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Exporting and Printing images in Capture One Pro

NOTE: This article discusses an outdated version of Capture One.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

Capture One Pro is a powerful RAW image processing converter that supports the digital workflow from importing to exporting images. In this post we will look at the many ways in which you can export your images from Capture One Pro, including printing.

Exporting Original Format Images

Export Originals to Finals Folder

If you need to export your original RAW files, or any other image format from your catalog, you can do this simple. I do it to make a copy of my final selects to my Finals folder, which is covered in details here.

To do so, select the images you want to export, and right click one of the thumbnails. From the shortcut menu, select Export, then select Originals. You can also get to this option from the File menu.

I don’t change the image name on export, since I changed it on import. After checking the destination etc., click the Export button, as you see in the screenshot to your right.

Output – Process Recipes

For most other file export operations, you’ll first jump to the Output tab in Capture One Pro. This is the single, orange cogwheel icon in the top left corner of the below screenshot. If you can’t see the details, try to click on the image to make it larger.

Capture One Pro Output Process Recipes

In the Output screen you can create and select Process Recipes, which are used to export your images into various formats and sizes. When you first install Capture One there are a number of Recipes, but I created most of the above.

Export Formats

Capture One Pro supports images in JPEG, JPEG QuickProof, JPEG XR, JPEG 2000, TIFF, DNG, PNG and PSD file formats. Therefore, if you intend to import your images back into Capture One, avoid Photoshop PSD files. I use TIFF format for all images that I bring back into Capture One if I, for example, went to Photoshop to do some extensive cloning.

You can change the file format from the Format pulldown under the Process Recipe > Basic section. If you’re going to output that format more than once, save yourself some time by creating a Process Recipe preset.

Process Recipe Presets

To create a new Recipe, click the + button at the bottom of the Process Recipes panel. An Untitled Recipe will be added to the list, with the name ready for you to change it. You might enter something like “TIFF 16 Bit Full Size (ProPhoto RGB)”, which would be good for exporting images to Photoshop.

Export for Web

During export you can resize images and add watermarks. Let’s have a look at how you might create an Export for Web Process Recipe.

Note that if you start changing the settings under the Process Recipe section before creating a new Recipe, it’ll only change the currently selected Recipe. Let’s hit the + button at the bottom of the Process Recipes section first, and give our Recipe a name, fx “Export for Web”.

Although you can export as PNG, the JPEG format is more suitable for photographs for the Web. I usually select 92 for the Quality, because it halves the size of the file but leaves no visible artifacts.

Export for Web Process Recipe

Resolution is good at 72 pixels per inch for the Web, and I’m going to set the Height to 960 pixels. I like my landscape orientation images to be 1440 pixels wide and 960 pixels high. Though, to stop my portrait orientation images from getting too tall, I also resize those to 960 pixels high. Selecting 960 pixels high resizes both orientations correctly.

I’d like to be able to open my images in Finder after they’re all created. However, Finder isn’t actually listed as an Application on the Mac OS, so I leave Open With set to None.

Select an Output location, and if you want to change the file name, select a preset for that too. You can see a summary of your settings in the Process Summary area.

Before we click the Process button, let’s check a few other things.

As you generally want your resized images to be sharpened, uncheck Disable Sharpening under the Adjustments tab.

Under Metadata, select your required options. It’s best to keep your Copyright information in tact, but you may want to remove GPS coordinates, especially if you’re going to share images from your home. Camera Metadata is usually OK to include, and actually better if you’re sharing your images in an education centric environment. Keywords are usually a good idea too.

Watermarking Images

Add a Watermark

If you like to watermark your images, you can do that under the Watermark tab. This is illustrated in the screenshot to the right.

I just use my logo in black with a white drop shadow, and reduce the Opacity to 77%. This makes it somewhat transparent, but can be seen on most colored backgrounds. That way I don’t have to mess around selecting a different colored logo depending on the background.

The Horizontal and Vertical positions shown here will place the watermark in the bottom left hand corner. To adjust the position, click on the little hand icon at the top right corner of the Watermark panel.

Once this is set, click the Process button, and your selected images will be output to the specified Output folder. Resized, watermarked and ready for the Web.

Export to Multiple Formats simultaneously

One of the other great things about Capture One Pro’s Output tab is that you can turn on the checkbox for multiple Process Recipes. Once you press the Process button, you’ll get a copy in all of the selected file formats and sizes.

