Capture One

Latest Posts

Linear and Radial Gradients

With the addition of Linear and Radial Gradient Masks in Capture One, the possibilities for efficient layered workflows have expanded. Let’s go through two examples of how they can be used!

I’m not going to explain in detail how to use the tools, as I will focus more on the examples. In the end of this post, I’ll link to the tutorial to cover the tools themselves.

Example 1: Wedding Portrait

This image has three Layers with Gradient Masks applied to them. Let’s go through them one by one.

Radial Gradient #1

The first Radial Gradient is made very big with most of the top and left part left out of the image. It works like a vignette, but is off-center and focuses more on the foreground than the sky. I pulled down the exposure, contrast and clarity to enhance focus on the couple.

Radial Gradient #2

The second Radial Gradient is made to lift the shadows from the couple’s faces. A fair amount of shadow recovery with some negative contrast help eliminating dark shadows and soften up.

Linear Gradient

The Linear Gradient is created to enhance the misty feeling of the background. I made it asymmetrical to make sure the fall-off into the field and on the couple wasn’t too harsh. The only adjustment here is a lift in curves, in particular the end point.

Before/after

The difference here is the three layers described above. This could of course have been accomplished with manual brushing as well, but the parametric functionality (allowing transforming and moving the gradients) adds to the flexibility of the workflow.

Example 2: Linear Gradient + Luma Range

This image has a single Linear Gradient Mask with a specific Luma Range applied. Let’s see how it’s made.

Linear Gradient limited by a Luma Range

The mask above is limited by the Luma Range shown in the tool. Notice that dark areas are left out to exclude the mountain top, while the brightest areas are left out to exclude the clouds. The bright fall-off is soft to avoid weird transitions in the clouds. Additionally, Radius and Sensitivity make sure the edge of the mask is not too funky.

I decreased exposure and saturation to give the sky the look I wanted.

Before/after

Capture One 12 - Linear Gradient Luma Range

The difference on this image is quite dramatic, but still easy and flexible. Both the Linear Gradient and the Luma Range are dynamic, and can be adjusted and transformed if needed.

The sky might be a bit too dark for some of you, but I want to show the power of adding a Luma Range to a Gradient Mask with a visual example.

Tutorials

Want to learn exactly how to use these tools? Watch below!

If you don’t already have Capture One, download a free 30 day trial and try it out.

Are you an Express user? Discover all you can do when you upgrade to Capture One Pro.

New features in Capture One 12

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

The new Capture One 12 offers powerful upgrades to existing tools and introduces new features for efficient workflows. This post will quickly guide you through the best of the best.

Re-designed interface and menus

The design of Capture One 12 has been refined, providing a flatter and more modern interface with bigger font sizes. This will help photographers not only navigate more easily but also decrease fatigue from having too much to focus on.

Additionally, the Tool Tab icons have been re-designed for a better indication of what they represent. Remember, you can always customize the Tool Tabs and their content if needed!

Radial and Linear Gradient Masks

If you need other tools than a brush to create your masks, look no further! Radial and Linear Gradient Masks are here. They are parametric, meaning you can transform them after they are created making these tools dramatically more flexible than what you could previously do in Capture One.

Radial Gradients are the new thing, and they let you create circular masks with soft feathering. They can be transformed, rotated and masked either on the inside or the outside of the round shape. Linear Gradients now allow transforming, moving, rotating and even changing the fall-off asymmetrically.

Watch the tutorial below for in-depth information.

Luminosity Masks

Yes, you read that right. Luminosity masking is now possible in Capture One, and it’s easier than you think.

The Luma Range tool can be applied on any mask, even gradients like the above, and will effectively restrict your mask to certain areas based on the luminosity in your image.

“Why do I need this?”, you might ask. Well, have you ever wanted to desaturate your shadows a bit? Or apply color grading with more control than the Color Balance Tool can provide? Or maybe add clarity to the clouds in your landscape image with a tricky horizon line? Luminosity masks make all of this a breeze. Watch the tutorial below to learn more.

