Lessons

Lesson Info

Class Introduction

right. So why are we here? What's the purpose of what we're doing? Why are you and I on stage and why are we on? Yes, what is? Capture one pro, nine. Wiry here. So let's get away from me first. Let's talk about your family, OK? Your perspective on on a photographer, going from something else and finding catch 19 Why? Why? That's a great question for me because I was referred to it. I was told, Hey, you should try and I wouldn't blindly on a colleagues kind of suggestion, and I didn't get it. At first I was one of the naysayers. I was like, Why that I downloaded this. But what I was told was, my images look better. That's the simplest sort of salient point. My images look better, and I thought, OK, I'll have to try. Not that it was not any of the technical. Wasn't any of the workflow anything. It was just Oh, well, things look better. And so I gave it a go. I jumped in, and of course, that's a strictly coming from from my sin Ian side of things. I know there's a lot more technical to it...

. But I started discovering more about it as I went along and I was like, Hold up a second. This thing is, this thing is serious. So that's that's why I was suggested to do it because my images will look better. And then I found out Yeah, that was true. It took me a little while, which I'll talk about to kind of get to the point where I got it. But they definitely looked instantly better after I figured out Oh, that's what this does. How about your side? Why do you think you think why we're all here, though, is that it doesn't come easy and natural? If if you think about starting fresh from photo shop today, I don't know a thing about it. I want to start today and haven't progressed with and you open it up and go, Oh, my God, Did I started. I started. It's the same kind of thing in the problem with capture. Wonder that you can't learn it anywhere. The manuals, um, the manuals, the Army manual manual. Hey, there aren't Immanuel Kant. You can't read anything. There has been the first time a good book was done. It was a book. This year there's a book on Capitol Nine so you can grab that book first time. Uh, but really, you can't see anything very small snippets of videos that will give you this one quick tip you like? Oh, I wanted more. Okay, how do I do this? And so then you're stuck with these little things that you have to piece together. So on my end, literally, Uh, it's not about quality, because it's about workflow. I've started when digital started. I got out of college and we didn't have digital. We had film. And I remember all the people saying a digital that's never gonna I was never gonna take off. And so, learning at the at the inside of the beginning of digital, we had to find a way to We had to find a way toe organizer images. We had to find a way to make quality output. We had to figure out the work flow from scratch before there was capture. One pro before they're all there was was native native software That was very small. So I've been using capture. One sense it started before there was captured, one essentially right when the scanty backs of phase one started that you think, you know, before you feel like my daughter now? So that's why I started from the beginning on have been progressing through it. So the nice thing today is that you'll get my idea of why it works. But my idea why it works is something I progress from lots and lots of years. You come from the perspective of, Well, I should try it. Wow, this does work exactly. It It's a really interesting perspective that will have today, right, And also throw in real quick. Um, let's go into the next light here. We're gonna talk about this major point, but I won't add this. When I was asked to come on here and teach capture one, I was like, Cool, I could do that. I love captured one of the huge evangelist of it. But immediately you can ask Dave. I called him in Atlanta and I said, I think this course would be better if we have the yin and yang coming at it. Because capture one can be very, very accessible to the average independent photographer artist. Absolutely. Can I'm a testament to that at the same time. It can also be scalable to be commercial grade level, big time major projects. Campaigned commercial stuff. So I thought, Okay, it's probably a pretty good idea. I'm gonna ask Dave to come on board as well. So we continue from both sides. But as we go along, you're going to notice today. That is extremely technical, incapable, but also accessible. And that's what we ain't to prove which is coming to the next point. Why use capture one pro instead of light room Now is immediately going in dropping comparisons. And And we're not trying to take shots at Adobe by directly comparing it. But that is what your all asking Because that's what they asked me in my workshops around the country. Okay. You say capture one, you know why not instead of light room now I have my answers on that. Would you like me to go first on that day? Probably my way to bias. Wait. So So I think yours of the non biased answers. Direct, Absolutely thinking. Okay, so the first the first care point on we answer this, believe or not, is to mention Photoshopped capture one is not a replacement. A photo shop? It's not intended to be a replacement. A photo shop Photo shop is Photoshopped. It is the crowning king of visual image editing. Really. Especially when it comes to manipulation and get really down to the nitty gritty. It's not the same capture. One is incapable, but capture one. And Photoshopped, cause that question, I get a lot. Why should I get captured once that photo show you from Texas? Yeah. Could you talk? Really? I do talk that Puerto Rican in me. I can't. Okay. I don't have any rooms. No, but people ask me instead