If you want to specify an output location for certain image types, you can select a different location under the File tab. This is saved in your Process Recipe, which is very useful.

Round Trip Editing

To send a selected photograph to another application for editing, you can right click a thumbnail and select Open With. Here you can select the third party application, such as Photoshop, from the submenu. Keep in mind that this method will open the original file without any of the changes from Capture One.

If you want to keep your changes, a better option is to send the image straight to the other program. To do so, right click the image and select Edit With. This opens a dialog for you to select the format and color space etc., as you can see in this screenshot. Note also that this will create a copy of the image that it sends to Photoshop.

Edit With Dialog

Moreover, note that under the Adjustments tab of this dialog, there is a Disable Sharpening option. Most of the time, RAW files need some sharpening to make them look normal again. Keep this option in mind, and uncheck it to enable sharpening when necessary.

The great thing about this Edit With method is that the copy is automatically added to your Catalog. So, when you’re done editing in the third party program, it’s right there waiting for you in Capture One Pro.

Always Soft Proofing

One of the coolest things about Capture One Pro is that you are pretty much always in soft proof mode. This means you get to see the selected Color Space or ICC Profile’s affect on your images as you edit and output them.

In the earlier screenshots with the Himba Girl, I had a 16 bit TIFF Process Recipe selected, which was using the ProPhoto RGB color space. This gives me the most wiggle room when editing my images. I also have an Adobe RGB and an sRGB color space TIFF Process Recipe, so I can easily compare all three color spaces.

Most of the time, as I switch between these various sized color spaces, the software correctly converts them. Therefore, it’s difficult to see any difference.

I have a few black and white images processed in Capture One Pro, that change slightly in the Capture One Pro interface. However, when I export them, they all look the same, so I actually think that’s a problem with the software rendition of the image on screen.

A very import application of this soft proofing feature is that you can choose to view your images using either a specific profile, or always use the profile that you have selected from the Process Recipes list, regardless of where you are in the user interface. To make Capture One always use the selected Process Recipe ICC profile, choose Selected Recipe from the Proof Profile submenu (Under the View menu).

Soft Proofing for Print

With Capture One set up to always use the Selected Recipe’s ICC profile for preview, you can create a Recipe and select one of your print ICC profiles. This is an advantage in order to get a soft proofing view of your images before printing them. I selected a 16 bit TIFF, and selected my printer ICC profile while creating a number of printer soft proofing profiles:

Soft Proofing for Print

Note that when soft proofing for print, it’s generally a good idea to change the background to white. This way you simulate the white borders or matte around your print. If you view the print with a dark background, it makes the paper simulation look too harsh, and it’s difficult to really gauge what your printed image will look like.

To change the background color, change the Color for the Viewer under the Appearance tab in your Capture One Preferences. Also, while you are in the preferences, set a widish Proof Margin, say of around 30 pixels. With that set you can easily turn on the Proof Margin with the button at the top left corner of the viewing area, next to where it says Background in this screenshot.

Finally, if you have Viewer Labels turned on, showing shooting information and the filename below the large preview of your photo, turn that off by selecting Hide Viewer Labels, under the View menu. By this point, you’ll have a photo totally surrounded by white.

Adjusting for Print

You can see in the above screenshot, selecting a matte media type, like Breathing Color’s Pura Bagasse Smooth, can make the image look pale and lack contrast. I find that the reality is better than this in print, but it’s a good guide, as matte prints are never as punchy as gloss prints.

If you want to change only your print image, it’s a good idea to make a Variant, which is a virtual copy of the original. When you right click a thumbnail and select New Variant, you get a copy of your image without any of the changes you’ve made to the image. Assuming you want to keep those changes and make further adjustments for your print, select Clone Variant from the shortcut menu.

Using Color Readouts

Another very useful feature in Capture One, especially when it comes to preparing to print, is the Color Readouts. Generally, when printing, you want to avoid total black and total white. I often don’t head this advice myself when it comes to blacks. I’ll go to 100% black and my printers usually handle it fine, but it’s worth understanding this theory, and generally worth trying to avoid pure white.

Select Add Color Readout from the bottom of the Picker tools, which is second from the right in the toolbar above the viewer in the below screenshot. Then, click on some of the key areas of your photograph. I like to check the darkest area, the brightest highlight, and a mid tone.

