Capture One

Latest Posts

How to apply lens correction without lens metadata

When using a DSLR camera or a Phase One camera, lens metadata information will automatically be added to the RAW file. From the lens metadata, Capture One Pro 9 will know if it is a supported lens and, in case it is, automatically apply lens corrections to the image.

When using an older manual lens, for instance via a simple adapter, or perhaps using a technical camera, there will be no metadata describing the lens.

Other data like the aperture used for the exposure of the image is also missed, so lens correction will not automatically take place.

Using a technical camera with lens movements makes it even more challenging when lens corrections need to be applied. Despite not having proper lens metadata in the RAW file, the Lens Tool in Capture One Pro 9 still has some options for applying lens corrections.

Using a 100% mechanical lens

In the first example, I have been using a 100% mechanical and manual lens on a Phase One Camera and the raw file does not contain any information on lens name, focal length or aperture. Therefore, I have to make some notes or simply use my smartphone to document the shoot.

When you load the image into Capture One Pro 9 and look at the Lens Tool, it will just show a Generic lens profile without any default corrections.

Image will show up with a generic lens profile as no lens metadata has been savned into the RAW file

The lens used for this image shows a bit of barrel distortion, as well as some chromatic aberration, so I want to correct these artifacts.

For this image, I was using an older Phase One 45mm TS f/3.5 lens, which is a lens supported by Capture One Pro 9. To select the lens profile, I will have to pick it from the ‘lens profile list’ under ‘Phase One lenses’:

After the right lens has been selected, the image will automatically be corrected for Chromatic Aberration and distortion. If I had been using a lens that was not supported in Capture One pro 9, I would still have the possibility to do a chromatic aberration correction. If you would like more details on how to do this, read the following blog post:

https://learn.captureone.com/fixing-chromatic-aberration-in-macro-images

Fixing distortion

When fixing distortion on a non-supported lens, you will have to try if either the Generic or the Generic pincushion lens model can fix it. For many lenses, you can actually bring down the distortion to a level where it is not noticeable any more, by using these generic lens profiles.

Furthermore, I will correct the keystone. Since this image has a dominant rectangle, I will use the Keystone’s cursor tool:

Next, I carefully place the four alignment circles on the corners of what I would like to be shown as a keystone free rectangle in the image.

To finish the image, I did a minor color adjustment on the blue sky with the Color editor.

Using a technical camera with lens movements

In the second example, I have been using a technical camera to create a keystone free image of a building by shifting the lens 5 mm up. I was using the Rodenstock ALPA HR Alpar 4.0 35mm lens; a lens that is supported in Capture One’s Lens Correction Tool.

Image and corresponding LCC reference image shot with a 35mm lens with 5mm shift up without any corrections

Even though the image was taken with lens movements, it is still possible to correct for light fall off, chromatic aberration and distortion, as long as Capture One Pro has the information about the lens movements and the aperture. The raw file does not contain any metadata information on the lens, the aperture or the movements of the lens, so I have to record this information, as mentioned previously.

In the lens correction tool, I do the following:

Select the lens used for the shot in the drop down menu
Enter the movements and aperture in the movements tab of the Lens Correction Tool
Apply LCC correction as explained in an earlier blogpost https://learn.captureone.com/3-easy-steps-fixing-sky-skin-tone-tool/

In this case, the movement is 5 mm up so I enter +5mm for Y shift.

Final image after LCC-, lens correction and a bot of Color Editor work

It can be a little more challenging to decide the sign for the movements when doing horizontal movements. Here, the rule is that if you stand in front of the camera, the lens movement to the left is “-“ and movement to the right is “+” – like on a classic XY coordinate system. But, if you mount the camera in portrait mode, you may lose track of the directions of the movements, as up and down shifts now should be interred as shifts in the Y direction.

A simple trick

Actually, there is a trick to determine the right sign (+ / -) when entering the movements:

Clone a variant of the LCC image and desaturate the image to get rid of any color variation
In the Lens Correction Tool, select the lens used for the image
Set the Light Fall-off compensation to 120%. The light fall-off compensation use the shift values to determine the right compensation
Use the Levels tool to increase the contrast by dragging the shadow slider. This is only to make it easier to see the effect of Light Fall-off compensation
Enter the Shift amount used for the image. If the image now appears with more even light distribution, you have entered the shift value in the right sign (+ / -)
Try the opposite just to verify that you actually did it correctly

In the above example, I am testing according to the description above, whether to use + or – in my movements. In this case, shift Y at = +8 leads to a much more even LCC file than if I entered -8, indicating that +8 is right.

Niels

3 steps to fix a blue sky using the Skin Tone tool

Capture One Pro 9 has a number of tools designed for working with images captured using a Technical Camera System. The Skin Tone tool in the Color Editor, however, is not one of them. This Tool is actually designed for improving the render of skin tones, ensuring that the skin is clean, smooth and pleasing. Surprisingly this tool also works extremely well for fixing variations in tone of a blue sky captured with a Technical Camera System.