of when they don't have a light room, they say is captured one better than photo shop. And I said, That's apples and oranges. You're comparing the wrong thing. That's for light room. Um, I'm not quite as biases, Dave, but I was never liked room user. And not because I thought I'm better than light room. I don't like light room. It's that Dave goes back to 1907 with capture one. I go back to 1908 with photo shop. I've been a photo shoot guy for 26 years. Yes, that if you do the math. I was 14 years old. 15 So I I go back longer with photo shop. So when lightning came out, was that I don't know what this is and I don't care now. I started learning about it retroactively. Side dabbled in and I never got into it. And when I got into capture one, I realized, Oh, this is what people were talking about. It is so much better than light room to meet David. Different answer. But to me it was about quality. I just love how I move sliders around and things look so much better and capture one. I didn't know why. I don't care why I used to Everything look better. So it's to me explaining why it's better than light Room is is more of an aesthetic thing. It's more about the final results, the smoothness, the capability. Get something looking like your vision in your head without sliding sliders around in changing values and things look chunky and clunky. So we're to be real careful cause I have no intention of bashing Adobe. But at the same time, yeah, capture one of 1000 times better than light room. What do you have to add to that? We're not bashing and Dobie, right? There's no replacement for Photoshopped. Photo shop is is the god of retouching, right? That there is nothing else there is fresh up. There is no second anywhere close. So it's not bashing and will be by naming. But light Room came second. It came second phase one, and I've been doing it for so long that Facebook has been working this workflow from. I mean, I've been doing DSLR and digital back workflow from 2004 and capture one. And so doing it all on capture one for years. And then all of sudden, the product comes out. That does what capture one does, like, go to and go. Oh, he's a pretty little sliders. Is that all right? I mean, it was It was so far behind. Now it's caught up and and it does some things very well, course, but it's one of the things If it is a broken, why am I trying to fix it with something that is not as powerful? When a crease and I use capture one. It iss speed of workflow. Okay. Are you a photographer or you are retouched. Are you a photographer or do you want to sit behind that computer all of your time? How much? How valuable is your time? And to me, I've got three kids. I've got a beautiful wife. I want to spend my time with them. I don't want to sit behind the computer and waste my time if your speed of your workload takes you hours more than it should. Well, that's not That's enough that actually even go any further. We don't need to talk about quality. We don't need to talk about the future set. We don't need to talk about the range of cameras that it can work with. Talk about the time saving so literally. My wife is a wedding photographer. I met her 10 years ago, Um, and she was using light he was using. And you still shooting J pegs, letting everyone know this online, right? J pegs in a room and I was like, Oh, my God, you're married to me. Well, you're getting married to me. You've got to get rid of the PC. You got to start shooting raw and you've got to be captured one. And so I slowly moved her into capture. One absolutely moved her friends in the capture one. Um and the funny thing is, she went kicking and screaming into one of her girlfriends. Saw me speak. And I showed I was talking about capture one that we did a long training date of capture one. And I dried Turner friend to it and her friends like it does this. It does this. Why don't you tell me? What does this why you're not using this? And she was like, Oh, my God. Maybe my My husband is an expert at something, right? I mean, your wife's never gonna think you're an expert at anything, you know? So she went Oh, my friend thinks it's OK then I'll start looking at A couple years later, I heard her talking to another friend and she said, Here's the best three things that ever happened to me. I got married, I had Children and it learned capture one pro because literally, I'm honest to God. She saved three hours of her wedding workflow. Boom, gone. That's three hours more with me. She's so lucky. It's been three hours more with me right now. What? Actually, after she said that she was actually not in that order. So I know that I'm third and captured one that above me. That's okay. Okay. So that speed, if you can get back that speed in your workflow and not spend so much time beyond the computer, that's where I want to be. I don't wanna be a photographer. I want to be a dad. I want to be working my business and marketing and something you want to have a life. What's up with you? Go. But actually, that's funny, because what he's saying there is very important because the feedback I always get on workshops when people asked about capture one is Yeah, I downloaded it. And I don't know, I need to work quicker. So I'm gonna keep using light room. And I'm like, Well, you're not used to it Time out. And Dave's gonna show you guys today why it could be so much better. Why? The workflow is so much just more fish industry mind. So pay attention to that because, yes, I'm gonna be talking about quality and color and just how amazing and enriching it has been to my work. But Dave's gonna really go over that work flows because I think even some friends of mine here in the audience have asked about Well, I need to get stuff out quick. So maybe capture one isn't for me. And