Improved shortcuts with search functionality

It’s no secret that Capture One features a massive library of keyboard shortcuts. These shortcuts are customizable, letting you do most actions with a few clicks on the keyboard.

Capture One 12 makes this much easier. You can now search, not only for features and commands, but also for specific keys to see their function. Additionally, shortcuts for features that were previously inaccessible are added for an even larger library of shortcuts.

Plug-in platform

Capture One delivers an extensive suite of powerful tools to manage, edit and export images. Now the new Capture One plug-in ecosystem allows third-party developers to create plug-ins that can add even more features and capabilities to Capture One’s toolset. The first plug-ins will enable direct publishing, round-trip editing, and open-with workflows.

We are just getting started with plug-ins, much more will come! Find out what’s already available and send us your wishes here: www.captureone.com/en/partnerships/plug-ins

Intelligent copy/apply of adjustments

Capture One has a powerful feature to copy adjustments from one image to others. The functionality will auto-select any adjustments applied to an image, making them easy to apply to other images. Previous to Capture One 12, any composition change, for example, a crop, would also be automatically selected and carried over.

By default Capture One now exclude compositional changes from the auto-select functionality, making it easy to synchronize edits and color gradings between images with different crops and rotations.

Fujifilm Film Simulations

If you have ever shot with a Fujifilm X-series camera, you’re probably aware of the built-in simulations like Acros, Classic Chrome, Velvia etc. Extending on the collaboration with Fujifilm, these simulations are now available in Capture One 12 and will change the starting point of your editing to one of these simulations.

The simulations are available for Fujifilm camera models as Curves within the Base Characteristics Tool.

Want to know more?

Capture One 12 is available as a full Pro version for all camera models, a Pro Sony version for Sony only, and a Pro Fuji version for Fuji only. All of these are available both as perpetual licenses and subscriptions.

Try it out for free with a 30-day trial!

Giving your images a painterly look by Kristina Varaksina

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

There’s a difference between a photographer taking a picture and a photographer creating one. I’m the one who creates. I create images in my head. Then I draw or look for references. Then I talk to my team and discuss how to make it happen. And only after a long prep process we go and shoot. The image from my head comes to life, but still not exactly the way I imagined it. But I know I will make it look right with the help of Capture One. My style is influenced a lot by paintings of 15th century, Renaissance, late 19th and early 20th century. I love softer painterly look and very controlled color palettes.

Here is a before and after of the image I recently shot for project Magical Realism. The one on the left is with the adjustment I did in Capture One.

Contrast and Tonality

I start with Exposure and Dynamic Range adjustments. I almost always go up to +30 +40 on the highlights and +10 on the shadows. I don’t overexpose when I shoot and my details in the highlights are safe, but I prefer my images to look more flat. Flatness gives a softer look. And I like the softness, because it automatically adds painterly quality to images.

When it comes to tonal adjustments it definitely feels like Fuji and Capture One were made for each other.

In this image in addition to Highlight and Shadow adjustments I also opened up a lot of shadows in Luma Curve while keeping the midtones and highlights intact, to create that flatter look. You can see that as soon as the shadows are not as dark, the image starts looking more delicate, tender. All the tonal adjustments were done on the background layer.

Color Adjustments

Next step is adjusting the colors. I create a separate layer and go to Advanced Color editor and start picking colors. I like playing with individual colors, changing their hue, saturation and lightness to see what difference it makes to the image overall. Another thing I need to remember is to not overdo the adjustments, otherwise the edges of the selected area may start looking funky. And in general the color, saturation and the lightness of each selected area should belong with the areas around it. I usually have 2-4 color ranges selected and I change parameters of each, go from one to the other and compare until I find a perfect balance.

In this case I change the Hue of the blue, made it a bit more green, and increased its saturation a bit. I also played with brown colors by subtracting magenta from them.

