To all of you who depend on us, we are sorry for the inconvenience caused by the outage affecting Capture One this past Friday, April 14.
Empower photographers is one of our core values, and we could not deliver on that during the outage. We also wish we had been more open and timelier in communications on our website, noticeboard, and social media. I want to apologize to all of you who were affected on behalf of everyone here at Capture One.
What happened?
On Friday, April 14 at 08:47 PM CEST, our detection systems flagged an outage that prevented many of our users from starting Capture One. Within minutes, our engineering team started investigating the root cause of the issue, and about 1.5 hours later the incident was fixed.
This was an especially difficult outage in that it involved a combination of factors. Our authentication and authorization services were overwhelmed and denied new requests for reasons that were unrelated to incoming traffic, and they ultimately required a restart.
Moving forward
Although an incident like this is very rare, we’re completely committed to making sure Capture One is available to you no matter what. So, we’re working closely with our cloud and infrastructure providers to prevent similar incidents in the future. We’ll also be making changes to the activation and authentication logic in Capture One Pro to make it more resilient to cloud availability. These will be progressively rolled out over the next 6 months.
We have also defined actions we will take to serve our community better in the future through a more proactive approach in our communications.
Over the past few months, I’ve spoken to dozens of photographers and digitechs who have impressed on me the critical role Capture One plays during a high-stakes, time-sensitive photoshoot. To the best of our knowledge, there has been no persistent consequence from the outage, and your Capture One experience should be fully back to normal.
You can always contact our support team if you experience any problems using Capture One now or in the future.
We are grateful for the patience and support of our community, users, customers, and partners.
With a mission to empower marginalized visual artists, Authority Collective is working to end systemic and individual abuse in editorial, documentary, and commercial photography. In their Photographer’s Guide to Inclusive Photography, the group is challenging photographers to think about their responsibility when telling visual stories.
“The guide definitely came out of the recognition that photography, since its inception, has been an extremely extractive space,” explains Tara Pixley about the Photographer’s Guide to Inclusive Photography, which addresses the specific things photographers should consider when shooting stories related to race, gender, sexuality and more.
Tara is a visual journalist, professor, and one of the founding members of Authority Collective, a community for women, non-binary, and gender expansive people of color working with photography, film, and VR/AR to connect and share resources.
It was at a conference in 2017 that Tara and nine other photographers of color got together to create the collective after noticing they had all had similar experiences in the photography industry – many of them experiencing microaggressions from usually male and white photo editors, creators, and colleagues.
“If we hadn’t come together and kind of had this conversation, we wouldn’t have realized that this was happening to a lot of different people. We wouldn’t have come to this realization that it wasn’t us as individuals – we’re not doing a bad job or we’re doing something wrong. It’s actually these microaggressions that are being put upon us,” she says.
Seeing that it was not only photographers, but the also subjects of photography who were facing discrimination, the collective wanted to find a better way for photographers to work with marginalized groups. Wanting to address the fact that a lot of documentary photography work has been done by people who are photographing communities they’re not part of, often in a way that disadvantages those communities, they began reaching out to editorial and photo organizations to help them address this and other diversity issues.
“We started focusing our energy toward interventions and that’s how things like The Guide to Inclusive Photography came about,” says Tara.
Questions for photographers
“This guidebook was attempting to open up that conversation to say, ‘Hey, here are some ethical approaches. Here are some thoughtful ways to critically engage with your photography and recognize the power structures and power hierarchies at play’,” explains Tara and adds that since it was first published, the guidebook has been downloaded almost 10,000 times.
The guide, which was made in partnership with Photoshelter, dedicates chapters to photographing race, the global south, indigeneity, gender, and LGBTQIA communities and addresses the specific things to think about before photographing and portraying each of these groups.
In the end, the guidebook offers a list of questions for photographers to ask themselves to help challenge their own work. Questions like ‘Am I perpetuating stereotypical narratives with my work?’ ‘What are the likely consequences of the publication of my photography?’ ‘Who will be harmed? Who will be helped?‘.
Making room for more perspectives
Tara underlines that the guide is not there to say that people who aren’t part of the different groups covered in the guide cannot photograph them. Instead, the guide offers some ethical approaches to doing so.
“There is no objectivity and neutrality. We are indeed – every single one of us – subjective. So, instead of pretending that [we come with] neutrality, what we need to do is recognize and celebrate where we’re coming from and understand our potential limitations, understand what that makes possible,” she says.
