Capture One Course: Road to Mastery

1. Introduction: Hi everyone, Welcome to the scepter one course. Before we're going to start out, I just briefly want to talk about the topics we're gonna go through in this course. Nls, just want to quickly introduce myself. For the past five years, I've been working as a digital operator in London, providing digital workflows to some of the leading photographers in the fashion and advertisement industry. Along my way, I was able to learn from some of the very best people. And lambda provides on a professional level and cater to a highly demanding field where there's no other option than knowing capture an inside and out in order to deliver highly structured sessions and the flawless workflow point, I want to help you out getting the very best out of your images and using the software to its highest potential, giving you more control and structured understanding of how to not only organize your files soundly and with ease, but also how to color grade your images with those not so obvious ways. Learning more about how to translate more feeling through understanding how to grade your highlights, shadows and mid tones. I will also teach you how to create a professional tethering workflow with customized shortcuts to make you highly efficient and confident numero, if you're shooting on a job or you're just really keen to learn, learning all of those things. We'll be touching on all the tools capture one has to offer. And I'll show you a neat tips and tricks, affluent and my journey, as well as traps to avoid and learn how to troubleshoot different types of situations you might face in your routine. Lastly, we'll go about exporting files in the best possible manner for different requirements, giving you all the tools to efficiently process your images and finish your project with highly organised file structures. So stay tuned for all of the upcoming chapters in which we will cover all of these topics. 2. Working with a Catalog: Hi guys. Let's start this course by creating a new catalog and exploring these options we have by working with a catalog. So we can later on create a session and really see what are those key differences. So you can find out what is better for your workflow. I will be naming this catalog, just pictures. We can be very general when creating a new catalog. As a catalog is very suitable for someone who wants to have a library to centralize all those images. You want to collect an, a bigger timeframe. So you can be general in this case. And that's completely fine as we're going to get more specific within the catalog itself. All right, so the first thing we wanna do is to import those images we want to see in our catalog. So we'll go ahead and just click in here and we'll choose our images. I have prepared a bunch of license free images for this purpose. So I'm going to select all of these. And the first thing we have to take care of is in this inputs to a section. So there's two options really we need to consider in this case. So there's the first option to add your images just into the catalog While not copying them and leaving them where they are. So in this case, as these images already on my computer, That's exactly what we wanna do. So you are able to leave those images where you are used to having them while creating a centralized library where all your images can be found together in one place. The other option is to copy into a catalog. And you will see that capsule on already tells you that your files will be copied into the catalog structure. And this one will be useful if you import images from a memory card. So directly from your camera into Capstone. In that case, you wouldn't want to choose the Add to catalog option as you'd be running into problems when you really need to access those files. Although one thing I want to mention, your images will be always accessible no matter where they are. If they're on hard drives which are not connected to your computer, capture one will still safe previews of these files and you will at least be able to see them and do basic stuff with it. But to have the full benefits of working with it, you need to have these files on your computer. So that's why always copy into the catalog. If anything, you want to add to your library is not on your computer already. In any other case, we want to add to catalog and really keep the files where they are. So we create this nice centralized version of a catalog for our workflow. One more option you might want to enable is the backup. So you can enable this by clicking here and choosing a backup location. I already have this folder, It's called backup. And you can just basically select the folder and you can create a new one. And that's really good to go in that case. So let's go ahead and import these images. And what we can see now is that all these images just bunched together and we have no real structure. So let's go ahead and explore these options. We have in a cutter look to organize so much as we can find those in the user collections. And there's a few types of folders we can use for this purpose. So what we want to start with is a group and that's the most general thing to create the first section of a whole category. So in this case, we could call this 2020 for the year. And this would be the group where we could start and organize everything we have done in the year to 20. So we don't want to drag in any images into this group yet because we're going to get more specific. So the next thing we could do is to create a project inside. So in this case, we could say this is a holiday, and this holiday was in Italy, for instance. So Italy. And the next one would be an album. So an album would be nice for dividing the soul trip into days, for instance. So let's start out by creating one day, one folder. So that's one option we could choose. You could also go for a different sort of organization style. You could also call this 2020 folder instead holidays. Or you could have another group in here in 2020 which you call holidays. And then you can organize all your trips within that group. And while having lots of project within. So you could have 2020 holidays. And then Italy, maybe you went to Greece, maybe you went to Germany. All of those places you have visited. You could organize within this file structure here on the left side. And that's really great. And here, because the catalog will get quite full after a while. And as it's something really suitable for someone to collect images for a long period of time. We really want to make sure to really use this in our benefit. So let's go ahead and add a few images to this day one folder. Now select a few of these. Let's say this is day one of a trip. And we can create another folder called this day2. So we can copy of the rest of these files and track them in here. And these files won't be copied. There'll be just accessible from this folder. Without creating any copy of this file, they will basically stay where they are. And capture one will just give you the option to see them in a filtered way. So if you want to filter these images now, by certain criterias, you could create a Smart Album. If you create the Smart Album inside a project, the Smart Album will only filter those images within this project itself. Whenever you create a Smart Album outside of a project. So let's say it's just an user collections, then it will take all the images in your catalog into consideration. So now we only want to consider those images and the italy project. So let's just click inside Italy. And here you can already see that If that we can add lots of different criterias and you could choose really whatever is helpful for your workflow. So if you're the 12, you could even go as far as having an ISO search criteria and say that it has to equal exactly ISO to 100. And then you could just hit, Okay, call this ISO to 100. And then see, all these images. Can see right here have an ISO of 200. So that's just one example. There's so many other criterias you can use. But the great thing here is that capture one will do all the searching. And you don't have to do anything else than just setting this up once. So after you've done changes to your catalog and to your images itself, you might want to create a backup. And as we've set this up before, we have already folder for that purpose. So we can just click on File and click backup catalog and make sure that the backup location is selected. And you can just back up. Semester successfully backed up. So that wraps up the chapter about catalogs. Their user collections is really what it comes down to in the catalog. This is really the way to organize long-term projects. And next up, we will have a look into the sessions which bit different as we have very much project-based within each and EMI session. And we will really explore those differences in the next video. 