Using Color Readouts

When I placed these Color Readouts on my original, the background was 0, total black, and the shell was 255, which is pure white. So, I created a Clone Variant, and adjusted my Levels, to bring these values in just a little, which would be good printing practice. You can see that now, in my resulting image, my darkest background has a luminance of 2. My brightest highlight, the shells on this Himba Girls traditional necklace, is 253. Her face is 111.

Exposure Warnings

Another option for checking the darkest and brightest areas of your print image, are the Exposure Warnings. These can be turned on with the warning triangle icon. I set my highlight warnings at 253 and my shadow warning at 2. The background is mostly 2 or darker, but I intentionally darkened that, and I’m fine with printing this image with just a little tweak.

Exposure Warnings

If you want to make any other modifications for print, increasing contrast, changing the colors to stop them going out of gamut, now would be the time to do it. Unfortunately, I haven’t found a way to display gamut warnings in Capture One Pro, so unless it’s really well hidden, I don’t think it’s supported. I’m hoping this is something that will change at some point.

Printing

Just as I always printed from Lightroom, I love to be able to print right in my processing and workflow tool. Plus, I hate printing from Photoshop, so I’ve been printing quite happily from Capture One Pro for the last few weeks.

In Capture One Pro, you can hit the Print button from the top menu at any time, regardless of where you are in the program. The print window opens, and you get to select your settings. This is unlike Lightroom, where you go to the Print module to print.

We can create templates in Capture One Pro to save margin and layout information. However, it forgets about page size and ICC profiles whenever you close the program. Fortunately, these are quick settings to change, so select your paper size and the ICC profile for your printer and media combination from the Color Profile menu.

Printing from Capture One

From what I’ve seen so far, Capture One’s print Sharpening is enough for my images when set at 25. You may need to change this, depending on how sharp your original image is. Also, it may need to be increased for larger prints too.

You can set your margins depending on how much border you want. I use my 7:13% offset border to raise the image up slightly. You can see the dimensions I use in my Print Borders spreadsheet, which you can download here. Once you have entered your border dimensions, click the Templates pulldown, and select Save User Template. In the above screenshot you can see that I called this one 18 x 24 inches 7-13 borders.

So, now I can quickly recall my margin sizes and I’m ready to hit the Print button.

Another cool thing about Capture One is when you switch from Landscape to Portrait orientation, the borders automatically switches. Consequently, I no longer have to save a separate template for each orientation.

That was all for now. If you have any questions or advice for this topic, please let me know in the comments.

If you want to see or read more from me, feel free to visit my website: www.martinbaileyphotography.com

Best regards,
Martin Bailey

Shortcut your way to a faster workflow

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

For many releases of Capture One Pro, it has always been possible to configure your own Keyboard shortcuts, but with some limitations.

In earlier versions, the cursor tools (For example, the Crop tool, Pointer tool and Pan tool) were locked to the factory shortcuts, and many other functions couldn’t benefit from a shortcut.

Shortcut updates in Capture One Pro

Since Capture One Pro 9.2, you can configure cursor tools to anything of your choice, and a significant number of functions have been added to the Keyboard Shortcut configurator.

This also opens up the pathway for other hardware input devices like graphics tablets (See Using Wacom Tablet with Capture One Pro) and specialist keyboards or gaming mice.

But why explore keyboard shortcuts? It’s actually a very efficient way of working in Capture One Pro. You can activate most functions, select tools, and trigger processes much faster than ‘mousing your way’ to the desired menu.

Still not convinced? I quickly found some other reasons why you should be using Shortcuts:

(Inspiration: Why Use Shortcuts)

1. Efficiency

Generally, computer professionals acknowledge that using the keyboard instead of a mouse increases your productivity and helps you do more tasks. In other words, your job is done faster and easier when you use shortcuts. Take for example the task of selecting all the images in the browser. You can simply do that by pressing Cmd/Ctrl + A, whereas using a mouse requires Shift-clicking on the first and last image.

2. Multitasking

This argument derives from the first motive, and means that when using the keyboard you don’t have to follow a pointer to see what you’re doing. You can do anything semi-automatically thus freeing your mind for other tasks. For example, to start images processing it’s a simple Cmd/Ctrl + D, regardless of what’s open or visible in Capture One Pro.

