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Capture One 9: Under the Hood

New Capture One 9 Image Processing engine:

Capture One 9 has introduced a new image processing engine. This new engine has a number of improvements in regard to image quality as well as the ability to satisfy an even more creative workflow approach.

The new Image Processing Engine has 3 main improvements:

Handling of Curves, Contrast, Color and Saturation.
Additional possibilities in Local Adjustment using Layers
Resizing/rescaling of images.

Capture One Pro 9, by default, uses the Capture One 9 Processing Engine for all new images. For images which have previously been adjusted in Capture One 8, or an earlier version, Capture One 9 will respect the older, existing engine to ensure the images are displayed exactly as if viewed in an earlier version of Capture One.

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Upgrade older images to the Capture One 9 Processing Engine

If you want to use the new engine on a previously adjusted file, you can use the upgrade button under the Base Characteristics Tool. Alternatively you can simply create a New Variant, which use the Capture One 9 Engine per default.
Image straight out of the camera Image adjusted in Capture One 9

Luma and RGB Curves in the Capture One 9 Curve Tool

The new Processing Engine in Capture One 9 now provides you the option of working with a Luma Curve. When using a Luma Curve your corrections only change the density of the image while keeping the hues and saturation of the color constant.

There is quite a big difference between the RGB Curve and a Luma Curve options. If, for instance, you apply a standard S-curve to both curve options, contrast will be added to the image. However, with the RGB curve tool, you will also add a good deal of saturation and see some slight color shifts. For minor adjustments with the RGB curve, this extra saturation and color shift may be just what you were trying to achieve, but for stronger corrections it can begin to detract from the image.

Doing the same level of correction using a Luma curve will provide the contrast you are looking for with the S-curve, without changing color hues or saturation. In the real world if light changes from diffuse to direct you will see the scene with more contrast but as there is less scattered light, colors will also appear more saturated. When adjusting contrast using a Luma Curve, where you don’t add saturation, your brain may believe the image lacks saturation. So a Luma Curve correction may not be something that mimics reality but will certainly provide you a creative tool when it’s required.

Having the choice of working with Curves, both in an RGB channel and a Luma channel, gives you a lot of creative freedom for controlling contrast and saturation in an image.

Use the Curve tool in an Adjustments Layer:

When using the Capture One 9 Engine you can now use the Curve tool within a Local Adjustment layer. You have full freedom to use any the curves; RGB, Luma, R G and B and in any combination. For landscape images like the images used in this post, this feature provides extensive creative possibilities.

Contrast and Brightness:

Another new feature in the Capture One 9 Engine is a change to the algorithm behind the contrast and brightness sliders of the Exposure tool. As explained above regarding the Curve tool, there is potential for some side effects when working with either RGB Curves or Luma Curves. This is exactly what has been taking into account when developing the new algorithms for the Contrast and Brightness sliders of the Exposure tool.

These 2 sliders provide you the ability to add Contrast and Brightness in a much more natural and appealing way, keeping the appearance of image saturation much more constant. This enables you to add much stronger corrections to your images without adding potentially distracting color artifacts.

Whether you work with Landscape images or images of people, these new sliders provide a much easier and natural way of adjusting images.

4 Variants of the same image with contrast from 0% to 30%. As you can see, the new contrast slider adds contrast in a very natural way, adding just a bit of extra saturation to make the image shine.

New Resizing Algorithm

The new Capture One 9 Image Processing Engine also includes a totally new algorithm for resizing images.

Resizing images actually takes places even when you may not consider it.

If you are using a wide-angle lens, the lens tool will typically be correcting for some barrel distortion. You may correct the horizon a tiny bit or do some minor keystone correction to address this. In all these cases of slight adjustment, the image needs to be resized.

The new resizing algorithm does all these geometric correction in such a way that pixel information in the original, as well as the resized image, is maintained the best possible way. This makes it almost impossible to distinguish the original file and that which has been resized, even upon zooming into two such variants.

But resizing, of course, also takes place when you process images from of Capture One using the scale option in the Process Recipe or Export tool. This is especially critical when doing large downscaling, something you will typically do for images for the web. The new algorithm will render details from the original image with much more precision, keeping the apparent sharpness and overall look of the original.

