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Images by Recently graduated photographer Ville Makarainen

RAW Talent with Ville Mäkäräinen

Once on the verge of giving up on his dream of becoming a photographer after a particularly disheartening experience at a photoshoot, recent photography graduate Ville Mäkäräinen is now more determined than ever to carve out a space for himself in the world of photography.

We spoke to Ville about how his love for skateboarding and run on Finland’s Next Top Model led him to where he is today and the anxiety and excitement of taking the leap into a new profession.

I’d like to start by asking you about your origin story. How did you get into photography?

It all started when I was a kid and skateboarding a lot. Me and my friends wanted to get new tricks on tape and as the creative child, I was often the one picking up the camera. It was my dad’s camera, which was probably one of the first digital cameras that could record video.

Fisheye lens is a big deal in skateboarding, and I remember taping up a peephole right on the lens, probably leaving a ton of scratches. We used that camera a lot and after abusing it for a while, my dad got a new DSLR which I later stole again for my projects. After a few years of mostly doing videos, my interest in photos started growing.

I did my military service in a unit called Combat Camera, basically being a war photographer. There we travelled around Finland participating in different trainings and documenting them. I really enjoyed my time there and my interest in photography just kept on growing.

Right before the military, I attended a TV show called Finland’s Next Top Model. My modelling career didn’t really blow up after it but that’s where I got introduced to the world of fashion photography. And I’ve kept that with me ever since and it is everything I want to do nowadays.

You’ve said that you weren’t sure about getting a photography education. Now, you’ve just graduated from Fotoskolan STHLM in Sweden. What made you change your mind?

My earlier experiences of school were really bad. I remember promising myself after high school to never do anything school related ever again. Once I also got to do a lot of photography and be around it for a while, I started romanticizing the word “self-taught”.

Photography educations were disappearing from Finland, and I was thinking that no one really needs them anyways. Everything can be learned from YouTube and how could anyone even teach me how to be creative. Oh boy was I wrong.

Then after my first time assisting, I realized how much there was to be learned. I remember being so disappointed in myself afterwards that I ended up taking a year-long break from photography.

I started working as a flight attendant and enjoyed it for sure. But when the pandemic hit, I felt such a relief being laid off. I moved to Sweden to be together with my partner and felt like I needed something to keep me active. I also had zero friends, so I had to find a solution for all that.

Then the uncomfortable idea of applying to a school arose and after a few hours of Googling I had Fotoskolan STHLM in front of my eyes. I was still doubting it being a good idea, but I applied anyway. I’m glad I did because I can tell you that it was one of the best decisions of my life. It got me going in the right direction with photography and closer to my dreams for sure. Without that school I would probably be back flying.

Follow along Ville’s editing process to transform the colors in his photo.

How did the education at Fotoskolan STHLM impact your journey?

In tons of different ways that I didn’t even think it would. First of all, it brought me to a group of amazing and talented photographers – my classmates. I could always get my ideas to another level by brainstorming with them and I felt like the creative atmosphere in our class really affected the way of my working. School made me ask myself questions, why I do something in the way I do and look at my photos in a more critical way.

During my education was also the time I got familiar with Capture One and adopted it as my favorite tool in the process of making photos.

I learned that there are many ways of working in photography, for example assisting, which I’ve now started to see as a great career option and an amazing way to grow my wings in this industry. I feel like I can almost get the same kick as an assistant as I would as a photographer. I see myself working mainly as an assistant for a few years from now on while I build my portfolio to then become a full-time photographer.

You’ve said that you try to express beauty in weird and unconventional ways in your photos. Could you elaborate on that?

There are so many ways to express beauty and I am experimenting with ways that maybe are not the most “typical” ways of doing it. I don’t mind if the make-up gets messy or the hair is all over the place, those pictures I often end up liking the most.

I can’t really say what beauty exactly is, but I guess everyone sees it a bit differently. Some might think beauty is perfect lines and smooth surfaces. In my eyes it is when things get a little rough around the edges.