My third step is color grading with the help of Color Balance. Color toning certain parts of the tonal range gives an image more character and also more depth. I often make my highlights a bit warmer and shadows a bit cooler, therefore adding a bit more separation. However, I never go higher than one third up on the slider to the left of the color circle. It’s important to not make the color grading too noticeable. The whites should still look relatively white and the skin tones should have natural color. It also depends on the dominating colors and the mood of an image where and how much of color grading you want to apply.

Skin Tone Adjustments

Since I mainly photograph people, the step I never miss is Skin Tone adjustments in Color Editor. I make a new layer just for that, I prefer painting a mask specifically on the skin, avoiding lips, blusher and other similar colors that are not skin. Then I either saturate or desaturate skin by 5-10%, depending on the concept. Then I go to Uniformity sliders and add about +20 +25 on both Hue and Saturation, to make the skin tones more even.

In this image I increased the Saturation of the skin tones a bit and I also changed its Hue quite dramatically – I wanted the skin tone to be much warmer that it had originally been captured. Therefore I achieved a nice contrast between the blue in the background and the warmer tones of the skin. I also reduced the contrast a bit more for an additional softness in the face, just on this layer.

Finalizing the look

As a finishing step I click through all my layers and see if I want to tweak any adjustments further, whether it’s tones or colors. Everything should look balanced and reflect my original idea. I love the option of changing Layer opacity offered in Capture One, I can always reduce several adjustments in one move of the slider.

I often work on series of images from the same shoot, for example, a story for magazine, or a designer lookbook. Therefore after finishing my first image I create a User Preset for each set of adjustments or just make a User Style with selected adjustments. That allows me to apply the same settings to each image from the series and then only tweak it slightly.

Below are the before and after versions of the selected images of several looks from the same story.

Before. Although it was the same blue on the walls, due to differences in lighting it turned out differently in the images. The contrast and skin tone also looked quite different.

After. I applied my soft look across the series by reducing the contrast and opening up the shadows. I evened out the blues and the skin tones across the looks.

When I’m done with all the adjustments applied to all the images I always take a break. I get back to it in a few hours or next day. I need to rest my eyes before I can objectively assess the adjustments made. My goal is to find a perfect balance between giving my image a personal look, an artistic touch and making it look unnatural. I stop when I see the image looks right, like I had initially envisioned it.

Color grading Fujifilm files with Bryan Minear

Let’s start with a short backstory. When I made the decision to quit shooting for clients, refocus my art, and pursue landscape photography it was because I naturally gravitated towards nature. I am from a very rural area in Ohio which is considered the foothills of the Appalachian mountains. I grew up with lots of rolling hills, rock cliffs, and waterfalls. Ansel Adams has been my inspiration since before I picked up my first camera. His work showed me not only the raw emotion that you can invoke with a landscape scene, but also the importance of the darkroom in the process. As a young graphic designer, Photoshop became my darkroom, and the post-processing of my images took on a whole new level of importance. I began to see color in a way that I never had before. I began developing my style along the way and shooting with purpose.

Process

When it comes to my landscape photography I live and die by my color. Part of the reason that I switched to shooting Fujifilm cameras in the first place was their deep history in making film and their wonderful color science. Similarly, my first experience with Capture One had that same draw. The tools and integration were a perfect fit for my process, and there is no software that renders the X-Trans files as well as Capture One. As a person who prints big often, I need the best detail quality that I can get. Not to mention the announcement of the upcoming inclusion of the Film Simulation modes. Those played such a pivotal part in my “color revolution” that I will be very excited for native support.

I tend to shoot most at the golden hours. So much of what I do depends on that perfect light and cloud combination, and I have to follow through by choosing the right composition to complement the mood. I begin post-processing my images in my head the moment I click the shutter. I know that I am going to try to draw as much contrast out of the image as I can without over-processing. Typically, this involves pulling the exposure and contrast sliders down a bit, the brightness up, and then balancing out with curves. With Fujifilm I shoot my higher dynamic range scenes by exposing for the highlights, knowing that I will be able to recover the shadows as much as I can with the HDR shadow recovery.