Enjoy Capture One Pro 9,

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All the best,

Niels

Shooting with the XF Hyperfocal Calibration tool

Focusing in a digital era

The film days were easy. When it came to landscape there was certainly a nuance and significant process’, but stopping down to f/22, focusing at infinity and waiting for the light were the basics that could get you started. Or at least a start with something in focus.

With digital, things get more complicated as focus is that much more precious and, as the resolution race continues, it becomes harder to achieve perfection. The heartbreaking thing about high-resolution photography is when focus is missed, even ever so slightly, it’s significant. Sharp is sharp, not something open to interpretation, and once you start nailing focus sharpness becomes the drug that your horribly addicted to.

To further complicate things, again attributing its notoriety to high-resolution photography is that every lens has a “sweet spot”. That magical place between an in-focus image and “Holy Sh*t, that’s sharp”. When you find it, you want to hold onto it and there’s nothing worse than being given that perfect moment of light only to fall short of nailing the focus.

XF Feature Update – Hyper Focal Calibration tool

Enter the Hyperfocal tool! With the XF system and the introduction of this tool, it’s now possible to be confident that you’ve gotten the image in the absolute best state of sharpness the lens, aperture, and digital back will allow.

Before going out on location, as you never know what the elements will throw at you, I have my lenses “sweet spot” saved for perfect Hyperfocal distance. I do this in a controlled setup for all my lenses, ensuring infinity focus is tack sharp without throwing out any unused depth of field. Once you get to your location, it’s as easy as composing the image, switching to Hyperfocal Focus mode, and pressing the shutter.

Although the tool is designed for you to measure and save the perfect hyperlocal distance, as the name implies, it’s much more versatile. Say you shoot reproduction and need to have consistent focus at a set distance. The Hyperlocal tool can be measured to reach that distance each and every time. Or, as Tim Kemple uses it, it can help to accommodate for shots where infinity focus is exactly what you DON’T want. With Tim’s workflow, a focus point just short of infinity can be saved.

So, when shooting a subject that may technically fall within the lenses infinity focus, and be indistinguishable to Auto Focus, a Hyperlocal point can be saved that will separate the subject slightly from the background. Choosing the Hyperfocal Focus mode for the shot throws infinity just slightly out of focus and helps to emphasis the subject, each and every time.

Tim Kemple on the Hyper Focal Calibration tool

“My favorite trick to really draw the viewers eye into the action is to shoot them at a distance that is just closer than the hyper focal distance of the lens that I’m using. It’s nearly impossible for any camera to nail the autofocus on these types of compositions right away. The subject is just too small and the focus distance too specific… Especially with today’s high resolution sensors. With the new hyper focal calibration on the XF I can nail this focus faster than ever. I just focus on ‘infinity’ then bump it back a whisker. It’s perfect every time.” – Tim Kemple

World record slack line shot by Tim Kemple

So when is Hyperlocal Focus mode important?

Just before sunrise and its too dark to rely on Auto Focus? Not a problem, Hyperfocal Focus. If it get’s cloudy and overcast, a low contrast situation that Auto Focus can’t handle? Not a problem, Hyperfocal Focus. Too late in the evening to see contrast on the mountain range so you can verify it’s sharp on the IQ screen? Not a problem, Hyperfocal Focus.

Morning in the Dolomites by Drew Altdoerffer

This particular image is a perfect example. Too early in the morning for my subpar eyesight to use manual focus and with the clouds rolling through the valley, Auto Focus didn’t have the contrast to nail it consistently. And even if Auto Focus were perfect, it would still only give me infinity focus and not that “sweet spot”. If I went with Manual focus it would take some trial and error, all the while I would miss the light.

So the Hyperfocal Tool is essential to be confident that I have the scene in perfect sharpness from infinity, to my foreground. Not only that but the tool allows me to keep consistent focus regardless of the changing elements, composition or position. It’s just one small tool of many that helps make the difference between productive mornings of photography and a sunrise that would have been better spent in bed. Nothing is worse than getting back to your room to review images, only to find out you woke up at 4am for unsharp images. I try to avoid disappointment wherever I can and the Hyperfocal Calibration Tool brings me one step closer to ensuring a gratifying image.

