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Retoucher Takeover: A Quest for (even more) Dynamic Range

I am in a very unique position when it comes to photography. Not only do I enjoy photography, but my full time job as a retoucher, in the commercial and editorial world, allows me to sample files from nearly every major camera.

Have been many instances where I needed more dynamic range

I know many photographers who are not retouchers and vice versa. I would say that as a retoucher, I have to juggle a file and manipulate it to bring out its maximum potential. There have been many instances with standard DSLR files where I needed additional dynamic range from images where there wasn’t any.

I knew what medium format files offered in regard to color and range. What I wasn’t too familiar with was how the CMOS sensors on medium format cameras handled higher ISO situations of the real world, where previously, standard DSLR cameras would be the “go to”. I had never received images shot above ISO 800 from medium format cameras. So that got me thinking, what if I just did it myself?

Went out of my element

This led me to the Phase One DF+ system with an IQ250 digital back for testing purposes because I knew that it had a CMOS sensor that could handle the higher ISO’s. I wanted to see just now much better the noise handling was when you pushed the sensor. I opted for the Schneider Kreuznach 80mm 2.8 Leaf Shutter lens since I was shooting portraits.

I took the camera to Los Angeles with my dearest, Bella Kotak (who also tested it for her conceptual work) and stepped out of my element as a retoucher. As a regular to the studio process, I was happy to be able to use natural light in the place we stayed at.

Naturally, our place had a hammock and beautiful window light. Oh was it hard to get any work done! I could hear it calling to me while working in the evenings.

My team consisted of agency model Tiger Kaufman as well as hair and makeup artist, Briana Danielle Chapman.

Their exceptional talent allowed me to focus specifically on shooting, because I knew this would be a new situation for me. We decided to drape a cloth on the window to soften the light and she laid flat on the floor.

Apologies for the cell phone photo!
ISO: 1600 | f/12 | 1/320 | Auto focus

I was really happy with what I had captured! The retouching was done to the skin and a minimal amount of color toning. I was really pleased with the amount of tonal range between highlights and shadows. Most importantly, is the surprising lack of noise in the images! The quality was certainly impressive in that aspect. The only better option in regard to color reproduction would be the IQ260, IQ280 or the similar 3 series backs. The CCD sensor allows for a higher color depth. However, as my focus was using it in natural light, the IQ250 was a better choice as I wanted to explore the higher ISO range.

To see how I got from point A to B, here’s a look at the image out of camera:

This was without any adjustments whatsoever. What I did in Capture One Pro 8 was rescue the highlights using the highlight recovery slider, bringing back any information that might have been lost. See below.

From there, I took it into Photoshop, exporting it out as an AdobeRGB PSD file and went to work.

Here is an overview of my layers. This screen shot mainly highlights how I got the color tone for this image. As you can see, I used a color lookup adjustment layer, and used the “2strip.look” file to create a milky tone. I set it to the color blend mode and brought it down to 35% in opacity.

The rest of the layers were minimal healing work and some evening out of the skin with dodge and burn.

Here’s a 100% crop of the image:

The only downside I found was the focus. At times it did seem to seek a bit, which is why I am excited about the newly launched Phase One XF and their honeybee auto-focus platform, which has certainly fixed any autofocus concerns. Aside from that, I was able to come back with what I wanted in just as many shots as I usually would take. The transition felt seamless from a photography standpoint. It does shoot slower, in the sense that it’s around 1 frame a second. However, my shoots are usually paced accordingly.

Here’s another shot from the same day:

At ISO 3200, it was a little noisier, but still usable. In the end, I was pretty impressed with how versatile the system was. Understanding the versatility of the Phase One Camera System and knowing it can be used in any lighting condition is quite impressive. I’m not the kind of shooter who likes to tether, as I tend to free flow quite a bit when shooting. It allows me to discover angles and be more dynamic with my models, like a dance. It creates for a dynamic shoot with some good rhythm.

What this experience also did for me was allowed me to bridge the gap between just seeing the files from my clients, and also seeing how they got there. It also allows me to communicate my experience to other photographers who are considering making the leap to medium format and what to look forward to.

Our next shoot and post with Bella, we push the camera even further in terms of ISO, and all in an area where we really battled the elements. Be sure to stay tuned for her post!