3. Complementarity

You can combine the advantages of using the keyboard with those of using the mouse. For example, drawing a Local Adjustment mask is much easier done with the mouse. However, at the same time, you can easily switch brush mode by using keyboard.

4. Health issues

RSI (Repetitive Syndrome Injury) is much more often associated with extensive mouse usage rather than with keyboard usage. By alternating mouse and keyboard usage you can reduce the risks of RSI.

Convinced? Great! Read on to see how to customize your own shortcuts.

Create your own Shortcuts in Capture One Pro

Capture One Pro ships with a default set of shortcuts, so right out the gate you can start to exercise your fingers and speed through the program.

To get an overview of those shortcuts, and indeed any further configuration, browse to Help > Keyboard Shortcut Summary:

This will open a web browser showing a complete list of shortcuts and descriptions.

Naturally, it makes sense to modify these keyboard shortcuts or completely start from scratch, as we’re all wired a little differently.

You edit shortcuts in a simple way by browsing to Capture One > Edit Keyboard Shortcuts…

This will open the Keyboard Shortcut Editor:

If you look at the Category headings in the Shortcut Editor, notice that they follow the menu headings in Capture One. So, if for example you want to Shortcut an entry in the File menu, you find the equivalent entry under File in the Shortcut Editor.

Also, there is an Other category, which covers things that can’t be linked directly to a menu item, like for example Local Adjustment functionality.

The default shortcut configuration can’t be changed. This gives you the option to always return to factory default if you need to.

To create your own shortcuts, start by clicking on Create:

Give your Shortcut set a name, as you might want to create more than one or share your system with another user:

From this point on, you can go ahead and configure your shortcuts.

One of the shortcuts I always recommend to personalize is the Show/Hide Viewer command. This command gives you an easy way to quickly hide the main viewer if you just want to see your browser on screen.

To configure, expand out the View menu to find the Show/Hide Viewer command:

By default, it’s a combination of modifiers and the V key. I choose the key that’s just below my Escape key – apparently it’s called a ‘Period’. I have no use for this key in day to day operation so it makes sense to assign it.

Click on the Shortcut entry and then click on x to clear it:

Now use your chosen Shortcut and hit Enter to apply it:

Configuring Cursor Tools

Cursor tools often have sub operations, made visible if you click and hold on the Cursor tool itself:

For example, the Straighten cursor tool’s default shortcut is R. Shift-Clicking R will cycle through each of the cursor tools in turn, but you can also assign different keys to each cursor tool.

If we look at the same tool in the Keyboard Shortcut Editor, we see that each cursor tool can take a different Shortcut, if we wish so:

Other Shortcut Possibilities

In the Other menu, you can find shortcuts that don’t necessarily fit into a menu item. For example, shortcuts are in place for many of the Adjustment tools, like Exposure…

There are also many possibilities for Local Adjustments, like adding new Layers with the possibility to distinguish between Adjustment, Clone and Heal layers:

As I mentioned previously, keyboard shortcuts are also a great way to map these to other hardware input devices. Graphics tablets, like Wacom, often have buttons that can be assigned to mimic a shortcut key, which gives you a great way to exercise keyboard shortcuts further.

Here is another example from the gaming world which could be interesting to use with Capture One Pro: http://www.razerzone.com/gaming-keyboards-keypads/razer-orbweaver-chroma

Anybody willing to try? 😉

Do you have any good time saving shortcuts? Then please let us all know in the comments below.

Best,

David Grover

Phase One

Confessions of a retoucher: From RAW to refined

In a recent Photography Master Class Jodi Jones and I hosted in Nashville, we got some amazing shots that we would love to share with you, as well as my process of getting the best images out of the RAW files from Capture One Pro.

The settings of the shoot

Jodi and I spent lots of time together before the shoot day for creative planning. The model we used for our Nashville Master Class workshop is the beautiful Esseri. She is a rock star and a great friend of ours. She has long, rich red hair and a stunning face and figure. We thought of creating a very Barbie-like look for the beauty shoot of her. Thanks to the epic Phase One XF 100MP camera system, it captured all her great details. She was absolutely gorgeous!