3. Working with a Session: So next up, let's create a session and really highlight those differences when it comes to comparing a catalog and a session. Start out by naming this, by starting with the year, the month, and the day of today. And we've just finished by using something like a keyword for that specific project. We're looking to create a session for probably just calling this holidays. And this might be something completely different for you. So let's go ahead and we'll create these folders, which we'll talk about in just a minute. So now capstone created these folders and the quickest way to access our folder, and this is where we really want to end up too. So capture folder is by right-clicking on it and click Show and library. Let me just scroll down and we can see it already here being highlighted. So before importing our images, I want to recommend you to create sub-folders in case possible. It really depends on your project. If you're, for instance, photographer, the best thing you could do is really work with short folders. So for each outfit, you should be having a folder. This will also come in very handy when it comes to your file naming, which is one of the next things we will look into after we create these folders. So we can create a new folder by right-clicking and capture and create a new folder here. Or the quicker way is to go into the Finder. And that's especially better if you need to create a lots of folders. So as a fashion photographer or even advertisement photographer, you probably have a few shots you have to due for that day and do your best ways really to go by Shot Counts if you create this session because you want to organize a few days of your holiday trip or you can trip over anything else. You might just want to use different naming for your subfolders. Sometimes a project might not really need that sort of structure. But if you can, the best way is really to go with subfolders. So in this case I'll be just calling the first folder, day one. Copy this, and create another folder called data. So now before importing, we want to set this folder has a capture folder. And let's go and click Import. So by setting this as a capture folder, our destination is already pre-set up here. That's what capture one does automatically does not watch, we have to do afterwards. So let's choose our images and put this. And since we have now two folders, we might want to. Select a few of these images, can do that by clicking the space bar. And let's say all of these other images related to day one. We can enable backup for now, we don't need that in this instance. And before we import this, I really want to highlight how we name these images. So Capture One has this great tool with lots of different options to name your images in a very specific way. And right now as you can see, this is what you probably know swell. These are the foreign names which you get a standard any camera and they don't really help us. They might tell us how many captures you have already done on your camera. But there's nothing really which relates to your actual project in this filename. And especially if you hand in files to a client. Or you're just really looking for more structure and a better way of organizing your files. You really want to utilize this. And instead of having the image name and your format, this is what should be standard. You can customize this in a way where every image has a unique name which will represent the project it relates to and the subfolder. And it, each image will have a count as well. So doing this is as easy as choosing a few of these tokens and you have a lot to choose from. What I recommend you is you start with the name. The name relates to the job name. You will type in here. The destination folder name that relates to our sub folder we created. That's basically our capture folder. And then it counter and you have a few to choose from. You can save that preset if you like that, by just saving it here as a user preset and it will be always here for you to choose. So you can already see another sample will give us an idea of how this looks like. If you've already previously imported a few images, this counter might be at a different number than 1. So you really want to be sure that your names start with number one, and you can do that by resetting your import counter. So as this is already on one, we don't have to do that. Sometimes you might want to add some images into a folder which already has some images, then you can set the import counter and type in whatever. Won't you see this would start now from a 50 and count through. So we will reset this again, start with number 1 and import our images into one folder. Now you can see all of these images have a unique filename and they relate to our project and it really becomes useful for us later on. So next step, let's import these images which are missing. So for that, we will set this as our capture folder. Again. Choose the images. And to quickly de-select most of these images, we can just click pickle. And with the space bar, we can select those remaining images. Now as you can see, the contest not set to one, so we're just reset that import counter to make sure that everything starts at one again in case we had made the mistake. Then there's also a great way of renaming your images. And the way to do that is by using the batch renaming. So let's say we have started with the wrong number here. And we want to correct this. So we would first select out of these images, click on Image and batch rename. That way, we can rename our image as you can see also, the format is the same as we've used before. And you just need to make sure that the job name is the same one as we've previously used. Right now you can see again that counter is at two, so we can just reset that counter as well. Or you can also set the rename counter to a specific number. So in this case everything is back to one, and we're happy with that. Now, apart from this capture for the Capstone creates a few more folders which help us to organize our different files. So the next one would be the output folder, and this will be the folder where all are processed images will go into. So we will go later on into the chapter processing images and see really what ways of processing there is some capture on. But for now we'll stay at that. And we'll go ahead and see what the selects can do. A Select Folder is one option. You have to structure your select in your session. But it might not be your favorite way of doing so, because as you can see now, let's put this into the Select Folder. Can just right-click and click Move to select. And you can see files will be moved to a new location. So this image suddenly disappears here. And isn't that folder now? So that's maybe not your favorite way of organizing your select. Maybe there are better ways and we will move that back to where it belongs to. We can already see an R file and this wasn't a two. So we just drag it in here. And a better way might be to just go by star ratings. And you can either click in here or use your numbers on your keyboard to make a quick selection. That way, you can just use this filter. And you will be very quick when it comes to finding your selects back without breaking up your extra structure, created the last folder which kept on creators the trash folder. And that's pretty self-explanatory. Basically, if you hit backspace, the image won't go into the system trash, but it will go into this trash. So you can always retrieve that image and put it back where it belongs to here this. So that's sums up the folder structure which capture one creates. As you can tell now maybe compared to a catalog, this is a great way of just creating one session for one project. This will help you and be more specific when it comes to editing your pictures. So in a catalog, as you sum up so many different projects, you also asking a computer every time to load all these other images while in a session. You don't have that problem. You can be very resourceful with the performance you computer has to offer. So that way you can really keep sessions on other hard drives if you don't need them anymore. And this way, you also have a way of structuring your images within output folders, select folder, you have a specific trash in here. And it's really the way to go. If you are someone especially who works for clients, then you really want to go and start working with sessions if you don't do so already. I think it's not a good option to go to a client and have a catalog with lots of images which already exist and are not relating to the job you're doing right now, it's really easy to suddenly see some images which have nothing to do with the extra project you're working on. That's why I really recommend to you to utilize this function of capture one, which really defers to say Lightroom. Lightroom is much more similar to the catalog workflow. This is really more unique to capture one, and this is really where it stands out. So that wraps up our comparison between catalogs and sessions. Next up we will start and explore all of these things. Capture one has to offer all these tools and ways of working on images. The next one will be the last step. 4. Lens Tools: Cropping & Keystone: So now let's have a look into the lens tool tab. And as you can see here already, this really relates to our lens and capture one has a lot of these profiles which it uses in order to make sure that our image looks fine and right. And you can already see there's things like chromatic aberration. So it will automatically correct these according to the lens you have. And there's also a few more things like distortion. And this is really something I want to talk about because this is the root of some problem which you don't even know about maybe. So this one thing, when you shoot with a wide angle lens that capture what we'll do. And it will, by standard, always try to work on that distortion. And what that will do is you will see a small crop around your image. Often it's even more small than this one. And you have no way of deleting that crop. And as you can see, if I tried to reset that crop, nothing really happens here. Account click outside. It doesn't disappear. A country set it. So that always relates to the distortion, as you can tell, as I'm taking it out, the crop disappears. So if that's something you have stumbled upon, then it's redid. The distortion tab is might be very frustrating and with a few, have a whole session for with images which you have shot on a zoom lens. And you're wondering, why are some images cropped and y us some not. And that's really where it always comes from. So it's the distortion. If it does bother you, you can just leave the distortion at 100 and you'll see this looks already less distorted, which is great. Next up, there's a few more things like proper fringing. You won't really need that too often. Sometimes you can see that around the edges and so on, that there's some purple lines. And this is nothing you should be using as often really as anything else and capture one. So we don't really need that for now. The next thing would be to see what we can do with the crop tool. So this cropped section relates to the crop tool up here. And you can select that either by clicking or pressing C. And if you hold that, you can select a few different aspect ratios and also add your own aspect ratio and safe that. So if we crop now, you can already see this will look different than your standard settings in your capture one. So if you're bothered by the way, how your crop looks, then you can go into preferences and change the way your crop. We'll look. So this is the way I like to use it because it really gives me the option into having a better view on what I, what I actually look for in the image. So here you can set the opacity and the brightness. So if you want to have it black, go ahead and