it was. Don't quote me on that 10 or where we added Halo suppression, which is a really super awesome slider. So if we pick something that's maybe a tad sharper like this guy, go to this. Watch on. We look at sharpening if we push sharpening too hard and I'm gonna push it really aggressively. Then you start to see if we got to 200%. Then we get these kind of harsh halos. You can see the black around the G when we over sharpened. But Halo suppression is awesome, and it's often miss because it's such a long title halo suppression that you don't even know what it is. It's his halo supper. So what does that mean? But that reduces those halo so you can push this quite hard and bring up halo suppression and you get a really nice balance of sharpening. But it's a little known slider that isn't used that much. So if we go back to 100% like I really aggressively sharpen that and if I go option before and after, it actually looks all right. You know, I would probably brush that in on the watch face because it's maybe a bit too much on the fabric behind it. But for the watch face, it looks fantastic on DWI. Could achieve that with the halo suppression, so no shopping out algorithm hasn't changed, But I'm willing to bet a lot of people don't know that slider exists

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.