Capture One

Latest Posts

Steve Gosling’s 3 P’s of landscape photography

This loch sits on the edge of Rannoch Moor – a vast expanse of open land that I frequently cross on my way to Glencoe and beyond to the Scottish highlands and islands.

Adds to the challenge

This area on the west of Scotland has become one of my favourite parts of the UK for landscape photography. It’s a rugged, wild landscape that I find very inspiring. It can also be an incredibly frustrating place to work – the weather is very changeable (as mentioned in a previous post, they say in Scotland that if you don’t like the prevailing weather then just wait twenty minutes as it will inevitably change).

But that adds to the challenge and makes it all the more rewarding when everything comes together in a successful photograph.

The three P’s of landscape photography

When I am running photographic workshops or giving talks I often refer to the three P’s of landscape photography:

Planning – to work out the right time of day and year to be at a specific location (with reference to sun/moon position, the presence or absence of foliage on the trees, tide times etc) as well as keeping an eye on weather forecasts to increase the chance of getting a successful photograph;

Patience – as all landscape photographers know, rarely are we able to just turn up at a location, get out the camera and take a wonderful image. The old adage, ‘if you’ve seen it, you’ve missed it’ normally applies. My usual approach is to set up the camera, fine- tune the composition and then wait for the light, weather conditions, cloud formations and so on to come together in a way that supports what I want to say about the location (based most importantly on what I feel about the location, not just what I see). This requires a lot of patience – I frequently spend hours standing around waiting for all the elements to coincide to give me what I’m after. And of course success is far from guaranteed – going home empty handed is not uncommon.

Persistence – which brings me to the final ‘P’. Revisiting locations is part of the job – sometimes I’ll keep returning to a location over a period of years before I get a photograph that I’m completely happy with.

And that is certainly true of Loch na h’Achlaise. I’ve lost count of the number of times I’ve been to this spot and up until my last trip (when this image was taken) I’ve previously taken only one photograph that got close to reflecting the nature and the spirit of the place.

“Then I had my shot”

On this visit the loch was frozen, the distant mountains were covered in snow and an interesting cloud filled sky sat above them. I set up and waited. Luckily as the day was drawing to a close (and as I was beginning to fear that this would be another wasted visit) the sun broke through the cloud and gently illuminated the mountaintops. I had my shot.

The RAW file below showed that I had managed to record all the required detail in shadows & highlights and also revealed the potential for a successful colour image as well but that’s for the future. My first interest was to get a Black & White print.

As I’ve mentioned in a previous blog I like to get a good quality colour file as a starting point for the conversion process to monochrome.

I began by cropping the image to remove the edges of the frame and concentrate attention on the distant mountains.

I then used the exposure tools (in this case Levels and the Contrast slider) to brighten the image, particularly in the highlights, again to draw attention to the light on the mountains.

I also increased clarity and structure to enhance the detail in the foreground stones (these can be seen in the screen grab below and the result is in ‘the Final Colour Image’ also below)

The next step was the conversion to B&W. For this image I again used one of the presets available as a download for Capture One Pro 7 from Capture One Complete.

In this case I used ‘B&W Style 7’ – although I’ll usually look at the effects of using the other styles and presets, this remains one of my favourites. As is my way I use these as a starting point and then I fine-tune the result to suit my own vision and adapt them for each individual image.

I then added a vignette to darken the corners and adjusted the exposure curve to alter the contrast and lift the midtones.

The penultimate step was to darken the sky through the use of a gradient local adjustment layer,

before cloning out dust marks, sharpening and then exporting for printing.

Image Title: ‘Frozen’

Location: Loch na h’Achlaise, Rannoch Moor, Scotland

Equipment: Alpa TC Camera, Schneider 36mm lens, Phase One P45+ digital back, Gitzo tripod with Manfrotto 410 geared head, Lee 0.6 stop ND graduated and 6 stop ND filters

Exposure details: f22, 1mins 29secs, ISO 50

All the best,

Steve Gosling

Ramp up your efficiency with Local Adjustments

I hope by now you’ve had the chance to explore using Local Adjustments on your images. It has certainly brought the ‘darkroom’ back to my photography.

Capture One Pro 7 allows you to add up to ten different local adjustment layers with individual changes to Color, Exposure, Clarity, Moiré and Sharpening.

The so-called extra features that I am going to describe here are the ability to Copy, Invert and Fill a mask. These three actions can help you save time, and aid in the creativity of your images.

The not-so-red robin

The title image here is a little colorless and flat with no adjustments made in Capture One Pro 7.

My plan for this image is to improve the saturation and clarity of the robin and make it stand out more from the background. I’ll also apply sharpening to only the robin itself, as there are no details to sharpen in this shallow depth of field image.

I’ll start by drawing a mask on the robin. I have selected a fairly hard brush so I can get a good accurate edge.

I am drawing the mask with a Wacom Pen and Tablet, which I find much easier. I wrote about this in more detail in a recent blog post if you want to know more.

It was pretty straightforward to draw this mask so far, but I’ll need to reduce the brush size and add in the beak. I can use the Wacom tablet’s Precision Mode to help with drawing this small area.