“It’s to make space for all photographers, for all perspectives. Everyone needs to have a multitude of views and understandings in our visual content. We need that. We require it to have a better understanding of the world.”
The guide was edited byTara Pixley and Jovelle Tamayo, who are founding member of Authority Collective. Tailyr Irvine, Mengwen Cao, Danielle Villasana, Laylah Amatullah Barrayn, and Hannah Reyes Morales all contributed to the guide.
Getting back from a wedding with thousands of images to sift through and edit can feel like a daunting task. Having a few tricks up your sleeve to speed up the whole process can take some of the pressure off.
With years of experience working as a wedding photographer, Eric Ronald has gone through his fair share of late-night post-production sessions. But along the way, he has picked up more than a few ways to make the work faster and more enjoyable. In this post, he shares five ways he likes to speed up his workflow in Capture One and edit wedding photos faster.
Custom keyboard shortcuts
When you sit down with a mountain of work in front of you, the question on your mind is probably, “How do I edit my photos faster?”. Eric’s first tip is to cut out all the detours.
“It may not be very glamorous, but the ability to map keyboard shortcuts is huge. It allows me to instantly make adjustments at my fingertips without needing to rely entirely on the cursor, and it speeds up my edits considerably,” he says, having customized much of his workflow to be available with as few keystrokes as possible.
“One of the hardest parts of embracing this method is committing the shortcuts to memory, so what I’d suggest is printing them out for your quick reference.”
To get your own reference list, go to Edit > Edit keyboard shortcuts. At the bottom of the pop-up, you will see “list shortcuts”. This will then take you to your web browser with your shortcuts listed in a format that’s print ready.
“Stick it up somewhere close to your screen so you can quickly refer at a glance, and before you know it, you’ll be hitting keyboard combos like you were playing Mortal Combat on Super Nintendo in 1995. And yes, you can be hitting multiple keys at any one time,” says Eric and adds that for common adjustments like Exposure, White Balance, and Contrast, he likes to map the Speed Edit shortcuts to the exact same keys.
“What this means is that, for example, I can tap ‘F’ to increase explore +0.1, or for larger adjustments, I can push and hold ‘F’ to engage the Speed Edit function, where I can easily make larger adjustments using the cursor.”
“And let’s not forget with the ‘Edit Selection’ function enabled, you can select multiple images in your browser and edit them all at the same time!”
Get it straight with Auto Keystone
“I’m quite a fan of symmetry, and I often find after applying lens corrections, it can accentuate being slightly off-axis, especially on wide-angle lenses. A quick solution for me is the auto keystone feature.”
The Auto Keystone tool, which was introduced in Capture One Pro 22, helps you automatically correct any perspective distortion if you were not able to get the perfect angle. An important step to be aware of is that whichever axis you select under the Keystone Tool (vertical, horizon or both) specifies not only what axis you adjust manually but also which axis the auto adjustment will adjust.
“For me, rarely do I want to adjust both. It’s mostly the horizontal axis I’m looking to fix up,” says Eric.
“As long as there are enough points of reference in the image for Capture One to calculate, it will nail it every time. If not, that might be where you need to fine-tune it manually. That’s where tip #1 comes in – map keystone to your keyboard shortcuts, and you’ll have that dialed in in seconds.”
“I have to admit it took me WAY too long to embrace this incredibly helpful feature,” says Eric about his next tip.
“Simply investing a few minutes in setting up multiple recipes for each of the different image formats, resolutions, and destinations that you regularly need to export makes finishing up an edit no effort at all.”
Eric recommends first resetting your output counter when necessary to ensure that the files you’re about to export start at number 0001. You can do this by clicking the three dots at the top right of the Naming Tool and select “Reset Output Counter”.
“Also, I highly recommend setting up subfolder tokens under the Location tool. What I like to do here is add ‘Recipe Name’/‘Collection Name’. What this means is that Capture One will export all of the images to the output location divided up into subfolders – firstly by recipe name, then within each collection name.”
“The Collection Name is handy for me with weddings as I like to divide the day up into different parts such as ‘Getting Ready’, ‘Ceremony’, ‘Reception’ etc. So, for that to work you’ll of course want to arrange your images into collections first.”
He adds that you should remember to set the Catalog default export location, which you can do under the Location Tool by clicking the little button with a folder and cog right next to the folder selection. By doing this, the location will follow in all of the recipes where “Catalog Default” has been selected as the location, rather than having to set them all individually.