I guess some of it might come from me trying to prove something to myself. I had severe acne as a teenager that left my face full of scars. During my short career of modelling, that was something that made me really insecure. In my work I’m basically battling with my own issues of self-acceptance.

How would you describe your style?

It is always difficult to look at my pictures from a “third person view”, but I could say I’m quite experimental in my photography. It might be because of my journey being in an early stage still finding its form, but I love experimenting with new ideas and techniques and I hope I always will. I feel like I get inspired by so many things and I want to try them all at once.

I could also describe my style as being surrealistic. Usually, I’m not satisfied with just a picture and usually go further in post-production with Photoshop or even a pair of scissors.

One of my big inspirations has been a French photographer Claude Cahun who made a great impact in my way of processing pictures.

You’ve focused on different aspects of photography during your journey, from being lead photographer to assisting and digiteching, you’ve done a bit of everything. How did all these experiences influence your practice?

Trying all these roles has helped me to relate and understand everyone involved. As an assistant I can put myself in photographer’s shoes and understand how stressful it can sometimes be when you feel like everything is on your shoulders.

As a photographer I get the importance of communication and want to be clear about everything during the whole shoot and also appreciate the difference it makes to the whole workflow when all the files are in the right places with the right names. Everyone plays such a role and a missing member in the team is like running without shoes, it is possible but definitely painful.

I’ve also discovered how important making a look that is applied to the pictures during the shoot is. As the camera is tethered and images roll in, your team will already get an idea of the final product when there is a look that kind of covers the RAW file. It is also easier to make changes to the look and tweak it to the direction everyone hoped for when everyone in the team is present.

Shifting gear now, what role does Capture One play in your process?

I have Capture One as a huge part of my process and can’t think of working without it. As an assistant and digitech, it is where I spend most of my time.

I start the shoot with creating a new session and making the folders we need. During the shoot I make sure everything looks as it should and that the file names are right and everything ends up in the right place.

When it’s my own project I always make a look on the pictures that is as close to the planned final result as possible. Then in the end I process the images from Capture One to the desired format.

Also, I have never experienced any other good way of tethering. In the work I do, which is mostly in studio, tethering is essential, which makes this program a must have. Capture One has such a great variety of tools so I can use it almost from start to finish during the process. It is only the more advanced retouch I do in Photoshop. I would say that I do 80% of the photos in Capture One.

What aspects of working with the software do you like the most?

The software is handy in many ways, and I appreciate its versatility and smooth interaction with other programs. But I’m personally having the most fun with the creative part of Capture One which is making looks and manipulating colors.

The interface is easy on the eye and yet has so many functions that I feel like I still have a lot to discover. And that’s what makes it so fun, the fact that no matter how hard I push it, it still has a lot to give. The way it handles color is amazing and being able to affect every little detail in kind of a playful way makes my inner nerd cry of happiness.

Also, I have to mention the way Capture One organizes all the files in the session folders is just underrated. It helps the workflow a lot and makes doing backups better. Also adding and removing folders in the capture folder is super easy and works great together with Finder.

In your opinion, what are some of the most inspirational photographers out there right now?

For the past few years, I have been really inspired by a Paris-based Finnish fashion photographer Osma Harvilahti. I love the color palette in his work and how the pictures feel alive. He also has this surrealistic touch on his work that really makes the photos interesting, and it is always exciting to see what he comes up with. I think it is also him being a fellow Finn that makes me appreciate him a little extra.

On the analogue side I have gotten a lot of inspiration from a Danish fashion photographer Daniel Stjerne whose peaceful style got me thinking that less is more. Then on the digital side the New York-based fashion and beauty photographer Mikael Schulz. His creativity shines during the shoots, and he brings the best sides out from everyone. His crisp and playful style really influenced my photography especially on the beauty side. He is not only a great photographer but also a very inspiring human being.

Finally, what’s your advice for young photographers like yourself that are just starting out?

It feels funny to give advice to anyone being in a big need of it myself. But I guess what I’ve learned so far is how important it is to have fun. Sounds very obvious but I really have to remind myself of this quite often.