Color

When it comes to color, I have a very specific artistic palette that I gravitate to. I say artistic because I am not ashamed of taking liberties in certain areas. I am a huge cinema fan and I draw inspiration from film and television constantly. One of my favorite exercises is to take a photo and try to replicate a look that I am particularly fond of, never to imitate, but to understand the process behind doing something new. I am not a fan of the color green in the slightest. So I tend to either desaturate and reduce the lightness of my greens, or turn them more to a yellow hue. Along those same lines, I know that I want my yellows to go a bit orange, and my oranges a bit red, and the easiest way to achieve that is by diving into the Advanced Color Editor. I will pick the color area that I want to focus on with the eye dropper and increase the smoothness when needed to include hues a bit outside of my selection range. Then adjust the hue, saturation, and luminance until I am satisfied. I don’t shoot a lot of blue skies, but I tend to do the same thing with my blues. I know a lot of landscape photographers that prefer very vibrant blue skies, but I desaturate and darken a bit as it better suits my look.

Sharpening

Capture One has the most effective sharpening tools that I have ever used. I have a 2-3 stage sharpening technique that I use depending on the subject matter of my image. I realized really quickly that regardless of where your work is being displayed or viewed, learning to selectively sharpen plays an extremely important role in what people are drawn to in your images. Global sharpening alone was not enough for me. I will start with a low amount of global sharpening for my landscapes. Something around 100 for the amount at a 0.8 radius, 1 for threshold, and 30 for halo suppression. (These numbers of course are all relative to the resolution of your file, I am working with 24-26mp images from the Fujifilm X-T2 and X-T3 specifically).

Next I will pull up the focus mask to show the areas of focus in the image to make sure that when I start selectively sharpening that I am doing it in the proper areas. And then I zoom in and paint in the subject or contours of my subject and apply a heavier amount (250-300 amount, 1.5-2 radius, 3 threshold, and 30 halo suppression). The nice thing about this is that it’s a mask, so right away you will be able to tell whether it’s working or not and which areas you really want to add the extra focus. Once you are happy with the results take the opacity of the mask down to around 50-60%. I find it best to overdo an effect, and then dial it back a bit to maintain a level of subtlety.

The last stage is really dependent on the image. Sometimes you can get by without it. But for an image that I know I am posting on instagram, I know I want to give it a little extra “zip” to fight the low resolution of the platform. When I am shooting landscapes I am typically at base ISO on my camera for optimum noise performance. I don’t even bother with it if I have any noise to my image as you will just end up amplifying it with this step. I will paint a mask covering the entire image and set the sharpening to around a 100 amount, 2.4 radius, 2.5 threshold, and 30 halo suppression. The last step is to adjust the opacity to something between 15-25%. And that’s it. Nice images that really have a nice pop to them.

Purpose

As a post-processor my work has gone in a lot of different directions. Like anything, I believe that experimenting is the best way to get acquainted with the tools at your disposal, as well as the best way to grow as an artist. I like to say that I did a lot of things the wrong way before I ever started getting it right, in both shooting and processing. When it came to developing a signature style, it was never something that I set out to do. It just sort of happened over time as my skill set grew. In the same way that my eye for composition and vision became more refined, the processing followed.

I think that one of the most beneficial things that you can do for yourself is to revisit your photo archives often. Whether it is to re-edit a shot in order to utilize new techniques, or finding something that you maybe missed on the first or second pass. I can’t count the number of times that I have looked at my photos from the past and found something I never noticed before that jumped out at me as an obvious keeper shot. I rarely delete any of my photos unless there is really no hope to save it.

I like to tell everyone that attends my workshops something that I learned not so long ago: Though the image is our ‘prize’, the ‘experience’ is worth so much more. The images we shoot end up being gateways back to experiences that we never want to forget. I can’t even count the number of times I have gotten up early (or just never gone to bed) in order to go out and capture something incredible. More often than not, you get let down and don’t end up coming home with what you had hoped for. But it’s these losses that make the ‘wins’ so much sweeter.

So push yourself often, learn the tools that you have, and create something spectacular.

If you don’t already have Capture One, you can download a 30-day trial and try it out!