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How far can you go with Capture One Pro 9?

Every new upgrade to Capture One brings new tools and versatility that leaves you in a bit of a tight spot as a photographer. It’s a good spot to be in for sure, a Champagne problem if you will. You’ve spent years editing images that you’re proud of, but with the new tools you start to notice how much better they can be, and how easily you can make that happen.

Realizing the true potential

With the release of Capture One 9 I started digging through some old images. There were some that I loved in the moment, but when it came to editing, I just couldn’t quite make it happen. I’ve revisited them from time to time but with Capture One Pro 9 I was finally able to pull out the potential I knew was there.

Back in 2012, I was fortunate enough to be lending a hand on a PODAS workshop in Iceland. Working on a PODAS is a fulltime job. Assisting all the participants to ensure they get the perfect shot leaves little time for you to do the same. I was able to get a few frames in here/there though, and one beautiful sunrise left me focusing on the beauty of the scene rather than properly setting up my shot. As a result, I missed the light and was left with a few flat but in-focus images. I knew the scene was there, but pulling it out and editing it to fit what was in my mind at the time was a challenge. Opening that file up in Capture One Pro 9 however, was a huge game-changer.

With the addition of Local Curves Adjustment and the ability to create an accurate and detailed mask from the Advanced Color Editor tool gave me just what I needed to bring the image back to what I knew it could be.

The image I captured was pretty flat and by all accounts, a failure. I had nailed the focus but had missed that fleeting opportunity to capture the light as it skipped across the sea in front of me. By the time I was on the ball to press the shutter, it was all gone and I only had my memory of the moment to reference.

Trying to retouch it in Capture One 7 was too much work and the image was shelved. Luckily, the shot stayed in my mind and when Capture One Pro 9 came about, I blew off the dust and gave it a go… 10 minutes into editing it and I was beside myself with how easily I could get it to where I knew it should be.

I started with the basic adjustment workflow I give to all my images. I started with a minimal contrast ICC profile and further flattened the image by applying a Linear Response curve. I always like to start editing with a flat, dull and boring RAW file so that I can build it up step by step until I’m satisfied with the results. I find that this method gives me better reference for all the detail that is present in the capture, so that I can ensure I bring it out to it’s full potential, or make the decision to lose it in a clear and responsible manner.

The beauty of Capture One Pro 9

The beauty of Capture One Pro 9 is the control. The speed improvements help, but it’s the control for Local Adjustments that really make it stand apart from Capture One Pro 8.

I started simply, separating my foreground and background.

A Gradient Mask on the mountains, and a Local Curve Adjustment to that mask, did the trick. See below.

From there I knew I had to separate the foreground. There was some rich red/brown seaweed on the rocks but because of the flat light, it just blended together with the rocks.

The whole foreground was dull, blue and boring. No problem! I grabbed the red/brown of the seaweed using the Advanced tab of the Color Editor Tool.

I could easily refine the selected color, using “View Selected Color Range” to ensure only the necessary red/brown hue/saturation was within the selection. I made a slight color adjustment to try and pull that red/brown closer to the vibrant tone I remember and then used the “Create Masked Layer from Selection” to get an accurate mask generated. This is crucial as it let’s me fine tune the color in one adjustment, and then accentuate the contrast of that selection in the next step.

With the mask generated, being significantly more detailed than even the steadiest hand and unlimited time could generate, I could quickly get to work knocking some serious contrast into the selected seaweed. I also took the liberty of warming up the selection with a Local White Balance adjustment. A few simple steps and I had 90% of the image exactly where I wanted it.

The real beauty of the mask creation from a selected Color Range is the speed at which you can mask coupled with the subtlety the mask will provide. You’re selecting the color, not the area and that is incredibly beneficial. If there is a part of the image where the color gently tappers off or feathers into another color, your mask will do the same.

Look, for example, at the difference in the Rocks of the example image. The rocks have some slight reflection of the red/brown hue from the seaweed. When I select the color and mask it, the surface of the rocks too is ever so slightly masked. This ensures that the selection I change will uniformly change across the image. This is something that would be impossible to do manually, a heavy dense mask on some sections but a subtle and nearly transparent mask on other surfaces. The mask created from a selected Color Range provides accurate, consistent and simplified masking options and that all translates perfectly into the image.

Best regards,

Drew

7 easy steps to stunning wedding shots

When speaking with photographers, it’s apparent that Capture One has become quite wellknown amongst portrait, beauty, and fashion photographers. However, it is not so much the case in the wedding industry.

Shooting both portraits and weddings, I started using Capture One for tethered shooting in the studio. Soon I realized the RAW files I developed with it looked much more pleasing to my taste. It only took a couple of weeks before I switched my whole RAW processing workflow over to Capture One. If I could get my portrait clients to look better with a simple software change, why shouldn’t I do the same for my wedding clients?

Hero shot before before adjustments made in Capture One Pro 9

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Step 1: Culling

Any good wedding retouching workflow requires a quick way to cull images. Everyone knows how painful it is to select the keepers.

My picture selection is split into two parts. The first is done using Photo Mechanics. Because it displays the JPEG file embedded in the Raw file, it is great to go quickly through the files of the day. In Photo Mechanics, I do not lose much time. It takes me about 20-30 minutes to go through the whole wedding. I get my number of pictures down to about 500-700 pictures.