To save a bit of time, I don’t need to brush in the centre of the robin (see the first screen grab of the mask) as I can just use the ‘Fill Mask’ command. This will fill in the ‘hole’ in the centre of the mask.

Access this by clicking on the small arrow in the top right of the Local Adjustments Tool. The mask is now automatically filled in.

If I need to, I can clean up the edges a little, but I am pretty happy with the first result! You can also see I have named the layer ‘Robin’ so I can keep track of what layer does what. This is very useful if you have several layers to keep track of. To name a layer, just click on the default name.

Now I can set my adjustments for the robin itself.

I have increased the Saturation, applied some sharpening (I had disabled all sharpening in the Background layer, simply by choosing the Preset ‘No Sharpening’ in the Sharpening Tool ), increased the Clarity and Structure and finally made a selective color correction of the chest feathers with an increase in Saturation and reduction of Lightness.

It looks much better now.

Now to work on the background. It would be a waste of time to mask out the background as I already have the inverse – the robin. First of all, I will make a new empty layer by clicking the plus icon, and call it Isolated Background.

Then copy the mask from the Robin layer to this new layer in the same menu.

Now, the Robin layer and Isolated background layer match, so the final step is to invert it, so I just have my background masked.

Now, the mask looks like this.

Perfect! For the background I have decided to desaturate and darken it a little, soften it with some negative Clarity and make sure no sharpening is applied.

Here is the final result alongside the original image. I hope you agree it is somewhat improved.

Conclusion

Fill, Invert and Copy mask functions are simple but can certainly shave a few minutes off here and there when creating multiple layers. Don’t forget that even after copying or inverting masks, they can still be edited with the Draw and Erase mask brushes.

Best regards,

David

How to fine-tune your Black & White images

The first blog post I did was about converting a fairly simple image (processing wise) into a nice Black & White image.

This second post is based on a more complex image requiring more input and manipulation at the processing stage to achieve a beautiful result.

“If you don’t like the weather, wait 20 minutes”

I am known as a landscape photographer but a lot of the time I’m really a skyscape photographer. Frequently I look for dramatic skies and then find a suitable landscape to go underneath it. Perhaps it’s because I’m based in the UK and although we curse the changeable weather we experience, it does bring with it some wonderfully dramatic cloud formations. And nowhere is this more true than in Scotland (where the common saying is ‘if you don’t like the weather, then wait 20 minutes because it’ll change”!).

A passion for the Scottish Highlands

I love photographing in the Scottish Highlands. It’s a rugged landscape characterised by craggy mountains, open moorland and picturesque lochs. And one of my favourite locations is the Glencoe area. I try to visit two or three times a year, preferring the unpredictable weather and the sometimes theatrical light that occurs in the spring, autumn and winter months.

Great conditions

This photograph was taken in March at the side of Loch Leven facing towards the magnificently named ‘Pap of Glencoe’ (not that it can be seen in this image as it was shrouded in low hanging clouds). It was dusk, the light was fading fast and a strong, cold wind made the clouds sweep across the sky: Just the sort of conditions that I love to work in.

Looking for movement and dynamism

I decided to make the most of the scudding clouds so I fitted a 10 stop ND filter to my lens and selected an aperture of f16. This combination resulted in an exposure of just over 2 minutes – I knew from experience that this would add to the drama in the sky. I use long exposures a lot in my landscape work – I like the sense of movement and dynamism it can add to an image like this.

When I’m intending to convert to Black & White I like to start with a relatively flat original and add the drama at the processing and printing stage.

My aim is to ensure that I record the whole range of tones in the final file so the histogram is a much-used feature on my camera.

In the fading light I didn’t get time for more than 3 exposures but chose this one to work on because the swirl in the water added some interest and echoed the movement in the sky.

Getting the best starting point

Before converting the image to Black & White I always prefer to make basic adjustments to get the best colour image I can as starting point. In this case that involved:

cropping (I removed the foreground shoreline to emphasise the swirling water)
adjusting exposure to lighten the image by adjusting the levels and using the HDR Tool to protect highlights and shadow detail
increasing contrast using the Exposure Tool.

For this image I used one of the presets available as a download for Capture One Pro 7 from Capture One Complete (see http://www.captureonecomplete.com/uk/ ). I often use the available Styles and Presets as a starting point and then I fine-tune the result to suit my style and each individual image (I’m not a fan of taking the same approach to the processing of every image).

I used ‘B&W Style 7’ as my first step.

I then added Local Adjustments. I really like that feature and the ability to make selections in Capture One Pro 7:

I created a graduated Local Adjustment Layer over the water area at the bottom of the photo and increased the exposure to +0.93 to lighten this area.

Finally I spent some time carefully selecting the water with the Brush Tool before lightening it and increasing the contrast.

For the final stages I added a slight exposure vignette to darken the corners, cloned out any dust marks and sharpened prior to printing.

All the best,

Steve

Shortcuts to a faster workflow with your Wacom tablet

NOTE: This article discusses an outdated version of Capture One. To learn more about our latest version, click here.

I personally began using a Wacom tablet to work with Photoshop some time ago. It was more out of necessity as I found it simply too uncomfortable to use a mouse for long periods of time while retouching images.