“I really can’t express how much time this saves me and what joy it is once I finish an edit to be exporting absolutely everything I need in just a few seconds.”
Luma range masking
This next tip is handy in a wide variety of applications, according to Eric. But there’s one place where he uses Luma Masking all the time – the sky.
“Usually, it is about pulling back some detail and/or adding some drama. And while the Gradient Tool can get you most of the way there sometimes, when you don’t have a clear horizon, Luma Masking allows you to dial in the luminance of the desired area you wish to adjust and only apply it to that range,” he explains.
“This makes an otherwise tedious task with your cursor or tablet a breeze. However, do pay close attention to the edges of the mask to ensure the best results.”
“When you can clearly see the edges of the mask, try this: in the Luma Range popup, try making use of the Display Mask option where the overlay will make it much easier to dial in the Range, Falloff, Radius, and Sensitivity,” says Eric and adds that it can be helpful to zoom in for fine-tuning.
Eric also explains that you should remember that the mask refers to tone, not necessarily a particular location of an image, so if you have that in mind when creating the mask, you will be able to copy and paste your mask to other similar images to apply the same adjustment even if the composition is different.
Smart adjustments for instant consistency
When it comes to speeding up the editing process, knowing how to bulk edit your images is going to save you hours. This is something Eric has also discovered.
“I couldn’t not mention the most recent game-changing addition to Capture One; the new Smart Adjustment Tool fueled by our new friend AI. This is particularly helpful for me in weddings where I need to edit a large number of images at any one time.”
The new Smart Adjustments feature, which has been designed specifically for portrait, wedding, and event photographers, uses faces and skin tones as guidance to determine which adjustments to make to your photos to give them all a consistent look with just one click.
“I tend to find this most useful for a sequence of similar-ish looking images,” says Eric. “Specifically, for good, consistent results, you want the light on your subject to be similar on your reference images as the ones you’re going to apply Smart Adjustments to. But if it’s not already there, be sure and add the Smart Adjustments Tool to your toolkit.”
How do you use Smart Adjustments? Easy. Just edit your reference image as you like (Eric likes to have both Exposure and White Balance selected for this). Then, in the tool, select “Set as Reference” and simply select the images you want to edit
“To take it a step further, you can even save those Smart Adjustments, including your other regular adjustments if you like, as a Style. I haven’t made a lot of use of this particular feature yet, but I have no doubt it would be super handy for photographers in other fields. The on-the-fly approach of setting a reference and applying as I go works wonderfully for me.”
Bonus round
To round it all off, Eric leaves us with a final tip to get the most out of your editing and save hours down the line.
“I can’t stress enough – invest the time in designing your workspace in a way that works for you. It’s all about having the tools that you need at the ready and tucking away or getting rid entirely of the things you never use.”
“Especially if you’re new to Capture One, this will make you feel right at home much more quickly.”
Having a tendency for introversion and quiet observing, Hong Kong-born photography student Manyi Chan leans into these personality traits with her work. This has resulted in a unique, quiet personal expression in her images, in which she explores topics like her own relationship with food, sexual fantasy, and violence within her specific cultural context as an East Asian woman.
We had a talk with Manyi about how she is finding her voice as a photographer, who she looks up to, and what advice she has for others just entering the world of photography.
Tell us, how did you first get interested in photography as a form of artistic expression?
Since middle school, I’ve been an extremely introverted person, spending much of my time alone and in silence, observing the surroundings and researching material, texture, functionality, and composition of things around me. My interest in photography appeared to come naturally. When I first got a smartphone in high school, I began to take pictures everywhere and intend to record all the intricacies of life that I noticed.
Later on, when I entered the foundation course of university, my love for photography became clearer, and I started to learn how to express myself via the lens. That is when I realized that taking photographs was an integral part of my life, and it really brings me a lot of energy.
You often reference your cultural identity as an East Asian woman. How do you articulate that sense of identity in your photos?
I feel that a person’s personality can be greatly revealed in their photographs. My quiet, bashful personality full of emotions, influenced by the typical environment I grew up in, can probably be seen in my work – in which Chinese culture is dominated by Confucianism, Buddhism, Taoism, etc.; people like to present ambiguity and vagueness as a symbol of beauty. It is always about obscurity, an indirect expression of emotion that will face restriction and injunction.
My present concentration is mostly on myself: confusion about self-identity, family, and intimate relationships, as well as geographical and cultural research of my home region. In the process of creating work, I am in deep communication with myself, which makes me inevitably constantly aware of the unique perspective and ways of thinking that comes with my cultural identity as an East Asian female.