Learn more about all the new features in the XF Feature Update

Best regards,

Drew

First XF Feature Update is out

We recently launched the first feature update to our XF Camera System. The first of many more to come. Get acquainted with Feature Update #1, presented by our Head of R&D, Lau Nørgaard. Watch a short introduction to the new cool features and functionalities, including:

Histogram and BullsEye Level
Seismographic Vibration Delay
Hyperfocal Point Calibration
Waist Level Focus Confirmation
And other professional features

https://youtu.be/tK1XoSj3mME&w=590&h=443

Learn more about the XF Feature Update #1

All the best,

Niels

Capturing sirens and fairytales in L.A.

For as long as I can remember I’ve been drawn to fairytales and fantasy. This love for all things otherworldly slips into my pictures, particularly those that I approach as personal work. Simply put, whenever I have 100% creative control. I approach this pictures as a fine art piece, a moment captured from a story.

When I was in L.A. this summer, Phase One kindly sent out a camera. It was a 645DF body with an IQ250 digital back (for the low light capabilities) and a couple of lenses, the 80mm and the 45mm. I tested both and decided that the 80mm felt the most suited to the images I wanted to create. That leads me on to my next story, creating the “Siren” series.

This was my first time to LA, however, thanks to the internet and Instagram in particular, I already had a couple of creatives in mind whom I wanted to work with. It was simply a case of reaching out and getting people on board. I always find that no matter where I am in the world the creative network is small, where everyone knows each other and LA was no exception.

I pitched the idea to Jessica Dru (the model) and Vanessa (the designer + assistant), both got on board and both women miraculously managed to give me some time despite their busy schedules! Caley of Miss G Designs, the headdress designer, loaned me some pieces especially for the shoot and Jessica bought along an incredibly lovely (and heavy!) shell mantle on loan to her from designer, Fortunate Nora. I didn’t feel the need to involve a makeup or hair artist, as Jessica assured me she was quite competent at applying her own makeup and for the hair, I’d already prepped a wig that I wanted to use.

I often shoot in the late evenings, particularly twilight, using the last of the setting sun’s soft golden light. I thought this would be a great opportunity to see how well the camera dealt with low natural light.

It was my first time using a Phase One on location and I can honestly say, I was quite impressed! The camera focused incredibly well, this is notable as I was quite paranoid about it. Since I only had this one opportunity to capture everything with this team and limited lighting, getting unfocused images was not an option. In the end it turned out that I was worried about nothing. I would often focus and refocus before capturing a moment and as a result nearly all of my pictures were sharp and in focus.

I often shoot around the subject to give myself options in case I wanted to expand the image later. Shooting with a Phase One was fairly straight forward and when it came to piecing the image together later in Photoshop I enjoyed being able to zoom in and select easily.

Post production

For this series, I began my post process in Capture One. After going through the images, and making selects using the star ratings, I enjoyed a little colour play exploring the various directions that the colour balance could go in with various tones. Since the Phase One retains so much information this part was quite fun as I could push the colours much further than if I had shot with my usual camera.

For these images I used the colour balance adjustments, using the 3-way colour wheels adjusting the shadow, midtones, and highlights.

I also adjusted the Exposure, High Dynamic Range, Clarity and Curves adjustments. Capture One offers a lot by way of colour toning and layers too but since I had some compositing to do in Photoshop I focused on getting a base colour that I could then build up from.

Once I was happy with the way the images looked, I copied and applied the adjustments across the set. This is such a useful function in the program. It allowed me to quickly get a particular colour scheme replicated across several pictures, which was perfect for my workflow. I then exported the pictures, saving them as PSDs and selected the “Open in Photoshop” prompt.

Once the images were open in Photoshop, I began the rest of the editing process. This usually starts off with image composition. Anyone who follows my work knows that I like to add and remove elements to create a unique picture, often bringing together several images to create one final shot. I then follow that up with dodge & burn and colour toning in a more controlled setting, using lots of layers, textures, and layer masks to create a depth of colour toning that is in keeping with my aesthetic.

I can honestly say, I truly loved creating with a Phase One and feel that it took my work to another level. If possible, I could happily use it for every picture I created. I enjoyed the size of the picture, knowing that I could print large scale prints from it.

I enjoyed the incredible clarity that comes from a perfectly focused picture. I was particularly taken by the lovely detail that is retained in the eyes of the subject. And lastly, I loved how I could push the colour toning in so many directions. It really does make for a versatile camera and I can see why Phase One’s are used by so many of the industry’s elite. I’ve already started saving up for mine!

Best regards,

Bella
www.bellakotak.com