have a black. This looks like a polaroid a bit. And it really gives me a better idea of what I'm propping out. You also have the option to hide those handles, which you'll see. And this is for me really my preferred way of working. I don't need those handles. They really are just a little bit of useless information for me when it comes to judging my image. So that's the way I really like to work. So below that will have the rotation and the flip tool tab. And what this really does is nothing else than rotating at flipping, which we can also do by clicking outside corner of the image. So we can reset that by clicking here. And everything is as it used to be, can also flip here. But that's really self-explanatory. Below that we have the keystone to. So this relates to the two. We have a pair and we have few different ways of keystone in an image. That's really helpful for us, especially if we work with images that have lots of lines, especially when it comes to architecture, this is something you really might want to make use of. And let's look for an image which might benefit from the use of a keystone function. So as you can see here, this really fits into that criteria. We have lines, we have lots of lines. The image isn't 100% straight. So let's try and optimize that with a keystone. So the way of doing that as we search for a line which is horizontal and straight, and we align that with it. So just need to be really show that our line is really aligning with our straight reference. That way we can make sure that it won't need too much correction afterwards. So make sure all of these lines are nice and straight. And if it's a little bit of, we can always correct it afterwards. So if we'd done, if we're happy with that, we just press Apply. And we'll see that the image now, it's much more straight. Maybe it's just a little bit wonky. Then we can just click on the corner and correct that a little bit. And you'll see this is now way different compared to what we had before. So that wraps up our lens to next up will be our color tool and we will have a deep look into creating our images only by using the color balance and not utilizing any of these exposure tools. 5. Color Grading Part 1: Using the Color Balance: So now we're going to start to be a bit creative. We're going to use the color tools in order to create a nice color grade. So what I really want to emphasize here is creating a little bit of mood. Creating a bit for more than just a neutral image. I know that since digital photography really took over, there's this sort of obsession with neutral colors that people really make use out of a gray card and use this pipette to click into a gray spot and to find that neutral image. That is completely fine. I don't want to talk you out of doing that. There's also lots of genres in photography where you have to be neutral and you don't want to overly stylize an image. That's completely fine. But apart from using that puppet when you want to be neutral, there's not more to say about this. And trying to be a bit more stylized now with our image is really great way to have a deeper look into this color balance too, which is really powerful way of grading your image. So we'll start out first by setting our white balance. And we're going to look for a nice medium where we feel like her skin looks good and the rest doesn't look too far off from what we consider to be sort of correct. It doesn't have to be 100% correct in the end, this is a creative process and we don't looking to replicate real life to 100%, but we're trying really to create some sort of boot. So in here, I really would like to emphasize a little bit of green as we're outside. And I wouldn't expect that to be much magenta going on outside at that time of the day, that would be more sort of a situation at certain sunsets. So at that overcast day might be just a little bit of green inflammation and I think that's fine. So what we have here now is the color editor. We don't need to use that too much, but just if you really want to, you can target one color and really modify that by using the color editor. So you can slightly shift also the color. You can saturate and desaturated. But as you can see, we have a little bit of green information or around that image since we've added a little bit. So that really has an impact on the whole image. But we want to continue without that and continue with the color balance. So the master gives us the possibility to change the whole image or the round. That's not really what we wanna do here today because we want to be way more specific. And our way of being specific is to really target those shadows, mid tones and highlights. And a great way to do that, you will find is the color balance too. So let's see what we wanna do with those shadows. Think I already got a feeling that I want to be a little bit green and those shadows. And one way of doing that is by Dragging the circle. And another way would be to change the intensity of your color by dragging this here. So let's see how much green we really want. And this one right here on the right is a fantastic way of pulling or pushing your shadows right now. So this is a great way to introduce contrast without actually using the contrast to end here. And what's great about this is that we don't just add contrast. No, we add contrast by introducing color. So we're much more specific about what our shadows are going to feel like. So let's try this, maybe just a little bit less green. And let's try the midtones. So the midtones are always very general and they affect most of the image. So we don't want to be too strong with these heavy, just a little bit of warmth, which will really warm up her skin tone. That would be really nice in this case. Brighten this up a little bit. So she looks like almost as if there was a little bit of reflection and our eyes a little bit of bounce, right? And her face on that overcast day, which might be really nice for this image. So let's keep it like this. We have a nice golden hue. And let's go into those highlights. Maybe we can create something which is a bit more opposite to that warm tone we've created in those midtones. So maybe we can go and look to create something really blue cyan dike and really work in opposite colors. Especially. That's a great idea if you work and the shadows by using green, It's always interesting to be almost opposite that color. Although you, with the highlights, you most often wanted choose to use either warm colors or cold colors because that's really the reality of flight. It's either either it appears warm or cold. That's what you will face most often. So we can really limit ourselves for now into those two options. And find a nice way of creating our highlights. And think I like this sort of blue really gives a nice tends to those highlights. And now this here, this is really fantastic to two already give an image a way of high dynamic range without using this one. So now I'll show you what happens if we pull this down. We introduce a lot of high dynamic range. And again, we're much more creative by doing that with choosing color and pulling down our highlights compared to just pulling down here. And this often It just doesn't look really natural. And you can tell on almost all images where this is heavily been used, that this is just pulled down highlights and the HDR function. So using this tool is really a creative way of introducing color while pulling highlights. The same for the shadows. We are really specific and we really work with a mood. So now we can see with affected a little bit also this slide highlights on her face. So maybe we want to just add a little bit more orange. But what we can do as well is hidden and our color editor, and that is the skin tone. So to target that skin tone, we use this prepared and we click on her face and click in here as this is more prominent in that bluish tint. So now we can change the hue of that targeted area. So here we'll introduce a bit more magenta here, bit more green. So maybe I want to add a bit more green here actually, as we have already a little bit of green in the shadows. And this won't make her look sick also, it will just make things fall into place within this world we are creating. Saturation. Maybe that's fine as it is. Let's see how the lightness will affect the image. And as you can tell, this also affects a little bit. Her hair is always depends really mean we use the pipette, really target a specific color. Sometimes this will also target something very similar to that color. The uniformity is almost a way of retouching without really retouching. So let's have a look if we can smooth the skin just a little bit. So you see this slide, areas of contrast in her skin will be filled up really, that's a really slight effect and I hope you can see that on your monitor. But it's really fills up these little differences. And it has a slight effect on the rest of the image, but that's all right. So now let's go back maybe into the color balance and work a little bit on the shadows again, I feel like this can have maybe a bit more extreme. Okay, I'm happy with this for now. And let's see how this looks in a completely different image. So let's have a look on this one. And before doing that, I will just create a new clone variant. A new variants. So a new covariance means that the settings on this image will be duplicated. And a new variant will always mean that the will be a new variant without any settings. So in this case we don't have any setting, so it does matter. So we can just choose any. And now let's apply these settings we have just created. And we can already see that's a big, big difference compared to this weeding you to refer to. And again, I don't want to talk you out of being neutral. It's fine to be neutral, especially if you have to, if we have to represent something in the press or if you need to represent a product and you have no other option, then really be exact with the color you need to sell with that product than you really need to be neutral. But photography like this can really benefit from giving it a feel and be more stylistic about what you wanna do with that. Maybe in this case, we don't need the skin tone. I mean, there's obviously no skin going on here. So we can delete that from here and have a look on how the shadows will react to our settings. Here we can have them maybe a bit