You speak of yourself as an observer. When you play the observer through your camera and lens, what fascinates you?
Light and shadow play important roles in many of my works. As I always say — light makes familiar things unfamiliar, and unfamiliar things become familiar. It elevates the mundane and creates countless illusions.
My favorite approach to photography is to leave ‘blank’, to capture just the hazy feelings of the moment, and in this way, guide the viewer into the story I have created. A pair of slender hands peeling a fresh orange, a potted plant lying quietly underwater, the blurred silhouette of a girl with braids gazing at a street scene through an inverted fish tank. The fragmented visual language, on the other hand, is more likely to resonate with the audience, prompting them to add their subjective memories to it. In my sense, photography is a form of expression that is based on the genuine world but is more than that; it can be both deceptive and poetic, and this fascinates me.
See how Manyi edits her photos, controlling colors and smoothing out skin tones to bring the scene to life.
You’ve used a very interesting phrase: “The moments made of light are pieced together into rhythms that comprise my existence”. Can you explain what you mean by that?
Having my camera pointing to the world feels like writing a diary to me. It’s not about documenting, but also not fabricated indeed – and I was obsessed with this feeling. Once I realized this, I began to consciously look around me for scenes that flowed without any overly clear clues. These short and punchy rhymes shot by myself construct the ideal life that possibly exists in my mind.
I was always concerned about the importance of everydayness through imagery. Through deconstructing and reconstructing the ‘taken for granted fact’, I wish to bridge the gap between myself and the world, to establish a new position in these times of uncertainty and social upheaval.
How would you describe your style? What do you think is its most distinctive characteristic right now?
Perhaps because I have been studying oil painting since I was small, I become very sensitive to color, composition, and contrast of light in the frame. The rich, natural color and clean atmosphere are what I preferred. For me, photography is similar to composing poetry in that I leave logic and notions aside and live lyrically in daily life – the objective things being captured contain all of my feelings.
If I were to characterize my style, I would say it is calm, with enough space for breathing; I hope it serves as a blanket that can bring people warmth and healing.
How has studying at London College of Communication (LCC) helped you become a better photographer?
The photography course at LCC encompasses not only the study of visual communication but also of culture, history, and contemporary society. I learned how to understand art and photography from a philosophical, sociological, and psychological standpoint. The critique sessions between peers and tutorials are also really beneficial.
I think the most important thing that the university brings me is the platform it provides – a chance to study abroad here in London, get to know what the industry looks like, meet lots of interesting people, and so on.
How do you see your career evolving? What excites you the most when you think about the photographic industry?
The opportunity to connect with audiences at exhibitions and fairs is what I treasure a lot. Each time when I receive comments like ‘I was healed by your works,’ ‘I felt empathy,’ or ‘I was driven by you to start photography,’ it makes me extremely pleased.
Since last year, I started exploring fashion photography and portraiture, as well as receiving commissions. I think the most challenging thing in commercial photography would be learning how to perfectly blend your personal style with the client’s requirements. It does bring a sense of achievement when I have completed a piece of work that both sides are happy with.
On a different note, how would you say Capture One integrates in your workflow?
I was first introduced to Capture One when assisting a fashion photographer on a shoot, and it made me realize the importance of tethering in commercial photography. Since then, I’ve always used Capture One for tethering, especially while shooting in the studio. It does not only give clients a preview of the images at first glance but also contains strong compatibility with raw files.
I always require a high level of color accuracy in my workflow, and its color editing system and brush function allow me to polish every detail in the photo — and it’s also very handy for batch coloring in post-production.
Do you have any photographers you look up to?
There are definitely lots of them, but the very first few photographers that come to my mind would be Yoshiyuki Okuyama, Takeshi Sumi, Glen Luchford, Erik Kessels, and Ryoji Akiyama.
Finally, what would be your advice for young photographers like yourself that are just starting out?
Stay honest with yourself – that’s probably the best advice I can give. Photography, or art, for me, is probably about expressing 100% of myself. I truly believe that as long as you keep creating with sincerity, passion, and courage, you will eventually find your own unique style and audience.
Also, it is essential to take a rest when you’re feeling tired and anxious. Social media is a good place for emerging photographers to be seen and contains tons of possibilities, but it’s not everything; focusing on the subject you care about and what you want to do as a priority is the most important thing.