You probably chose this career because it is your dream job, so don’t get too corporate with it. Keep in mind why you’re doing it and let loose. Don’t be scared of screwing up because sooner or later you are going to do it. It is actually the best way to learn. If you really want to stand out, then there is no safe road. And if you’re in school right now then it is the best time to test your limits.

Also, what I struggled with a lot, and still do at times, is comparing myself with others, often to people who have been in the industry for a lot longer than I have. Don’t do that, it is only going to make you stressed and uninspired. Keep your eyes on your own road and again try to think why the people who inspire you are so amazing. They are most likely not trying to be like everyone else, so why should you.

Your mom was right, you are beautiful and amazing and with the talent you have you can do anything. You’re doing great sweetie!!

New to Capture One? Try it free of charge for 30 days here

Day in the life of a photographer at Copenhagen Fashion Week

While still in the shadow of its more established New York, London, Paris or Milan counterparts, Copenhagen Fashion Week has, for the past few years, carved out a place for itself in the fashion world as a front-runner in sustainability and is turning heads among trendsetters and influential personalities within the industry.

As more people open their eyes to the trends coming out of the Danish capital, the photographers who are there to capture the latest designs, street style, and behind-the-scenes moments are busier than ever.

We followed local fashion photographer Mark Dexter who pulls up the curtain on what it is like being a photographer during fashion week in Copenhagen and the new tools that let him go from location to location without stop.

On a misty February morning on the streets of Copenhagen, the sun is slowly starting to peek out between the buildings, hinting at the first signs of spring after a long and dark Scandinavian winter.

“The weather can be really bad some days. Especially during winter, you don’t want to be outside in the cold and rain, waiting around with your gear. But the show must go on,” says Mark Dexter, referring to the one part of shooting at Copenhagen Fashion Week that he is less excited about.

The Filipino-Australian fashion photographer has been living in Copenhagen for the past decade, becoming a part of the Danish fashion scene through shooting campaigns and editorials with brands and magazines.

“In their natural habitat”

Today he’s on a busy schedule. Starting the day together with Fumina Tsuji, who is covering the events of the week for ELLE Japan and her thousands of Instagram followers and attending every single runway show. Together they are capturing her and other influencers, journalists, and industry people’s best street style as they move from one show to the next, changing outfits along the way to get the most out of the celebration of fashion happening all across the city.

“I wanna try and catch my subject in their natural habitat, hitting their strides. You’ll get a sense of confidence,” Mark says.

“Being part of an event that’s full of creative people and free to express themselves in any way is the best. Some are luxurious, some are outrageous, but it’s all individual, unique taste.”

From capture to published in minutes

Following Fumina as she moves down the streets of Copenhagen, Mark is shooting tethered directly from his Fuji XH2S into Capture One for iPad. With his assistant staying close, holding the tethered iPad, Mark moves around freely while capturing Fumina and the rest of the audience getting ready for the next show. Occasionally he stops to review the images on his tablet.

“At this point, I probably don’t have a style, but at the same time, I’m analyzing my images to look for consistency in them.”

With a few quick edits, Mark exports and airdrops the images to his subjects, making them ready for publishing online in just a few minutes.

“It’s amazing that I can check the pictures of me taken by a professional photographer via iPad, select my favorite one, and post it on my social media literally without waiting,” says Fumina, who is sharing moments from the day as she goes with her followers on Instagram.

The devil is in the details

It’s time to move on to the next assignment. At one of the week’s highly anticipated shows by Danish clothing brand Wood Wood, Mark has been called in to capture the anticipation and buzz backstage as the models get ready for the runway.

“I am looking for details,” Mark explains. “If you can get access to backstage, then you have a bit more edge over your competition for obvious reasons. Here you can capture all sorts of angles and energy. Details of the garments, pieces, and hairstyles, you’re basically part of the process leading up to the show.”

With the iPad still tethered to his camera, Mark reviews the images with the client and makes a rough selection before the main event starts and the models line up to enter the runway in front of the expectant crowd.

“A good workflow is essential”

Wrapping up the shooting part of the day, Mark joins the crowd of photographers that have gathered at the end of the runway to get the best shots of the new styles coming towards them.