Never looked back

It took me a couple of days to get used to it, but since then I have never looked back.

More recently I have begun to explore the Wacom preferences and added in some customization of the pen and the tablet, adding additional shortcuts I can use in Capture One Pro 7.

Customize more and work faster

Capture One Pro 7 already supports pressure sensitivity linked to the size of the Local Adjustment brush, but there is so much more you can do to leverage the various options in the Wacom preferences to use other features in the software.

I have found this is an additional way to work faster, as well as using keyboard shortcuts.

The following blog post was written based on using a Wacom Intuos 5 touch, which is similar to the more recent Intuos ‘Pro’ series.

Why use a Wacom Tablet?

I mentioned in the introduction that I moved from using a mouse for comfort reasons. In fact, even for non-imaging applications I still stick with the pen and tablet. I find it faster and easier to use.

If you haven’t tried out a graphics tablet before, then in my opinion it is certainly worth a trial. They consist of a touch and pressure sensitive tablet and a pen. The tablets are available in a variety of sizes with varying functionality, for example how many levels of sensitivity they may offer. You can read more about the Intuos here

Customizing

All functionality of the pen and tablet is changed in system preferences (In this case on the Mac). Here, for example, we are looking at the various options available for the pen:

What I like about the customization options is that they can be application specific.

Note, in the ‘Application’ heading I have added Capture One Pro 7 as an application and all changes to the pen and tablet options will only be made for Capture One. I could continue to add other applications here. Applications that are not shown will use the options in the ‘All Other’ tab.

The tablet has a number of programmable shortcut keys, known as Express keys, while the pen has a two way rocker switch and also an ‘eraser’ on the end – more on that later!

The Pen

I only make a couple of changes to the Pen, namely on the rocker switch. I have this set to enter the ‘Radial Menu’ (more on that later) and to be able to Pan and Scroll.

Pan/Scroll means that when I hold the button down, and subsequently drag with the pen, I can scroll through the thumbnails, for example, and any other scroll action, like moving up and down a web page.

If this does not fit with your personal preference then you can see from the screen grab below, that there are a multitude of options available!

That’s indeed one of the strengths of the Wacom system. Pretty much any input option on the pen or tablet can be set to do a huge variety of actions.

The Tablet

The mind also boggles here with the number of customizable options you can make, but I limit myself to a few changes.

The tablet has a number of Express keys on the side of the tablet. These again can be set to do various different options and keystrokes. I don’t make extensive use of these as I always have my wireless keyboard close by. I do however use the Touch Ring and Radial Menu.

The Touch Ring

The Touch Ring is a touch sensitive scroll wheel that I mostly use for changing the size of the Local Adjustment brush. There is a keyboard shortcut in Capture One Pro 7, that also changes the size of the brush. This is [ and ] – The square brackets.

Therefore it is an easy task in the Touch Ring menu to add this keystroke to one of the Touch Ring options. You can have four different actions of the touch ring, by pressing the centre button to move between each one. Here is the setup page for adding the square bracket keystroke.

Now it is easy when I am working with Local Adjustments to keep one hand on the pen and my other hand on the Touch Ring to quickly alter brush size as I work around an image. The good news is that brush hardness can also be controlled by the shortcut Shift-] so to avoid having to enter the Local Adjustment brush dialog box, I can also use the Touch Ring to change hardness, by setting the Keystroke in a similar way.

See how fast it is to move round an image in this short video clip below. What I wanted to do for the title image was to lighten the background compared to the sculpture. I figured the easiest way to do this would be to mask the sculpture itself and then invert the mask.

Also in this clip, I choose to ‘clean’ up the mask using the erase brush. You can actually flip the Wacom pen upside down to automatically choose the eraser, but I actually find it faster to simply hit ‘e’ on the keyboard to select that option and then ‘b’ to return to brush.

http://youtu.be/EFk3mSR4kj8

If you would prefer to link brush size to pressure, then turn on the option in the Brush Settings dialog box. Access it by right-clicking while the brush tool is selected.

The Radial Menu

The Radial Menu brings up a floating circle of customizable options when you hit either one of the Express keys, or in my personal case, the top part of the rocker switch on the pen. It looks like this.

I have customized each segment with a useful command in Capture One Pro 7. For example creating variants, as you can see in the top and adjacent segment.

So to create a new variant, I click the rocker pen switch once, and then click on the segment itself. Each segment can be changed here.

I haven’t fully decided if this is faster than keyboard shortcuts or menu selections (one thing I find with a pen and tablet is that I can move much faster around my monitor area compared to a mouse), but it does give me another option.

One final mode that I have discovered recently is Precision Mode. If I want to draw more complex masks, it can often be a help.

I have set one of the Express Keys on the side of the tablet to activate this mode.

Initiating Precision Mode concentrates the area of the tablet into one section of the screen.

Therefore you can be extremely precise for mask drawing. You can adjust the size of the precision area too.

I hope you have found the above suggestions useful. I am sure there is more I could do to leverage the tablet even more, so I would be interested to hear if any of you have come up with some interesting ways to work with tablets and Capture One Pro 7.

Best regards,

David