Best regards,

Pratik

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3 easy steps to accurate perspective in your architecture images

Capture One has a very strong and efficient Keystone Correction tool. Keystone correction is made super simple by the use of the 3 different Keystone correction cursor tools: Keystone Vertical, Keystone Horizontal and Keystone.

When using the Keystone cursor tool, the image will be corrected for both Keystone as well as any horizontal or vertical misalignment.

Capture One’s method for correcting Keystone is mathematically identical to how an image would be corrected if it was shot with a technical camera.

When using the Keystone Vertical cursor tool for correcting the keystone of a building shot from below, Capture One Pro 8 will automatically set the amount of correction to 80% and not 100%. The 80% correction looks more natural to the human brain than the 100% correction.

No Keystone correction

80% Keystone correction

100% Keystone correction

Comparison

The images above are three versions of a building shoot from below. The 80% correction, automatically set when using the Keystone Vertical cursor tool, makes the building look straight while the 100% correction makes the building look wider at the top than at the bottom.

Use Keystone Correction at 80% to achieve a natural look

If the image above had been shot with a technical camera with an ideal lens pointing horizontally, the image would be identical to the rightmost version with 100% correction. In this version, the height of each window in the building are exactly the same and this confuses the brain, as we expect the windows to look smaller and smaller the further away they are. In the middle version with 80 % correction, the height of the windows look just a little bit smaller the further away they get. This is just enough to allow the brain to accept the building as looking naturally parallel and seen from below.

If you shoot a building from a position where you are able to point your camera almost horizontally, then you may want a 100% correction. You can still use the Keystone Vertical cursor tool, but you will need to change the default 80% correction in the tool to 100%.

How to use the Keystone cursor tools:

Step 1: Select the Keystone Vertical cursor tool from either the Keystone Correction tool or from the general cursor-tool toolbar.

Step 2: Align the vertical guides with the vertical lines in the building. To obtain better precision, you can use the scroll wheel on your mouse to zoom into and out of the image while aligning the guides.

Step 3: Press the Apply button and the image will be corrected. Notice that the Amount slider has automatically been set at 80%. Also notice that the image has been rotated, as the camera was not perfectly aligned horizontally.

All the best,

Niels

How to deliver quality outdoor shots every time

Last week someone asked me what has been the biggest improvement to my workflow in the past year. I didn’t have to think for very long. In the beginning of 2015 I started using Capture One, after many years of using Aperture, because I was shooting an assignment with Phase One cameras. Like many Aperture users, I had long given up hope of Apple ever providing a professional solution.

Recent convert from Aperture

Sure, I could have chosen other image processing programs, but I soon realized Capture One Pro 8 allowed me to directly import my Aperture libraries. But it was when I started processing images that I really began to understand the real power of Capture One. Here was a processing engine that allowed me to deliver exceptional images even after a difficult day’s shoot.

Capture One helps me deliver my promise

But what are the real benefits of Capture One Pro 8 and how has it helped me to deliver consistently high quality images?

Virtually all my work is shot outdoors in all types of weather, from the grey, murky light of northern Scotland to the harsh light of the Middle East. One of greatest challenges for outdoor photographers is to be able to guarantee clients receive the very highest quality work no matter what the conditions are.

I have built my reputation on this promise, and Capture One Pro 8 is a big part of this promise.

Shot is torrential rain from a rib

In addition, a key part of my photographic style is the way I grade pictures. To do so successfully across a whole shoot in such varied lighting conditions, it is vital that I’m able to compare and adjust images in the same window. Capture One Pro 8 provides this tool. Many other applications don’t.

“I now color grade on the RAW file”

As visitors to the Capture One website might have read, I tested a beta version of 8 earlier this year and was amazed by how effective the 3-way Color Balance tool was. Several months on, I can honestly say it has become one of the most important aspects of my workflow. I can now color grade on the RAW file rather than having to ‘round trip’ to another piece of software.

My workflow in Capture One:

To give the user an idea of how I work through these steps, I will walk you through my workflow:

The first thing I have to do is get a set of low-res JPG’s to the client. This is done without a color grade on the images.

I would initially do an edit to remove any out-of-focus/test shots that were captured and then select all the remaining images. In the Exposure window I would hit the A button to put a simple automated exposure across the low-res images.

With all the images still selected, I would then go to the output tool and check the box for JPG Quickproof (srgb) and then output to Dropbox a set of low-res images for the client.