The above image has been captured using an ALPA Technical Camera equipped with a Rodenstock ALPA HR Alpar 4.0/35mm lens and a Phase One IQ3 digital back. To avoid converging vertical lines in the building and to preserve all the details the camera system provides, I have shifted the lens up 8 mm while maintaining the camera is horizontally straight and perfectly level.

This lens may not be specifically designed for movements when paired with a Full Frame 6×45 image sensor, as you find in the IQ3 digital back. However when the lens is stopped down to f/11 you find the best compromise between depth of field and, you can then get away with movements of approximately 8-9 mm without losing your image in the corners.

Image on the left is a capture directly out of the camera. It shows large color variations in the sky caused by the wide-angle technical camera lens. The image on the right is the same image processed using Capture One Pro 9 and applying the tools for technical cameras as well as the Skin Tone Tool.

To achieve perfect color render in images like the above, taken on a technical camera, the three steps below are required in addition to capturing the image:

1) Capture a Lens Cast Correction (LCC) reference image

2) Correction for Lens Cast (LCC)

3) Fixing minor color issues

1. Creating a LCC reference file

For Capture One Pro 9 to compensate for the strong color variations seen in the sky, a separate image of a translucent white reference plate needs to be captured.

Without changing the movements of the camera or the aperture, hold the translucent plate directly infront of the lens and make a capture. Typically you’ll need to change the exposure time equivalent to 2 f-stops to get a good exposure.

2) Correcting for Lens Cast

Lenses for Technical Cameras Systems take advantage of the fact that there’s no need for the mirror box which facilitates a normal camera’s prism, and therefore the lens can get much closer to the sensor. This is is a great advantage when designing a wide-angle lens as it allows them to be smaller and optically superior. However, with the lens so close to the sensor there is a significant challenge with the angle of incident light reaching a pixel. The angle of incident light can be quite extreme and exceed the normal range that the micro-lenses of each pixel are designed to accommodate.

In Capture One Pro 9 select the LCC reference file of the translucent white plate. From within the LCC tool in the Lens Tool tab, click “Create LCC”.

Straight out of the camera the images of the translucent white plate show color variations as well as light fall-off.

When you create the LCC make sure to tick the box for Dust Removal Information, as this will allow you to automatically fix minor dust spots in your final image.

Also tick the box for “Wide Angle Lens with Movements” as this will initiate additional calibration data needed for images taken with wide-angle lenses that include movements.

After the LCC calibration has been created, it is automatically applied to the selected image in order to verify the correction actually will be able to correct the image.

With all boxes checked the LCC reference image now shows a perfect grey image without color cast, dust spots or light fall-off.

To apply the LCC calibration information to the desired image, you simply select both the LCC reference image and the image of the building. Once selected, right-click on your desired file and from the menu options select “Apply LCC”.

The task of creating and applying LCC files can be done on multiple LCC files, just select all the translucent white reference files and select “Create LCC” from either the LCC Tool or from the right-click menu in the thumbnail browser. If all your images are organized by a number of exposures followed by a LCC reference image, followed by exposures and then LCC shots (and so on), you can properly batch-apply the LCC calibration information. Simply select all the images including the LCC reference image and select “Apply LCC” from the right-click menu in the Thumbnail browser.

With the LCC calibration information applied to the image, it immediately looks much better. The calibration has reduced most of the colorcast in the image but as I have applied movements to the lens, causing an steeper angle for the incident light on the sensor, the LCC calibration doesn’t fix the color variations perfectly.

3) Fixing the remaining color variation using the Skin Tone tool

To fix the blue sky I will be using the Skin Tone tool in the Color Editor. I could work on the whole image but as there are quite a bit of blue tones in the building I would rather work in a Local Adjustment mask, created from a color selection in the Color Editor. Doing so, I can modify the mask to only include the sky.

From the advanced tab I make a color pick on the blue sky. I click on the “View Selected Color Range” to verify that I’ve got the right selection.

Now when I know I have the right color range selected I can convert this selection to a Local Adjustments Mask. I do so by clicking on the three dots (tool options) in the Color Editor Menu line and select “Create Masked Layer from Selection”.

In the Local Adjustments Tool tab I can finally move into the Skin Tone tab in the Color Editor.

This tool is designed for improving skin tones using the Uniformity sliders; these are designed to even out differences in a subject’s skin. It’s a very specialized tool for specific use, however these sliders also work perfectly on the blue sky of this image. In this example I adjusted the Uniformity of the Hue to 100%, Saturation to 67% and Lightness just a tiny bit. This adjustment totally eliminates any color variation in the sky.