The shoot; A retoucher’s perspective

While everybody on set was amazed by the images popping up on the screen as they were shooting, I was already visualizing and planning the retouching process for the shoot! I regard myself as an artist, being that I am a professional retoucher. Great retouching should dramatically enhance the image, or even totally transform it!

I am also very happy being part of the image planning and creation process, which helps set me up for the final retouching phase. So, when I opened Capture One Pro after the first day of the shoot and looked at those images again, I knew immediately I would want to retouch her as a pretty doll.

Ready to retouch

I first adjusted curves for the entire image, just to bring out more contrast and color. I zoomed into the model’s face to see the details and brought down the clarity and brought up the structure, so I could create that Barbie look skin texture even in my RAW files. This saves a lot of time later on when you bring the image into Photoshop for further adjustments.

Now the creative story begins: Let’s give it a pink background! I went to Local adjustments and created a separate layer. Then I painted a mask over the background, and simply changed the white balance to get the baby pink color I wanted.

Thereafter, I created another layer mask for the skin tone. I used the color picker to sample both the midtones and highlights on her skin, and then softened the color contrast by doing a few adjustments using the color editor.

Next, to emphasize her beautiful face and add more depth to the image, I made another layer mask for the hair specifically. I wanted to darken her hair just a little. However, I love the redness of it, so I adjusted the color without taking too much red out.

The Magical Dodge and Burn

The following step is making my magical Dodge & Burn layers. One thing I love about Capture One Pro is that I can do so much on my RAW images. I can get the most out of the RAW file before I even start retouching the image in Photoshop. To do Dodging and Burning in Capture One Pro, it’s just the same formula as doing D&B in Photoshop, using two different curve layers. I don’t recommend doing too much on the two adjustments, because the entire purpose of this step is to only slightly enhance your RAW. You want to keep it subtle. After that, I paint my mask just like a quick D&B in Photoshop.

Final adjustments

My last step is changing the color of her eyes to blue through a separate layer. In Capture One Pro it’s very easy in to mask only the pupils and use the color editor or curve to achieve the color you want.

With some simple adjustments for skin retouching, and a further Dodge & Burn, here are my final images. Loving it, don’t you?

Article and retouching by Yanyanista

Stylist: Yanyanista

MUA & Hair: Tina Davis

Model: Esseri Holmes

Follow Yanyanista’s and Jodi Jones’ journey around the world on Instagram: @yanyanista & @jodijonesstudio

To sign up for the next Jodi Jones x Yanyanista’s Master Class in Miami and New York, visit http://jodijonesstudio.com/workshoptour

5 fundamental features in Capture One Pro

Capture One Pro 9 forms the backbone of my images, especially when it comes to creating fine art images. The workflow presented below will give you an understanding of why I prefer this RAW converter compared to the rest. Let us start from the very bottom.

Step 1: Creating Sessions & Importing image

No matter which image I am about to work on, my first step is to create a new session on Capture One Pro. The reason why, is that it creates a new folder with the files I am about to work on. Hence, I do not have to worry about file misplacements and have them offline in case I misplaced them, which is usually the case with Lightroom’s Catalog sessions.

So, I set the path to where I want Capture One Pro to create the session. Once you click ‘OK’, it opens a new interface with a blank canvas. From here, you can import the images that you would like to work on.

Once this is done, your images will be ready to be fine-tuned:

Step 2: Setting Global Adjustments

We will primarily be working on two images in this example: One normally exposed image and one underexposed image. By doing so, we can blend them later when we take them into Photoshop.

The first thing I do is to make Global Adjustments so I can set the right mood and feeling. Since we are working in RAW format, this is the best time to capitalise on this aspect. Whatever adjustments we make on one image, we will duplicate those on the other image to maintain consistency.

We start by making Global Adjustments in the colour panel of Capture One Pro. Here, we make changes to the 3-way colour panel tool, as pictured below.

In this image we make adjustments to the midtone slider and bring down the luminosity to add a mood. Then we adjust the colour slider of the midtones and shift it towards the yellow/orangish range, since we are shooting in the desert. That way it add a bit more warmth to the image.

The next step is to adjust the colour wheel of the shadows. We will bring down the lightness slider first to darken the shadows a bit. Thereafter, we shift the colour wheel to Blue and bring up the saturation slider. By doing so, we limit the colour spill of the sand to the bright portions of the image only, in this case the highlights.