With the last shot of the day in the bag, Mark does a final review of the images before packing up.

“A day at fashion week is so hectic. So many angles to cover, not just in the shooting and framing sense. A lot of preparation, coordinating, movement, and people management goes into it.”

“So a good workflow is essential.”

See more of Mark’s work on his website.

Want to see what Capture One for iPad can do for your workflow? Download it here

Behind the image – 10 minutes with Mads Mikkelsen

There is pressure in photographing one of your idols. Having only 10 minutes to set up and get multiple good shots of your idol takes that pressure to a different level. On assignment for Scandinavian Traveler (the in-flight magazine for Scandinavian Airlines), Danish portrait photographer Andreas Houmann took on the challenge of getting a cover and a spread of the world-famous actor Mads Mikkelsen while working against the clock.

Join us behind the image with Andreas as he shares how he spent 10 hours preparing for the 10-minute shoot and got what he needed without compromising on his vision.

Let’s start from the beginning. What was the brief you had for this job?

The brief was quite open because it was my first assignment for [Scandianvian Traveler], but they had seen many of my images and liked my style. So, it was up to me to create what I wanted.

I was told that I would have 10 minutes with the actor Mads Mikkelsen. From that, they wanted a cover shot and five to six images for the article.

My first thought was that that’s impossible. But after thinking about it, I realized what a great experience it could be. Mads has always been one of the top Danish people I want to meet and create a great image with. So, I told them I’d do it.

How did you go about planning the shoot?

Even though I knew I would only have 10 minutes, I didn’t lower my expectations for the final result. But to be able to create something special in such a short time, I knew that I had to plan everything down to the tiniest detail.

The most important thing for me was to not create an image of Mads that you have seen before. When you photograph famous people, they’re often just as cool as they seem. And so, I could have just taken a photo of him on a white or black background where he’s just looking into the camera, and that would also be a great and cool image. But I wanted to add something more.

Therefore, I knew I had to plan everything very thoroughly. I started to create a mood board, searching to see which kinds of images already existed of Mads.

I also knew that we would be at the d’Angleterre hotel in Copenhagen. I was told that we had a suite, but not which suite. So, I checked all the images of all the suites on their website.

With so little time, it was important to me that we had a controlled setting where I would know which kind of light and background I would have to work with. When you only have 10 minutes, you can’t wait for the sun to appear. So the day before, I went to the hotel to search for any cool places inside.

I was also talking with Mikkelsen’s PR manager, who told me that if I needed to set up any equipment, it would be a part of that 10 minutes. And at that time, I had planned that I could come three hours before with my team, and we could set up and test everything in the suite before Mads would arrive.

So change of plans. Now the question was, “How could I still create a studio setting without using any of those 10 minutes?”

Because I had to use all the time together with Mads in front of my camera, we had prepared the background to fit exactly into the space. So, when Mads arrived, my assistant could quickly pull up the background while I was saying hello and presenting the idea. He’s such a kind person. So, it was important for him also to say hello to my assistant as well. And then we started shooting.

Did you know what kind of shots you wanted to get before the shoot?

I have a folder with over 5,000 pictures in it, and whenever I see an image I like, I save it and put it into that folder. It could be an interesting pose, something about the colors – it can be anything, but it goes in there so that I have an inspiration folder with only good images to get ideas from.

I have always been a fan of hands and faces, and I knew I wanted to create something with the hand and the face.

What was going through your mind during the actual shoot?

In my head, I knew that I couldn’t use the 10 minutes in front of the background because then I wouldn’t have anything else to show.

So, because I was aware of the time limit, I told my assistant to let me know when the first two minutes had passed. I had said to myself that four minutes was the limit for when I had to move on to the next setting to get the images for the spread inside the magazine.

In the end, it only took us two minutes to get this image. I had shown Mads the mood board to explain my thinking. That’s the great thing about working with artists and actors; they are professionals, so he got it right away.

What kind of direction did you give him?