The client will then give me a list of image file names that I then type into the search bar and as each image loads, I rate it as one of their selects. Sometimes this can take half a day!

In the rating filter I bring up all of the selected images and reset them to the original RAW file, so I am removing the A auto setting I put on them for the low-res output.

I would then do a selection of my own that feature images across the shoot under different lighting conditions. I do this because as I work on the color grading I need to see how it effects different images shot on different days under different light.

I have created my own Tool Tab, which is where I start to grade the first images. This Tool Tab has in this order: Histogram, Exposure, HDR, White Balance, Color Balance, Clarity , Sharpening, Vignetting and Spot removal.

The first four tools I use to get the style of the image and these are the one’s that normally need tweaking across different lighting conditions.

Initially I would have something like six images to compare against, so once I have copied across a style that I save under Adjustments/ Styles/User Styles to an image, I would bring them all up next to each other in the Viewer and use my Tool Tab to get the grade balanced across the initial few images. Being able to do this is vital to color grading an entire shoot else making the images balance is impossible.

I would now have say six versions of my style on six images; from here I can copy the adjustment to batches of images shot under the same lighting conditions.

Once all the images have a color grade, I can then start to look at the entire set in the Viewer in multi view mode to make sure the whole set sit together and look like they are part of the same set making any adjustments as I compare.

All of this process used to take place outside of my RAW processor with a round trip to a third party piece of software, but now all the grading can take place in Capture One Pro 8 and only a trip to Photoshop is needed for retouching, which is a process that takes place after color grading and initial delivery.Shot on a completely overcast day with no directional light. Using the building as a flag.

All in all, if there was one tool in my workflow that allows me to deliver no matter what is thrown at me, it would be Capture One Pro 8. I would advise any photographer to give it I try.

A very brief break in torrential rain and up here snow, but wait it out and the changing weather can deliver the best images.

Best regards,

Pete

Lens correction in Capture One: The Essentials

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

Lens corrections is hardly a new phenomena in RAW converters these days, but there are some subtle differences between how they can be handled.

By default, the Lens Correction tool sits in the Lens tool tab in Capture One.

To correct optical errors in the lens, you either need to know how the lens behaves under certain conditions or create a profile for that lens, if its behaviour is unknown.

In Capture One we can use both methods to correct lens errors.

If we look at the Profile drop-down menu, the complete list of profiled lenses is shown. These are lenses, which we have had on the test bench at Phase One and created a profile for.

We believe our methods give an excellent profile for lens corrections. We don’t just rely on one or two captures to profile a lens. It can take anywhere between 50 to 200 captures. For example a very wide zoom with a large range requires more captures.

Fortunately it doesn’t stop there!

Some manufacturers supply enough data in the RAW file that we can use to also correct for lens errors.

For example Sony, Micro 4/3rds cameras and Fuji Cameras.

This is when you will see Manufacturer Profile in the Profile drop down menu.

The main difference between a Manufacturer Profile and a Capture One profile is that we additionally correct for Sharpness Falloff. This is why the slider is greyed out when using the Manufacturer option.

The benefit of using a manufacturer profile is that any new lens is instantly supported in Capture One. For example if you are a Capture One (for Sony) user, then as soon as Sony add a new lens to their line up, you can be guaranteed we support it in Capture One. No waiting around for a new profile or having to create a profile for yourself.

Better Chromatic Aberration Correction

One issue with profiling lenses is that unfortunately there is variation between samples. i.e. one lens might perform better or worse than another lens.

Distortion and light falloff are less likely to change between samples, but chromatic aberration is more prone too. However we can correct for this issue with a bespoke analysis. Next to the Chromatic Aberration field is an additional menu.

Clicking Analyze will improve on the Chromatic Aberration correction by examining the image for Chromatic Aberration artefacts of your specific image and sensor combination. It is a relatively quick process and worth performing on your images.

The additional good news is that this process can be performed on a batch of images. This was an improvement made in Capture One Pro 8 over version 7, where it could only be done one image at a time. You can appreciate this is now significantly faster in version 8!

To perform a batch analysis, simply select a number of images and choose Analyze as shown above.

It’s a good idea to do this at the start or the end of your workflow. Its a quick operation and can only improve image quality.

If you want to learn more about the Lens Correction tool, check out the Tutorial on lens correction

Best regards,

David