Now we come to the Highlight colour wheel. Here we will mimic the colour wheel of the midtones in order to add more warmth to the highlights. Below is an example of how the final colour balance wheels look like.

So, just by using the colour balance tool alone we have created quite a mood in the image. Below is a quick example of a before and after, which is shown by holding down the ‘alt’ key on my mac and left-clicking on the circular arrow above the colour wheel:

Before and after color adjustments

The next move is to go to our Exposure tab and make some Global Adjustments.

In this case, I make minor adjustments by bringing down the exposure slider to -0.2 and the brightness slider up by +2. Then I open my shadows just a bit by bringing up the slider to 6. The reason I do so is to make sure not to kill any information in the image before exporting it. I want all the information available to play with later as well.

Usually, I adjust the clarity slider as well but I will not do so in the exposure tab. You will find out why soon. Another beauty about Capture One Pro is that it takes care of the chromatic aberration and lens distortion by default, unlike Lightroom. That is visible under the lens correction tab.

Below are the final results after making the above adjustments.

Final result after Global Adjustments

Now, we duplicate these adjustments onto the underexposed image, so we can maintain consistency when we merge both images. We simply right-click on the selected image and choose ‘Copy Adjustments’:

After copying those adjustments, we select the next image and simply right-click on it and hit on ‘Paste adjustments’.

Now both images share the same adjustments that we made earlier.

Step 3: Local Adjustment Slider/Masking

This is the part where we will play with our clarity sliders in the local adjustments tab. The reason we do so is because we can choose which clarity option to apply on both the ground and the sky after masking them.

How to apply the clarity to the foreground? We simply do that by masking it.

First we select the Brush Tool from the console, which is placed just below the tab. Once you have selected the brush, take your mouse towards the image and right click it to make sure that Auto Mask is selected.

The Auto ask functionality will allow us to seamlessly mask the ground and not the sky. That is the beauty about using this brush tool. We gradually mask the ground by brushing through the horizon with a small brush all the way to the foreground. Please see image below as example:

When you apply the Brush Tool, it automatically creates a new layer in the panel which is highlighted on the upper left hand side. Now that we have fully selected our foreground with the brush tool, it’s time to make some custom adjustments to it.

First, we bring up the contrast slider almost half way. The beauty about the contrast slider in Capture One Pro is that it only affects the luminosity value of the pixels and not its colour unlike Lightroom’s contrast slider.

You can see from the image below how the contrast slider brings out a nice punch to the foreground.

Result of Masking

The next step we take is to play with the clarity slider. A crucial advantage about Capture One Pro is that, unlike Lightroom, you can choose from up to four different clarity sliders, as shown in the image below. The algorithms used in all four are different and hence your mid tone contrasts vary from one clarity slider to another.

In this case, I prefer to use the Natural clarity slider since it does not kill/hurt the blacks unlike the clarity slider in Lightroom when pushed to the extremes. However, in this case, we will make subtle changes to the slider here, since we already added contrast to the sand.

The other reason for making the subtle changes is because I do not want to lose any information in this image that can be used later in Photoshop, when we will mask the sky layer and finalise the mood of the image.

Step 4: Masking the sky layer

The next step is now to mask the sky layer in the underexposed image:

This is the part where we can capitalise on the clarity slider by moving it from Natural to Punch, as shown in the picture below. The reason for doing so is because Punch adds a bit more pop to the image and adds a bit of colour as well. Hence, this is the reason why I do not do any global adjustments to clarity.

As a final adjustment I bring up the saturation just a notch and bring up the temperature a bit too.

Step 5: Exporting the images

With the necessary adjustments made, we select both images by hitting Cmd/CTRL and left clicking the unselected image. In this step, we export the images from Capture One Pro, so we go to the recipe section for this:

As illustrated above, I export these images as 16-Bit TIFFs in prophoto RGB colour space. The reason for me to choose such a colour space is because, compared to sRGB and Adobe RGB, it has the widest colour gamut, hence you have more colour variations to play with.

The final result of my picture, including some further editing in Photoshop, ended up like this:

If you would like to also see some advance photoshop video tutorials, feel free to check out my website. You will find over 35+ episodes on how I edit my images from start to finish. Please feel free to also visit me on my Facebook account.

Hope you enjoyed this walkthrough,

Baber Afzal