He liked the idea of the hand, and I asked him to drag his hand from the top of his head down across his face because I like to have movement in my photos. It looks more natural than just standing there with his hand covering his face.

I want to create a space for the talent or the model to have free movement on a shoot. It’s very, very important that you, as a photographer, let the model or the talent know what you want to create and help them. But still, on the shoot, it is also important that you capture what comes in between. I always end up going for the in-between shots.

That’s often when you get the magical and personal shots.

Behind the image with Marie Hald

Three photographers on finding their creative voice

What equipment did you use?

I used my Canon RS with a 50-millimeter lens and only had one light – a Profoto B10 with a beauty dish.

What settings did you use to get the shot?

F./5,6
1/200 sek
Iso:160

What have you done to the photo in post-processing?

I did some minor retouching of the skin. He’s a good-looking guy, so it didn’t take much. But I liked the idea of making it black and white and keeping the minimal colors.

Did you work with anyone else to get this photo?

I had an assistant with me on this shoot. The support of having a person I trust a 100% at my side who has their eyes on the lights so that I can focus on shooting is great.

When working with my assistant, stylists, makeup, or fashion stylists, it’s important to me that everyone is part of the team. Because if everyone on set is having a great time, then everyone wants to do the best thing to succeed. The atmosphere is just much nicer to be in, also for the talent or the model or the actor.

I let them know that if they have any great ideas or see something that I don’t see, to let me know because I only have two eyes.

You have a lot of experience working with well-known people. What is the secret to getting a good shot of them?

I always see the model or the talent as equal to anyone else. Even if it is one of my idols, I always meet the person in the same way. I let them know that my only goal is to create the best image and show them that I am well prepared. And when you do that, they relax.

I always let them know what my plan is and tell them that if they don’t like some of my ideas or have any comments, they should let me know. I like to let them be a part of the decisions. But still letting them know that I know what to do.

I also like reading articles about the person I am photographing, and I often try to go back and see what they have said and done in the past. It’s easy for everyone to know what is going on right now. But knowing something that is not just about the new film they’re making, showing that you have done some research, tells them that you’re willing to go a little bit further to get a good shot.

A picture says a thousand words. What do you think this image says?

I think this picture is more of a mood than a story. It wasn’t important for me to create an image with a particular story here. I’m very much into aesthetics, authenticity, and presence. Those were the three main goals for me in the picture.

And what I really like about this picture – and maybe it is something I always like – is that you don’t see everything. Because, as a person, it’s rare that we just give away everything. So, when Mads is holding his hand in front of his face, it’s like, “I’m here, but a part of me is not,” and I really like that.

How does this image represent your work as a whole? Is it representative?

Yes, I think this image represents well who I am as a photographer, both in style and mood. I’m not creating images with a lot going on in them. I really like the calmness. I really like a lot of the great old photographers, Peter Lindbergh and people like that. Because when you look at their pictures, they were cool 30 years ago, 20 years ago, ten years ago, and they’re cool today. They have that simplicity, which is not just a trend.

Follow Andreas on Instagram to see more of his work

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Different Styles applied to the same image in Capture One. Use Styles to get a consistent look faster

Working with Styles

Capture One Styles and Presets are easy ways to give your images the look you want or get to a good starting point for your editing with just one click.

With hundreds of premade Styles available and the ability to make and save your Styles, you can edit different types of photos within all genres to easily get a consistent look and save hours as you create the perfect image.

In this guide, we’ll take you through what Styles are, how to use them, the difference between Styles and Presets, and some tips to get you started, save time, and take your photography to the next level.

What exactly is a Style?

A Style in Capture One is a set of pre-made adjustments that you can apply to one or more images with a single click. A Style can include as many adjustments as you like, thus enabling photographers to create an extensive bank of ready-to-use adjustments for any workflow.

What is the difference between a Style and a Preset?

As mentioned, a Style is a saved set of adjustments using multiple tools. People who are familiar with other editing software might know this as a preset. Presets also exist in Capture One. However, in Capture One, a Preset is a pre-made adjustment to a single tool. You can access Presets instantly directly from the tool itself. If you, for example, make a Film Grain Preset, it will be available from the Film Grain tool as well as the Styles and Presets tool.