more blue. And let's see what our highlights. Vudu. So, I mean, you could even go overly orange if you're really a fan of that. It's also a very modern way of grading the images these days, some photographers freely like to do that, especially in the dark room. There's a few big names out there in the fashion industry that, but you don't have to copy anyone. You can always find yourself within the colors you like to use. So let's see what this image really asks us to do or see what mood we want to create here. So I'd like to be a bit more neutral with this one. And let's just minimize the whole coloring on this one. Let's see, the white balance is doing. And that's great. This is, we can always go more extreme if you like. I don't want to go too extreme now because really have to find sort of mid point in here. But you can already tell there's a big difference compared to these two images. Now let's see what happens if we copy this style on a few more images. This is very different now, this is much darker, but it might help us already as a starting point. And we can tell it doesn't look too bad. So let's see, maybe we want to push the shadows just a little bit. I mean, what we've done before was that we pulled the shadows and we don't want to push these artificially. But just a little bit, just so we have a bit more information on those zeros. And we don't want to go like here. So that's really not representative of what's going on. But that's maybe, and NEF. And let's maybe see that we go into an orange. And here, here we can work really with other shadows and be much warmer because we're in the desert, right? So we don't need any green. This not much green in the desert I suppose. So let's see, reddish orange is really a nice way maybe to, to highlight this mood in the desert. And let's see what the highlights want. Highlights. I would already recommend that they are also something which would strongly benefit from being graded much warmer. This way we have fantastic science and orange mix in the sky and this really is reflected in that shadows here as well. So maybe we want to take out these buttons just a little bit so we're not overly warm, but that we still have a little bit of contrast. So here these buttons really target these clouds. So can have a little bit of blueness going on the coast. There's also some contrast in color between those clouds with represent those mid-tones, shadowy areas, compared to where the sun is just about to set. So now let's compare to how it was before. Can either do this by creating a new variant, or you can also add in the tuba, this before tab that's usually not in there. I have added this already and you can just pull that into there if you don't have that already. And you have a nice way of comparing your image before and after. So let's put this next to each other by selecting both, making sure that the multi-view is turned on. And you Command T for tools and command B for browser. And this will extend our workspace. So now we can see really what we've done. This was really way too cold. So the white balance in here was set to something really not matching that image. And now we've really emphasized that feeling in the desert. And we also considering where we came from, from this image where we worked with greens in the shadows and with really cold highlights. This is really sort of opposite way of really emphasizing a mood. Let's have another look at this image, this 3D, more representative of something we haven't seen so far. So here we are in a situation on a sunny day in the shadow. So as you can see already, these shadows slightly blue and that's really quite right. Actually. I wouldn't want to I wouldn't want to neutralize those shadows because he will see if you look closely outside on a sunny day with a blue sky, those shadows will reflect the blue sky. You will have a little bit of blue in there. So we really want to emphasize that as well. Let's not try to be neutral with photography. If it doesn't have to be. We can always look what was going on in those analog days where people had to shoot on film and people were tied to one white balance. They didn't have all these tools at their disposal to move around the white balance, however they think and set this up in their camera, they were tied to one white balance and that's often responsible for that look and feel. You will see an analog photography, this being set to one white balance. And what ends the effect that ultimately creates by shooting one white balance in any condition. So what we wanna do here is maybe we want to emphasize a little bit of that warm glow, which is reflecting in her face really, we can see that the warm sun is slightly coming through here, although she's in the shadow. Here, we'll see a little bit of warm glow on her face. So we can start by just introducing a little bit more warmth without warming up these shadows too much. And that's really as far as I would go with the white balance when it comes to that, I think the tens is fine as it is. And let's see the color balance. So those shadows, they might benefit just from a little bit more blue, but not too much. We can be a little bit stylized. But yeah, see here is now bit more extreme. But hey, I think that looks great. So let's keep it as it is. And let's see if those shadows would benefit from a little bit of more polling. Again, we're not using any contrast thing. And now let's really emphasize this glow. I think this might be more the Midtones. Just a little bit. I don't wanna go too strong with her, cause these Metazoans in that image, there will be quite extreme. And thus mid-tones actually was a question relating to the actual shadows in here. So in this case we can almost leave fills out. Not really much. We should be doing these right now. So let's try this at those highlights. And rather be orangey, warm then yellowy. So she doesn't start to look sick. And really emphasized that little bit of warm hue which she has. So let's see how we have been before. Really coat now, maybe a little bit too warm. So let's go back a bit and see just to refresh our eyes. Now we've emphasized a little bit more that we have a situation where there's actually strong sunlight while being in the shadows. Let's see how this works on maybe this image. And this is really extreme in this case. But here, let's take out that skin tone again. This is very green in this case. So you've gone to the shadows and we can create something really warm. In this case, this wouldn't be too unnatural, like this is very warm right now. But this sort of light situation, you might have seen it before, I suppose. And it can get quite warm. This really looks like it's sort of afternoon sun and the afternoon sun has a warmer color temperature than the midday sun and early morning sun. So this really stems from our mid-tones being very, very warm and the white balance as well. So can I reduce that a little bit? And let's push these midtones as well, because right now we're a little bit contrasty and we don't want to be that contrasting maybe. But here again, a great way to just give a bit more information into those highlights, again, without using any of these and being really specific about how to color each and every part of your image. While pushing and pulling and dust run, we can have a look how this would look. Maybe we can utilize this one here as a base. And fantastic mood. Let's, let's just straighten this up a little bit. Three by four. And we're not too bad and straight and this just press V to get rid of the crop. So this is fantastic mood right now and we are far from being neutral again, but maybe we're a bit too. And see what shadow's gonna do. Maybe these shadows can be colder than this outside area. You can really play with these contrasts. So that will wrap up our color balance tool and How have you can see how powerful this actually is, even without using anything else apart from white balance and the color balance itself. This is a fantastic way of grading your image and you will have just much more possibilities if you include this to your usual way of grading your images. Next up, we will have a look into this exposure to a tab. And we will create an image by using the levels and the curves, especially in those color areas that are red, green, and blue. So stay tuned for that. See you in the next chapter. 6. Color Grading Part 2: Using the Exposure Tools: All right, and we're gonna go ahead and work on those colors again and see what this exposure tool tab is really all about. So obviously we have these functions, so, so really self-explanatory. And there's not much for me to tell you about other than that, this year, the exposure is very useful actually, if you're shooting tethered and you really are working on your light and trying to find out how much you need to add or take out of those slides. This year works with, if you click into it with the arrow keys on your keyboard, and we'll give you steps of tenth of a stop. So on your camera, you most likely are set to third stops for each turn you might give to the aperture or the exposure. And on any flash, you always should have the option of going up and down and tenths of a stop. So whatever is in here, a 10th will be a tenth on your flash, or a third on your camera, or two-thirds, three-thirds, which will be pretty much one stop. So this is for you a great way to really quickly find out how much to add or take out into your camera, onto your flesh. It's a really quick way. So the same is true really for the high dynamic range. I think this is really something you have probably explored on your way already. And this is something really to push and pull when it comes to shadows and highlights. But as this is something we have done before here, by introducing color, we have already one creative way at our disposal in order to work with those areas which might be too bright or too dark. So let's look at those levels because this is really interesting what we can do here and can be found in here. Let's actually look at this image, will be great to highlight that. So as you can see here, those highlights a little bit too bright. And if we click on our exposure warning, capture one will tell us, watch out. This is dead white. So don't really need that. We can see that and that's why I always recommend also, use a white background which you can set and your preferences and