My goal here is to keep anything that looks remotely deliverable. I do not zoom to see if the images are sharp; I do not mind under or over exposed shots. Think of this step like preparing all the ingredients on the table before cooking, taking only what is really necessary to work.

Once this is done, I trash anything that is not flagged as a keeper and import the rest into a new Capture One session. Starting with fewer pictures, also allows Capture One to work faster because it will have to generate fewer previews and manage fewer files.

When the images are imported in my Capture One session, I’ll make sure to switch my workspace to my wedding custom workspace.

Step 2: Sharpness check

The first thing I then do in Capture One is checking which images are sharp, which ones are not, way under or over exposed and delete those that are not usable for any of these reasons.

Step 3: Focus check

The Focus Mask tool is useful to review quickly the images and see which are in focus and which aren’t. In my previous Lightroom workflow, I had to zoom in the picture, wait for the preview to load and check if it was sharp or not. No need for that anymore.

In Capture One Pro 9, I simply activate the Focus Mask and use the focus point picker if a closer look is required. With my custom workspace, I can even check an image in full size while still having the remaining images displayed in grid style, and not in tiny thumbnails. This also helps me going through my pictures faster, because I don’t need to switch from one view or module to another.

Step 4: Exposure correction

While checking the focus I usually also correct the exposure when it is needed. Thanks to Capture One’s customizable shortcuts, I can increase or decrease the exposure by 1/10th of a stop using cmd+1 or cmd+2. So whenever I click on an image, I can quickly adjust the exposure without the need to play around with the slider. The less the mouse is used, the faster we work! Any geek will confirm that. Being able to customize shortcuts was a game-changer for me in that regard. Check out this video tutorial for customizing your shortcuts.

Step 5: White Balance According to Skin Tone

Now that I am left with only the pictures I like and that are usable, I start color correcting them. The first thing I do is correcting the white balance. Capture One Pro 9 has the perfect tool for wedding photographers: a white balance picker that will work based on skin tones.

Why is it so great? Well, the reason is quite simple. Your bride is most likely looking gorgeous in the morning after her makeup is done. However, after she stayed under bright sunlight for a couple of hours (ceremony, couple pictures, formal photos, cocktail, etc.), chances are her face turned slightly red, or at least is more saturated because she tanned. Once the reception starts, the alcohol will probably not help with the redness.

However, the bride probably does not care about this. She wants to look great on her pictures. Because in her head she was beautiful on that day!

Setting the white balance according to her dress would leave her face red. Setting it according to her skin tone to get the same tone across all images would correct that problem. Now, you are probably going to tell me that then her dress will not be white anymore. But is it easier to desaturate her dress to get pure white or to correct redness on her face?

So what I do is I set the white balance on one picture where I judge her skin tone to be good, and then apply it to the remaining images. Usually, a picture right before entering the church or just after makeup was done will do the trick. Avoid a picture that was shot with too high of an ISO as the colors are usually not at their best. Also a close-up shot is better suited to create the white balance preset as it will be easier to pick the desired color.

To apply the settings to the rest of the pictures, I usually correct the white balance for one picture of every moment of the day, and then copy/paste these settings to the other images that were taken at the same location and moment. Sometimes, before copy/pasting the development settings, I’ll also use the Color Balance tool if there’s a strong color cast that cannot be fixed with the White Balance tool. This is especially useful for reception shots.

Image before Color Balance correction in Capture One Pro 9

Image after Color Balance correction in Capture One Pro 9

If one picture is too much work to color correct, I usually flag it in red. Every red flagged image in my wedding workflow is a picture that will be converted to black and white using a preset.

Step 6: Presets

At this point, my pictures should be either color corrected or flagged for black and white conversion. However, in either case, exposure and sharpness are on point, and I have files that could be printed. Before exporting my files as JPEGs, I apply my personal presets to give it my “touch”. Note that my presets do not alter the exposure. Otherwise, the previously done work would be made useless.

I use two presets: one for color, one for black and white. Nothing crazy, just simple color toning, change of clarity and contrast, add some grain, cleaning noise and that is about it.

My wedding retouching stays quite basic for digital files delivered to my clients. Only the pictures going into the album will be more refined. For the album, once the couple has validated the design, I will go over each of the selected pictures and redevelop them individually to get the best out of them. Much like I’d do for a portrait session. This would include local adjustment, cloning and healing, making skin tones uniform or perspective correction.

Step 7: Exporting files with Process Recipes

Before I export my developed raw files, I go through all the pictures in grid mode once again, with the images displayed as big as possible. I always want to make sure there isn’t any inconsistency. Then I export them in three different formats: full resolution files for archive purpose, 12×8″ for client delivery, and 900px on the long side at 72 dpi for the web.

What changed in my workflow coming from Lightroom, is the speed at which I work. With Capture One Pro 9 , I feel like I can work the way I want to and thus faster. Having the possibility of customizing both the workspace and the shortcuts, was liberating. Also, with Capture One Pro 9 I can work using a combination of the grid mode and the full-size view on one screen without having to wonder in which module I am and what is achievable using this module.

Finally, with the Local Adjustments options offered by Capture One Pro 9, there is less need for Photoshop. Dodging and burning can be done directly on the Raw file in Capture One, custom vignette as well using the new Luma Curve tool and the Local Adjustment brush. I am looking forward to next year’s season to take full advantage of the new features of Capture One 9!

If you want to learn more about using Capture One Pro 9, be sure to subscribe to the weekly webinars.

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Best regards,

Quentin Décaillet

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