Using the Style FL-01 from the Film Styles pack the image goes from dull to wow in just one click.

What are Smart Styles?

If you are using Capture One Pro 23 or later versions of Capture One Pro, you will have access to so-called Smart Styles.

Smart Styles uses Smart Adjustments like Smart Exposure, Smart White Balance, and any other adjustments and combines them into a one-click editing solution to give your images a consistent look.

Smart Styles and Smart Adjustments give photos shot under different lighting conditions a similar look by automatically adjusting Exposure and White Balance – reducing editing time massively.

The tools are specifically designed for event, wedding, and portrait photography as it uses faces and skin tone as guidance to determine which adjustments to make to your photos. This means that if you have a shoot outside and the weather changes or if you move inside, you can use the same Style to get a consistent look even if the lighting conditions are different in each picture.

How do you make a Smart Style?

In Capture One Pro, you can also make your own Smart Styles. Here’s how to do it:

Edit a photo to your liking using the adjustments you want to include in your Smart Style
Navigate to the Smart Adjustments tool
Pick Exposure and/or White Balance to decide what to include in the Style
Select Save Style…
Make sure other adjustments you want to include in your Smart Style is ticked

Start by editing your reference image how you like it using the exposure and white balance adjustments
Select the image in the Browser
In the Styles and Presets tool, navigate to … and then select Save Custom Style – the dialog where you can select which adjustments to include in the Style is presented.
At the top of this dialog, you will see Smart Adjustments, whereby you can choose either Exposure or White Balance – along with any other desired adjustments.
By checking at least one Smart Adjustment and then selecting Save, you have successfully created a Style that will intelligently apply White Balance and/or Exposure corrections to each image it is applied to

Explore all our Styles packs here

When should I use Styles?

Even though Styles can give an immediate wow effect when you apply them to your images, they aren’t a magic solution to editing. Instead, they boost the creative process, putting you ahead.

With that being said, every photographer is different and has their way of working, so there is no wrong way of using Styles. Below are a few ways to use Styles in your workflow.

Adjusting a large batch of images

Large batches of images can be a time-consuming task to edit. Styles can help photographers go a long way in this type of workflow. Wedding and event photographers, who often have hundreds of images to edit, can benefit greatly from using Styles to get a consistent look without spending hours on end.

How to apply a Style when importing or shooting tethered

You can apply Styles automatically when importing or shooting tethered into Capture One, providing instant adjustments from the beginning of the workflow. Any Style applied this way can be removed to get back to the plain RAW file. Reset the full image or reset parts of the Style you don’t like.

You can select any Style from the Adjustments tool with the Importer window.

When shooting tethered, you can apply any Style in the Next Capture Adjustments within the Capture tool tab. This will instantly apply the Style to any image shot into Capture One. This is an excellent way to get an idea of what you want the look of the specific shoot to be, as you can quickly browse different Styles and find one that suits your images. As always, you can further adjust or remove if wanted the Style later.

Use Styles for creative brainstorming

Even the best photographer can sometimes feel lost when it comes to the initial stages of editing an image. By having a selection of Styles ready, you can quickly get inspired to find the desired direction with your image. This is especially useful for Black and White photos, where individual channel luminosities significantly affect the final image or images that need a subtle color grade.

Capture One Style Packs

Capture One offers a range of pre-made Style packs made in-house or by experienced photographers from different fields. In addition to the built-in Styles included in every version of Capture One, you can explore and buy more Style packs in our Styles store.

How to install a Style Pack

You can install Capture One Style Packs in three different ways.

After unpacking the downloaded file, choose one of the following methods:
Double-click the Styles Pack directly.
Open Capture One Pro and drag-drop the Styles Pack into the application window.
From within the Styles and Presets tool, click the ••• icon (upper right), select Import Styles…, browse your Styles Pack and click Open.
The Styles Packs will now be available within Custom Styles in the Styles and Presets tool.

To learn more about using Styles in Capture One, watch this tutorial

New to Capture One? Try it for free here