your parents and color. So that's always great for you to see how white is the white on black. You can't judge that sometimes almost a medium gray will appear like white to you, but you won't be able to really tell how white the white is, how bright is it already? That's why I really would recommend you to use white on your workspace. So in order to fix this, we obviously have the high dynamic range, which looks quite artificial if you ask me. Or we can limit our highlights in these levels in the histogram itself. So it can pull this down. And by doing that, we have a bit more of a natural look to that. And the same is true for shadows. So you can eliminate shadows right here. Same as that. You can brighten your highlights down here. And you can also push those shadows by pulling this bar. This is fine though. Let's go ahead and have a look at those colors. Let's choose this image as this is something really colorful, perfectly exposed. And let's see what we can do here. This is really an alternative or something maybe to introduce a bit more color if you really liked the way of how the color balance have, has an impact on shadows, mid tones, and highlights. This is really different way of working with your colors. If you maybe already became a big fan of the color balance like I am, you can just make those slight changes in your colors by using this. And this really gives us a different perspective because before this chapter, we have always emphasized shadows, mid tones, and highlights. And now we emphasize each color and try to manipulate that. So right now we're in the red and this will relate to read and it's opposite color. So you will see as we pull here in the shadow, where there is lots of information displayed here, we can introduce some red to neutralize the fact that there's lots of read information right there. So we don't want to add that, but we might want to add just a little bit of green to add to this trees. And then we have this one here. We're really not much happens apart from the floor there. We can leave that as this really, this one is often the middle one, like the mid-tones. This relates to the midtones. Like the mid-tone, this is often a bit too strong, and by double-clicking, you can reset that easily. So let's have a look into the screens. We've already introduced a little bit of green. So we don't really need anymore in this area, maybe in those highlights. I don't think so. But as we have magenta on top of here, now, that's nothing we really need. So let's see the blue. The blue will also target those yellows as that's the opposite color. And you may want to use a little bit of yellow to add some warms. And as you can see, we would neutralize by pulling this further to the right. Don't want any blue and here. But let's see. This. But maybe we want to add a little bit more yellow in here. So okay, Let's just quickly see where we're coming from. We create a new variant. And this is already much more stylized, could see much more magenta in here. Maybe we opt for highlighting that magenta again, let's see. How's the magenta doing? Not a big fan of it. So let's just put that right there. And this is really an image. This is so perfectly exposed. This is so flat in its, in its range where any extreme movements you might do here, we'll be looking a little bit weird. So this is probably already okay. As a restaurant is not really a platform to overly stylize what you want to create. So let's just have a look in here and to the curve, this is really similar to the levels. Just the main difference is that if you use those color curves, that you can really target a specific area in here by clicking. And one way to find out where your area might be that you want to alter is by just hovering with your mouse. And you can see that on the left-hand side and the curve that this orange bar, which moves according to where you are on your image. So if you want to change, let's say these blues in here. Let's click into the blue. And let's see, there's lots of blue information as you can tell up here. And that's really around the left-hand side of the curve. So let's click in here and we can add our takeout proofs. So this is a way of really warming up right now. As we are pulling away from the blue, we're really warming up everything which is blue. So we can limit the range of it by just putting this back where it belongs to. And maybe we like this. And as we're getting quite saturated, maybe want to take just a little bit of saturation out and see what these greens are doing. Maybe we're too green right now here, let's see whether screens, there's already the spikes. So this is what we want to target and just introduce a little bit more magenta to target these screens. So let's see what we did so far. And we have the RGB, which will just brighten a dark and the way you know it also probably Photoshop or Lightroom or anything else, 3D, which has a curve for that matter. So you can also pull on these corners to, to sort of the similar thing, what we have done here. You can also two here. And this will always look a bit more natural than high dynamic range tab. Although these new options we have since a few versions and capture one, we'll do the same again by just being a bit more contrasty. But the shadow thing often give Very unnatural feeling of what is actually going on. Although if you make use of it by not looking to artificial fenders, really a fantastic way to make use out of it as well. Right now we don't really need it as we are having a perfectly exposed image. But as we have tried it on this image, for instance, this is something really well. I would prefer. If we don't use it too much, It's redefined, we get away with it. But I would naturally tend to use the highlight limiting on the levels. As it's mostly more naturally locking. We want to introduce just a little bit more contrast by limiting those shadows. And so far we have just any contrasts here. Again, we're really doing this with those levels and with the curve. So let's have a look into this folder and see what we can play with. So this image is very neutral. For instance, let's actually start by calling this a little bit down. I feel like this little bit over. That's maybe enough. And let's see what's going on with our greens in here. Very strong greens. So maybe we want to add just a little bit of magenta. And you can see it adds cetera right here. So it gives us just a little bit of slight contrast within that green color space. This really doesn't need too much blue. We don't have much blue, but this image is slightly cold. So maybe there's a better way actually of targeting this. And that would be by using the color balance. So we can slightly warm this up if we like. Just, just as a comment on the site. Every change I make here will look slightly different on your monitor, I'm working on a hardware, calibrate it either screen. So best as always, if you do so too, if your monitor is at least calibrated and as close as neutral as possible. But if I make these slight adjustments, they might always appear just a little bit different on your screen, but I think it really gets the idea across to you. So let's see if we want to do something with those reds. Maybe just add a little bit more red. And let's maybe utilize the color balance again, so a bit more warm and let's see those highlights. Let's pull these highlights. As these are quite overexpose, this camera being just doesn't have the biggest dynamic range. So let's see what we do is just pull this a little bit, introduce a little bit of color. And we have a much nicer effect. Let's see what these buttons, who do this image, they're really not that extreme. You can tell. So just adding a bit of warmth might be quite nice for this one. Right? Into cropping this maybe, maybe not. All right, that wraps up our chapter about the exposure tools. And apart from this, everything else is pretty self-explanatory, like the vignette or the clarity, you have probably used it before. And you can see with a quick move on the slides, but it will do what I really want to emphasize on this chapter. And the last one is to be maybe more than neutral. I don't wanna make a chapter on how to be neutral. That's really too easy. But if I can give you a bit more confidence and just creating a mood in an image. And there might be images where it works better. And in some, it does work that much. This for image for instance, this, it doesn't work too well. We had images where we were able to create much more bold like in this other folder. And that's really great. Like this one. We have a really nicely stylized portrait. And this right here, compared to this neutral imagery at right here, it really gives us a feel of colors and shadows and highlights and really plays with that. It's completely fair enough. If you're doing a wrapper for a magazine and your job is to be neutral or even if it's just your stylistic preference. But if we, through exploring these tools, maybe found a bit more mood and those images which were lying around just being neutral and our hard drives. Then it's really great way to really maybe make more out of what we already have. So stay tuned for the next one. We will be exploring black and white. 