With the Adjustment sliders I can further tweak the color tone to my desired blue tone.

All the best,

Niels

BTS video from Cuba: A photographer’s dream

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

When I’m asked “How was Cuba?”, unlike most countries I’ve visited, it’s pretty simple to explain the cool cars and architecture. What isn’t easy is to explain the people, fashion and culture. It’s an explosion of race, age and color. Upon landing in Cuba for the first time, I didn’t feel a sense of danger or the need for steadfast movement like I had in Africa and India. We were met with open arms and welcomed like superstars. I was instantly enthralled with the untouched Cuban history and culture.

Cuba: A dream coming true

It all started when I got a call from the Publisher of The Voice Of Louisville regarding a project in Havana, Cuba for Blue Equity, LLC who had established some business roots in Havana. The project consisted of capturing a twenty page fashion editorial as well as a large feature on the rich culture, communist government and beautiful society. The production called for two five-day trips. The first mission would be to scout locations, meet and cast talent and lock down hanging details.The second trip would be the actual production; game time. When it comes to these types of travel scenarios, I’m skeptical until the flights are booked, but I knew this was the real deal. This was a dream situation that doesn’t come around often for editorial photographers, if ever.

I was in the dark for much of the time leading up to our first trek down to the island. I usually have a great idea of what the target and end goal was for the production. But, a great deal of trust had been placed in my lap on behalf of The Voice Of Louisville, the Government of Cuba and Blue Equity, LLC. I had to own it, I had to deliver, no matter the obstacles that stood in the way.

Visual paradise

Upon arrival in the Havana airport, we were met with a breath of hot weather, but a bleak overcast sky. I quickly learned that Cuba was a visual paradise. The color, texture, automobiles and landscape was overwhelming, I didn’t know where to focus. The sun began to peak through the clouds and set into the horizon, which covered everything with a red-orange blanket of color.Over the course of the next few days, we worked hard during the day and played hard at night. But, my camera stayed by my side at all hours of the day.

Occasionally, a photo opportunity presented itself and I took advantage of the moment. Other times, it was production meetings and finding the best possible locations to photograph the fashion. I switched back and forth from “production photographer” to “street photojournalist” in an instant to guarantee I gained the proper content and knowledge we needed. Throughout our time in Cuba, I was able to really start building the foundation required to create this piece.

The gear

For this shoot I brought a Phase One 645DF with a IQ250 digital back along with a Schneider Kreuznach 40-80mm f/4 zoom lens and a Schneider Kreuznach 110mm f/2.8 static lens.

In consideration of using this setup, we made the executive decision that tethering to Capture One was essential. Thanks to my friends at Tether Tools we created the most mobile, small scale, on location tethering system possible. I knew we would be jumping from location to location and we didn’t have the time for an immense amount of setup.

For the majority of my career, I had been using a device called “CamRanger”, which provides a client preview directly to an iPad. The device was perfect for location shooting, however it didn’t show the initial color vision and didn’t represent the final product. I wanted more, so I ventured into using Lightroom, which I determined to be far too slow for location tethering. It felt clunky and my options were limited. When the project in Havana, Cuba come to fruition, I felt the need to give Capture One a shot, especially since I would be capturing the editorial with a Phase One IQ250 digital back.

The tether was quick, painless and efficient. After numerous tests and experimentation, we felt this was the right software for the job. The color adjustments are clear, clean and easy to use. We needed something that would work for us in a strenuous situation and Capture One soared over all software I’ve used in the past. It was a crucial element for my workflow and more importantly my client who was battling the hot Cuban sun to preview the imagery they had hoped for.

This shoot was a heavy burden on my back. I had a lot to deliver and a lot of hype to live up to. I mentally prepared for a tough few days and made sure Zach was briefed on the logistics of the production. Zach had to work twice as hard as anyone else. Not only was he responsible for the equipment, he was also responsible for language translation and behind the scenes.

The next morning, we hit the ground running. The sun began to soak the city like a warm bath, which designed beautiful lines and shapes on the city streets. Despite a few last minute audibles by the Government Of Cuba and their choice of locations, we adapted to the scenario and landed at our first location, right in the heart of a military base whom had not been advised of our production. We were left to setup, while the rest of the team made sure the hair, makeup, designers and models were moving. Within twenty minutes of setup, we were faced with a series of guards who shut it all down. Fortunately, Zach was able to speak some broken Spanish and make sure everyone remained calm.

By late-afternoon I was pretty beat and my forearm felt like rubber. The sun was record-breaking hot and my camera was heavy. With all the accessories, it was close to fifteen pounds, which can add up after ten hours of lifting and holding. Although the team stopped for lunch, we decided to keep moving. Each set required about thirty minutes of time with setup and pre-lighting. The models were rolled out like products on a conveyor belt, it was an extremely productive process and very essential. But, it was a challenge to capture models in the right lighting and include the surrounding environment. We wanted the people, we wanted the bustle and we wanted the noise. Sometimes, that required the right amount of patience. We waited for the right moment and the right timing for the story to form.