I'm like, Well, time out a second. We'll talk about that next light, sir. Right. Please, dio All right, that's true. Yes, And going back to that slide says by the end of this class, you will have a technical understanding of capture One. Make no mistake that as a photographer I mean, I always say this people, you know, I don't think it's another visual medium where you're equally an artist, as you are a technical person. I mean, these cameras or technical software is technical. You cannot straddle, you know, we can't go extreme one another. And the photographers I do know who are pure artists. They struggle, and they actually suffer from not being technical. And in the people who are full technical. No comment on Dave. A lot of times, their work lacks something. It's all technically perfect. But there's nothing else. There is kind of empty. So you need to leave with a technical understanding. Absolutely. All right, which, of course, includes, as we said here, become familiar with the interface. And that's another quick comment on Adobe were all very used to the DHOBI interface. In general, they have their standards about the interfaces work across all their programs. So when you open up, capture one for the first time you think is wrong, it's not wrong. It's different. And today we're gonna show you the salient points that I think you need to know about. So and, of course, like we talk about the workflow and feel confident about improving your workflow in all kind of different photography. Jonathan, we're gonna cover several today. What certain genres are we gonna have? A portrait shooter, but you're going to be talking architecture and commercial in general, right? The best thing I like about my job is that I'll be on set literally with Greg recruits in one day, right? I'll be on set with who's one of the best fine artists out there When it comes to fine art photography and a sweetheart, I'll be then on set with with Tim Griffin, uh, a architectural shoot of the next day. Griffith Wiljan set the next day at a large corporation doing their workflow. I get to see every genre I could to see how everyone's workload or what they what tools they use. I love what I do. I love what I do. And I don't just stick to just the one because, uh, I got to tell you, it's just really interesting seeing the medium. And I love where the medium is going. So there isn't a genre. Hopefully that we don't touch up, I want to touch on everyone. And that's if you have questions out there, please. It pertains to you when we're not covering your doctor, please tell you a lot of us. Yeah, We'll have an answer. Oh, he will Critic died. Who is this class for? Which is the ultimate question, obviously. And we know that everyone watching today vary wildly from I've never downloaded capture I downloaded a year ago, and I I'm okay at it, too. I downloaded last week and have no clue what I'm doing. But everyone and I say this all my workshops, whether it's photoshopped or whatever as a photographer, retouching should not be an oversight. Editing should not be an oversight or something. It's a necessary evil. I hate that it's part of photography and has been for a century or more. So retouching is integral to be him coming a successful photographer. This should not be something that you hate doing that you have to have has to do it. So I really, really believe that photographers want to better understand the post process should be every photographer, period. Yeah, I know people outsource their retouching on that. That's another discussion, but I really think you need to not see retouching as a necessary evil. You need to see it as integral to your company and your, well, your artistic vision as well. This will be me. Photographers want to become more efficient, shooting, tethered. Anything that requires tethering to me sounds very useful, but you'll see when I shoot, I'm very fluid and I move and I improvised a lot. So one of the conversation we've had the last few weeks is my lack of experience on tethering. Obviously, I know the concept of how it works, but to me it's very, very Lehman. You get shot into the computer when you shoot it. Okay, I've done a big deal but there's so much more to that day is gonna go over that. So if you'd never done tethered before, captured one of its personalities, it's personal. I like to know I have it. I like to see the problems that I'm running into while I'm shooting. If I'm out there at this location and I've got all this talent on set, if I have paid for a group of 15 photographers, there is no way we're sneaker netting. There's nowhere way we're going to see if card were tethering and we're making sure now. Also, when you get to productions, you have your art director breathing over your computer, right? You've got to see it. They want to see how much have they paid for that? So when it comes to tethering, I'm I'm a huge proponent of tentative, and if you don't use it all the time, that's fine. But you need to know it because there's going to be that job. There's gonna be that client wants to see it. You gotta have it in your repertoire. It's got in your bag. Like I mentioned earlier. I have been on set before we did that, where someone had an IPad. The client had the IPad. They're looking at the shots that they came in. And you're gonna talk about that a little later with and of course, final point here. Photographers who want to streamline their workflow to start more clients goes back to what we just mentioned and that it is captured. One is about increasing that Streamline that efficiency in your workflow. Especially like you said in the commercial multiple. It was a lot of people involved. Most of my projects are just me, right, So it's a little bit different angle, but either way