7. Color Grading Part 3: Black and White: So now since we've covered all those options to alter your colors and to create mood through coloring certain areas and lighting and shadows in your images. We will be getting rid of all of that and enable the black and white. So that's one way to grade and black and white, or the other way would be to just D saturate. So going from the situation in here, what you can see now is though, that we have a little bit of magenta going on here. So that stems from the fact that we have done so much with those kinda things that one doesn't desaturated. So at this point, we need to reset the settings. So if we really want to be safe, we just reset the whole image by clicking command. You reset if you really know that you have only done changes to the color balance, for instance. So by pressing command and then desaturating your image. Now let's look into this option. You really have a true black and white in the end. And these options you might already know from your raw editor in Photoshop. That's really a way of emphasizing certain Carlos and brighten or darken them. We probably don't want to do too much in this one, maybe in the green. But no. So this is a really good point to start for us and to start emphasizing those highlights and shadows without using the contrast, we can use the contrast and it's probably the first thing most people do as soon as they desaturated image. And to be honest, it looks nice, but there's ways of having more control over creating contrast, since the contrast always pulls our shadows and pushes our highlights. We might want to do that ourselves and really control how much of the shadows we want to, we want to limit and how we actually want to go ahead with those highlights. Sometimes it's really a mixture, halfway sort of contrast, which really suits an image. And let's see how we can do that. So I won't be going into the levels. And what we can see right now is that how highlights are already nicely muted. That's not always the case. In this case, this image really lends itself to that benefit because there's not much sun. So let's see what we do if we either want to push these. So that's once one style that say this photographers who really like the highlights to be almost blown out. And there's a lot of photographers, especially these days, where you see highlights being limited. A lot. So let's see, maybe we'd like this. Now we really like this uniformity may be maybe it's really suits our style. But this starts to look a bit too flat. So we go into the shadows and really start to limit those shadows. And we can really be extreme if you want. Sort of extreme anti-Israel already is to start almost like shot on film here by having these really dark areas in those shadows. But this on your monitor might be too extreme. So really hope that your monitors color. I really hope that your monitor is setup in a reasonable way to so we can judge together based on what I'm doing here in marginal ways, for instance. So don't wanna be too extreme, maybe a few like this. Then, fair enough. That's really a way of putting together a nice black and white with nice muted highlights, but still with contrast. By limiting your shadows, you can still do the opposite with your highlights and really push these. But this will just be a very different style. In this case, these arrows will become harder to justify because there will be just so much contrast in this way. You have a nice uniformity in your image. If you look into some fashion photographers these days, that's really something which you will see quite a bit. Pulled highlights and pulled shadows. So that's maybe where you want to explore. Swirl can also do the opposite, of course. But the opposite he'll see everywhere probably. So less extreme for this purpose in those shadows. But I really like this. And yeah, that's really different way on targeting those black and white images. So let's see if we can work with US blacks, but more by using this one here just a little bit, probably not too much, and we probably don't even need this one again, as this is really powerful in our case right now. Same goes for the curve. Maybe we just want to do a little bit with it. Maybe it's not necessary. Maybe we just want to introduce slightest amount of brightness in those midtones. Let's see how it was before. So marginal. But I think you get the idea. All these little changes they add up in the end. So this is one way of going about black and white. So let's have a look at a different image. Let's see this image for instance. So we will. Now we don't need that one necessarily. Few really want to target some colors in your image. Then feel free to do so. And it's always great to have more control. To be honest. I think I would be more fan of using those levels and targeting highlights and shadows as we're really working with no colors anymore anyway. And we're judging by as midtones. Midtones, highlights and shadows. That's a way to doing so. So let's see those highlights here in the middle. It might benefit from bringing them up while pulling down maybe this area to create more contrast. So this would be a more, this would be the more usual way to edit your black and whites by creating the sort of standard to have contrast, pulling shadows, pushing highlights. But again, we do that by, by applying more control compared to just using the contrast knob. And this is something I hope I can really bring out to you guys. Because using a contrast, not really much value I can provide if I just tell you, yes, D saturate your image and just use the contrast thing. These tutorials you can find everywhere on YouTube and that's what most people will do. But I want to give you that, That's that little bit more value. So you can actually have more control over your batches. And maybe you just want to like the last image to be halfway contrasty, to be Dhaka with your shadows, but to actually pull your highlights in a way where you are still contrasty, but your highlights are not overblown. So as we do a lot we can do. And I really hope you enjoy photography will benefit from this control. So one more thing we can do, which is a small bonus, would be to introduce a little bit of grain. Lots of people like the feeling of grain, especially when we're comparing ourselves to the analog film photography. We always like, Oh, we often like that little bit of grain. So for black and whites, I would be a fan of using the silver rich grain. You'll see and you can try out all the types of grain capture one has on offer. But I recommend you to really zoom in to see the most extreme effect. It will have to zoom out. And then to judge it can also use this focus thing. One thing I have as a small bonus for your focus, you might wonder why my focus screen is so big. And with the new versions of capital capture one, they have made it a bit more difficult to end up in auto size where you can actually have a bigger focus area. So the way this is usually when you have downloaded a new version of capture 121, then this will be usually like this. And this is really small. And since we have more space here and we want to have more focus screen, we want to have this set to auto size, but it doesn't really work. It's grayed out. So the way to do that is to just move tool to print the area go. You have this bigger screen is just a quick bonus right there. Because I know lots of my colleagues had issues getting, finding back to a bigger focus screen after they've updated to capture 210, even capture 20. So back to our grain. This is, maybe we like that. Maybe we don't, maybe it isn't really necessary because this is such a bright sunny day. This would be shot on not too high of an ISO most likely. So introducing firm film grain really has to be either creatively, very interesting, practically necessary. So either way, digital post-process processing gives you all the possibilities and to whatever you like might be good for you. So I hope this was interesting for you and this really wraps up our chapter about black and white. See you in the next one we will be talking about masks. So we can really target specific areas in our images without affecting everything. See you in the next one. Bye. 8. Working with Masks & Minor Skin Correction: So in this chapter we will have a look into working with masks and layers. Mask will be really useful if we want to target specific areas in our image. Well, not having any impact on other areas we don't want to alter. So we will start out by creating a new field adjustment layer. And you can see that this is a layer which will affect the whole image. And to see our mask, we'll just press M and you will see that the whole image is selected. So we can use this eraser in order to delete some of the mask. You can right-click and then change your brush size. And you could be doing that, for instance. And press M again, and you will see that only the parts which selected red will be changed. So, but let's be really clean with this. And let's delete this again. We create a new field adjustment layer. And what we can do now is if we want and let's say just target the sky. We can use the LUMO range and be a much quicker compared to compared to filling this out by hand. So let's click on Dumas range and click on Display mask. And you can already see some of these areas masked, some are not. So what we're gonna do now on the right, this shadow information, and we really want to take those shadows out right now. So that further and further. And that's a good way for us to begin. Everything else right here. Those are highlights and we don't want these to be taken out. So we'll leave that. And with the radius and the sensitivity, we have the option to smooth those edges. Take a look at those edges and you will see how these will be affected by changing the radius and the sensitivity. So Let's click Apply and see for now how this looks. And let's pull down this area so you can already see it's a nice smooth transition over there. But we can have a look now maybe we can improve this a little bit. So let's go back into a luma range and see what these sliders will do exactly too much. So I can move the sensitivity and you can see how these edges turning out to come out either smooth or Harsha. So that's something which will really help you out this mask without really having to fill in everything by hand. And you can see this reading smooth transition. Maybe this is too smooth for you, but this is really the tool which you want to use if it comes to that few wanna go the other way around. You can always invert the range. And we would have the exact opposite of what we have done before. And maybe we want to push that. So if you want to create a high dynamic range image without using this one and really be specific and targeted certain areas in your image. Or you want to do anything else for that matter, where you only want to target certain part of your image, this is really your way to go. So let's continue by deleting that and use our retouched towards cause. These also relate to our layer tools. As you can see, we have heal layers for instance. So let's go to a portrait image maybe. And we can see that this would benefit from just a little bit of He'll action. So let's go back into our layers. And as soon as we click on our plaster capture one will automatically create a hidden layer. Let's zoom in and you will see there's the heel layer. This was maybe a bit extreme, so let's actually go a bit smaller and just fill out this year. In order to hide those, we can just take