And, fifteen looks later; we were still shooting and I was completely bushed. We wrapped the day on the rocky shoreline with our backs to the Malecón and a crowd of people. I was excited, confident and ready for a cocktail.

Check out more of Clay’s work

Partner of choice: Digital Transitions

Creating in a whole new light

I started shooting photos as a creative outlet while touring as a member of the band Ladytron. Since 2001, we’ve released five studio albums and toured the world – North and South America, Russia, China, Europe, Australia, Hawaii. I also have commercial clients that I make music for, and as you can see, I’m also exploring what I can do with a camera.

For me, the camera is another creative tool. What I’m trying to do with it is to create a vision – exploring ideas of perception and imagination and memory: the idea that your vision when you see something could be different from a photographic capture. A lot of what you remember is imagination. I’m fascinated by inner perception, taking a painter’s point of view, going from the inner eye to a vision that I can share, display to people.

I sometimes see traditional landscape photography as an ‘exercise in futility’. As an artist I want to be more creative with what’s in front of me. When you see a landscape it’s always lit by moon or sun …… we know what it looks like. It’s so familiar. So what if we were able to reframe that scene and not use the sun at all? Or the moon? Not use natural light, but just use artificial lighting, as you might do with a studio portrait. In other words lighting scenarios that add tension, drama, your own unique lighting.

For the kinds of grand and vast visions I can imagine, it would have been possible before only with a helicopter or a crane. But now, technology lets you equip a drone that will go places that allow you to put familiar things in a whole new light.

I’ve always been seeking those images that haven’t been seen before. From the start, I would take a 100 km hike just to be the first one to take photos there with a camera which was never designed to be taken out of a studio. Traveling with different film formats in these incredibly unique places can be challenging. My favorite is medium format because of the quality it offers.

I come from a film background. My first experiences were shooting film on a twin lens reflex, and a Mamiya RZ67. I also really enjoy the ritual of using a camera like that. I enjoy being able to look through a waist level finder. At heart, I guess, I’m a thing person … my educational background was in product design, before I went into music and then photography and the video stuff I’m doing now.

I’ve always been very interested in getting into medium format digital, but I was aware of issues with those systems’ capability to do low light and long exposures. So I was just using full frame 35mm digital, which has been my general-purpose format of late. But then, when I had an opportunity to work with a Phase One camera, it was a revelation to see for myself what it was capable of. With its new medium format CMOS sensor, I wanted to take it out under the same conditions I’d been shooting in and see how it fared.

It was spectacular. Just being able to have that medium format shooting experience combined with being able to see exactly what was in focus (via liveview) and see if it was exposed correctly – something you don’t have when you’re shooting film – was amazing.

The Phase One camera and Capture One Pro 9 together produce files that are exactly like having instant drum scanned film (which takes hours) coming straight out of the camera. Capture One comes with the camera, so I’ve been using it to process the photos and then exporting them as tiff files, importing into Adobe Photoshop where I build the various lighting positions that I’ve captured with the camera using layers. I keep the lighting bits that I want and eliminate the ones I don’t. It’s a great way to control the final image. I don’t worry about it while shooting, but when I’m back in the studio, I’m able to look at it all with a calmer outlook.

I would like to do more commercial work, because I think it’s time for a change — I’d like to shake up the commercial world a bit. I’d take things that I love from the more artistic side, and create a radically different result. I really enjoy shooting humans as part of the landscape or featuring machines or architecture … they provide a story, a point of scale or familiarity in whatever scene I’m creating. There are so many potential avenues, for example, using lighting in ways that help people see outside their habitual ways of seeing.

This most recent series of night landscapes took a couple of months to produce, and a ton of research. I spent time with the Phase One in California, Nevada, Oregon and Washington. Next, I’d like to mount an exhibition of all this work – I really want to print these images large, because they have so much personality. They need to be six feet tall! Maybe back lit so for the viewer it’s very experiential and immersive.

Key to this kind of work is being on top of your equipment – especially in difficult environments. You have to know your gear really well. That’s why, when I had the chance to use the Phase One, I thought, “I can’t go out the second day and be able to shoot with this!” But it was very easy, intuitive really. The live view and touch screen were very useful in the environment that I was working in. I was expecting it to be complicated, but it wasn’t. It was like shooting on a very smart camera. Like shooting with my old Mamiya, but with extra magic.

Follow Reuben on:

www.reubenwu.com
Instagram
Facebook
Twitter
Behance
Download free 30-day trial of Capture One Pro 9

Special thanks to Fiilex for the collaborative effort. Reuben’s tools: XF 100MP Camera System. AL250, 3DR Drone.