our mouse out of the image, the background, and you can be on the image again, or you create a new layer. So that could come in handy if you have corrected many things on your MS. And after a while, you just get overwhelmed by all of these arrows. You could just create a new layer. And you can start and finish up your image without being confronted by all of these others. You can see now I wanted to do something there, but in this case, can change the source as well. We create a new layer. So that's a way of retouching. Another way would be for that we can utilize our masks is by, let's start with an empty adjustment layer so we can draw in the masks by ourselves. One more way would be to utilize the clarity function. Lots of people use these as a positive thing to introduce. Yes, clarity or just more structure here you can see it much more. And but lots of people actually miss that. This is a way to soften your image slightly. If you don't go overboard, this won't be too extreme. And to image select retouched, you have to be really cautious with that. So right now, you can see, you can see we, we are drawing in this edit we have done. So by just pressing M can really now fill in the skin. And you get the idea. I mean, obviously we don't want these eyes. But just to be effective. And to show you the whole idea of what I'm talking about and what it means to retouch by using a mask. And one of the tools capture one provides. So that's really rough. Okay, so let's go to some site and we're good to go. Let's press M and work on this clarity so we can just smoothen this a little bit. And this will help her skin to just be that much more smoother without being too aggressive. So we can we can reset that and see how it was before. And I really recommend you to be not too strong with this one because you can tell this really looks a bit funky right now. So we don't want to be funky with our research. It's much better to be sensible about skin. So one more thing I want to show you is the gradient tool. So let's go back actually to, so let's go back to this image for instance. We could now maybe wish for slight gradient in the sky. So what we could do is we use this Gradient tool to create a gradient. And we will see now as we press M, how this gradient is actually working. So we can turn this here and really try to emphasize this horizon. And this is very extreme to return a hit from the middle. So you might want to do it from the sides. And by pressing M again, we are not bothered by the look of the red. And we'll just pull this or even push this, whatever we think is most suitable. But this is a great way of just having just that much more control over you, what you want to do. You can also always combine this with the LUMO range. So you could utilize the LUMO range, which we have used, for instance, on this image. So it's not here anymore, but we can just do that quickly again. Let's just add a new filter adjustment layer. And it's at the LUMO range S. We've done it before. Click Display mask. And we are happy with our selection. Hit Apply. And as you can see, we don't have the gradient yet, but we can add to this gradient to our LUMO range. And now you can see that this will only affect what we have previously selected with the LUMO range. So that's a great way of having even more control on what we're doing right here. So that way can introduce maybe even a bit more interesting effect. Press M again to deselect. And you have the tools now your hands to just affect 3D that which we actually wanted. So that's it about masks and see you in the next chapter. 9. Making use of the Adjustments Clipboard: So in this chapter, I want to talk about the different ways you haven't capture one to copy and apply your adjustments. You already know that you have this very general function up in here to copy and apply your adjustments. But by using this after a while, you might run into certain problems because there might be situations where you want to copy all those adjustments you have done a part from one thing. And in that case, we really need to have a look into this Adjustments tool tab. So in that case, let's say we really love those adjustments we have done to this image, but we want to ignore all those levels we have changed. So let's go in here and actually see what's in our clipboard. So here you can see that these levels are all checked. The whole category is checked. And that means that by copying this adjustment, we will obviously not ignore these. So as we really want to filter these out right now, we just take those checks away. And we'll see that the whole categories unchecked right now. And now. Let's just apply that. And we will see that these levels have been ignored. So that way, we can really make sure that we only apply what we want. So if we copy now this again, you will see that these levels are selected again, that's how it would be. And if you apply, you see there's a big difference as these levels have been taken into conclusion. So take these out again, reset the image and apply and TOC again, those levels have been ignored. And we don't have to deal with those limited shadows we have done on this image. So that's one way. The other thing is that capture one by default. It will ignore the crop in you're just my clipboard. That might be useful for a lot of cases. In other cases, you might want to actually have the crop in your image. So there's two ways of going by that. Either you selected in here and that you can find in the compositions. So you could click in here. And then if we go to this image again, hit Apply, you'll see that the exact same crop is applied on that image. And there's one more way now. We can target just one specific adjustment we have done. So let's say we go in here and we love this thing we have done with the color balance. So instead of copying the whole thing now, and I'm selecting everything apart from those adjustments, we can actually go into each and every tool and just copy exact thing we have done with that too. So in this case, we can click in here and you see that the color balance, this checked and we can only use the color balance adjustments we have done. So we can do that by making sure that this image is selected and we copy another image. And now you can see that this image is our master, as it's the first one that we have selected. And we'll just click in here. Hit Apply. And you can see that the same adjustments on that image, but we have ignored everything else apart from that. So if you, you will see that the white balance, for instance, is different. We haven't taken any of that. And that's really great way of targeting just one thing in your adjustments. So you could do the same thing. For instance, in this crop situation we just had. So if we crop this, you only want to copy that crop. You again, make sure that the image, which is your master image, is selected. You select the image which should get the crop. And you click in here into this double arrows, you can already see that the crop is selected and click apply. And that's why you have only taken the crop without taking all the rest. So that's really it. I hope it helps you see you in the next one. 10. Highly organised File Processing: So next up we want to look into the processing functions of Capstone. These really powerful and we have lots of ways of creating an organized file structure with these tools at our disposal right here. So Capture One has this process recipes which you can build really to your taste. So we will start by building a process recipes for J pecks that say you can already see the ones I use, already very specified. So I would encourage you to be specific as well. And all you have to do probably is just to create a bunch of these and you will be set. So, but for this one, let's just be a bit pragmatic when it comes to the naming and we will go through the rest. So what you never want to change is the output naming. As we have taken so much care of naming all these files, this image name token will relate to the actual image name. So by changing this, you would change the actual image name and this will be only useful for you if you want to globally. So this would affect every process you would, you would run if you want to always have a sort of a different name and your processing. So that's really what we don't want to do, as well as the output location. This will globally effect where your images will end up. So each and every recipe when you do something in here, will be ending up somewhere else according to the changes you have put into here. So the way of 3D staying within the recipe you create is by staying here in this tab. So the process recipe will also give you the option of altering the name of the file and the folder structure, but without affecting any of these other ones. So within here, this is really self-explanatory. And you can see this really in one go. What you wanna do, the profile, if you are exporting for web, you always want to use sRGB. Adobe RGB, for instance, is more interesting to retain a bigger color profile, but that won't be utilized in web applications. So if you print, you also might want to be interested, maybe in all of these other profiles. So for now we'll go back to the sRGB. Let's press S and we'll find that quicker again, sRGB profile. So this will be suitable for all the web applications. Now here, we might want to create a smaller type of JPEG, and we can choose the long edge type in, let's say 2000 pixels. That's what I would consider sort of a medium jetpack. And we should leave this out in case we don't want this to be open to right after we have processed our file in case you are interested in a process recipe which will export your, let's say, a tough ride into Photoshop. You can build that here as well. And that's a great way to be effective. So right here, we can make changes to our naming or to our folder structure when it comes to processing those JPEGS. So what we might want to do is we don't want all our jpegs to be processed into this one output folder we have. We can make really good use of having a sub folder for each and every process recipe we have. So by giving this name which relates to the actual recipe, we will be able to process in a very neat way and create a structure while processing. So we can just type in medium jpegs. That might be enough, but we might want to go a bit further. And if you want to add anything to that, we're just at the forward slash. And we can click on these dots and we see all these tokens again. And these tokens are really great because that way we can be really specific about what we wanna do. So maybe it would be great for us to have the image folder name as another subfolder to have more structure even if, especially if you have a project or a job with lots of folders and you want a hand in those processed selects to a client. You don't want to just punch them all into one folder unless the client asks you for that. But I'd be really asking the client if they want those processed files into sub-folders or however they really want to have them organized. No matter what they want, you can be sure that there will be a token for you to realize that without having to do really much work other than setting this up once and you're good to go. So in this case, this is one sort of thing. You need to know. We have used the destination folder name when it came to naming our images. Not capstone is a little bit confusing when it comes to the destination for the name, because in the process recipe, you might be searching for that and you won't find it. And that's because it's cold. The image folder name, which if you think about it, makes sense because this will be the image folder name. So we can just direct this right here. And you can see already this would be our folder. So this would be output folder, medium jetpacks, day one for this image. And then Photoshop, obviously, our very nice neat naming. So this way there's really no question about what we are trying to organize here. This is really organized to the highest level. And you can always choose to do less than that. But since capture one is so easy to setup once, why not? We can have that structure if we really need it. And if we work with clients, especially this no question about that. We should be always giving files which self-explanatory in the folder structure and the image name. So let's go and process a few of these images. So we could process now this image and day 2 by pressing Command D. And this process something from day one here, maybe another one. And what we can do now is we right-click on here, Show in Finder. So we end up there quicker. And you can see mediums, jpegs, day 1, day 2, or the filename is nice and neat, can have a look. This is exactly what we've processed and that's really it. So there's a few more options we can do and a few more adjustments, especially so the crop is something you need to consider if you're handing and selects at a client and your crop is important to you. You should choose to respect the crop as well as if you want to finalize your shoots, whatever you've done privately, then you probably want to respect that crop. In some cases it might be better to ignore the crop that really comes down to what you're doing. I would always not choose to use the Output Sharpening. This often results in crazy type of sharpening. So I wouldn't use that if you want to sharpen your image, you should do it in here and really see what you're doing. This will give an unpredictable way of sharpening. And this is nothing we really need. Part from that. We can include or exclude any metadata or watermarks if you feel so. So and I want to give you as a small bonus, another processing recipe which is really handy for my work when it comes down to handling and files to a client when there has been previously done a selection. So you probably can imagine that lots of clients don't own capture one. So you can't just give them the session folder and hope that they will find their selects again. They won't, and they don't know which of these images have which rating. So a way of solving that problem is to include the rating in your folder structure when your process images. So doing that as really as easy as this year. So I've prepared this for myself. I use this a ton. So you just go by specifying again what you're processing. So a process, JPEGs, which are rated. Next up, we follow with our image folder name. So as we have in each and every folder, we have different sort of writings. We really want to structure that as well. And then we follow that up by the rating token. And it's really handy to actually add the stars next to it, because without that, that would just be a number. It can leave that out as well. But if you hand this off to a client, it's a bit more easy to understand. So let's actually use this one on a few images with different ratings so you can see what this is actually good for. So let's choose a few of these images. And let's just change a few of the star ratings. For stars, 0 stars. And you can now just select all of them. Press Command D, and we come back into our folder. And C. Now, these are our two folders. Now we have medium jetpacks and we have the greater jetpacks. And if we go down now, we'll see today too, we have a folder according to our star rating. This is really great. Especially like I said, if you need to end this into a client and most kinds won't have captured one to see what you have rated. So that wraps up our processing chapter. I'll see you in the next one. 11. Tethering Professionally & Troubleshooting: So in this chapter we're going to talk about tethering and troubleshooting as well as this is a common source of having issues while you're shooting, probably, you know, so as well, if you've got something tethered that you had to deal with the disconnecting camera and sometimes you didn't even know what was causing that. All it was just an old port in your camera which starts to become loose or you got a rental camera which have been which has been used so many times before you that don't even know what's going on with that. Maybe it's the pods, maybe it's something else or you got a bad cable from the rental company or your own cable is starting to become old. But what I really want to emphasize here is next to the actual thing about tethering. And it's really straightforward to be honest. The big, much bigger topic is really the troubleshooting part of it. I really hope for you that you didn't have much to do when it comes to troubleshooting your camera on a shoot. But to be covered in all situations, are really wanna talk about that as this is common reality in this day and age. Really. So right now I have connected to my camera. And what we can see is nothing, no camera connected. So the first thing if you, so the first thing if you see that, obviously you should check if your cameras on and cables, I will connect it. But if you are sure of that, you first thing you want to really do is go into preferences and click into Capture. And you will see that there's a few providers which you can check and uncheck. Retina have a Nikon camera. And my previous job, I used the Canon camera and sometime before I had issues even when other when other manufacturers were checked. So I've really settled for just having one. So capture one won't get confused in that case. So for this one, we'll unselect canon epsilon will tell us that we'll have to restart it. So we'll see we've selected Nikon now. We will just quit capture one and open it again. And here we go. There's our camera. So right here we have a few options we can deal with. Right from this interface, we can change our shutter speed. We can change IS o, and we can change the aperture as well as seeing the battery and EV exposure correction. So you can also see that the camera is set to manual right now and you can proceed to take an exposure. So you can also press Command K to take an exposure is right, Yes, You're live view. And then you have a few more things. This probably you want to use too often really. If even you will always be focusing really on your camera. And these bunch of settings you can access from here. That, but that's really self-explanatory. So what's really helpful for us is troubleshooting part. So what I really want to talk more and emphasize this to troubleshoot your camera. So apart from that first instance, we have replicated to a camera wasn't connected. That's just one way of Fixing an issue when tethering different problems source might be, as I've mentioned, your cable, your camera connection, especially the USB three connections. They can get quite loose on some cameras. So make sure that you have a nice connection, a way of stabilizing your connection. It's easier to just use a bit of blue tack and stick that around that area and really press that between camera and cable. Another way is to use a tethered block and I could show you that. So that's that right here. It's quite expensive for what it is I have to say, but this alternatives, you'll find them on Amazon. And it's just really a really good way to secure that connection and to eliminate one source of potential disconnections. So that's, that's good enough as this so many different ways why a camera can disconnect if we can just eliminate one of them, we're already good. A different source of possible connection issues might be your cable length. If you're shooting with a five meter cable and you extend it with another five meter cable. You might run into issues even if you have a poet extension which has a little bit of current running through to support the actual port on your computer. Even then, your camera might have issues staying connected all the time. So in my experience, that's mostly the case when you are shooting on a USB 3 computer. If you have a computer which already has USB-C ports, you will see that the connection is much more stable even if you're using a 10-meter cable. But especially on those older you sp3 connections, I would say about 80% of the time you will face issues which you can improve by shooting on a 50 meter cable and then eliminate the source. Shoot on five meters if possible. If not, really, make sure that you have fresh nice cables and your connection to your camera is 0, clean and can't be interrupted too easily had you shouldn't be running into too many issues. But just so you know, it's a potential source of issues. I've had it on many, many jobs. So and last up, we'll just talk about the capture naming as you found out by now, I'm really specific about how I want to name my my files. So we don't want to forget to set this up correctly. And maybe you have saved my preset. I used to. And we'll just go ahead and tether in the same way. So afterwards we don't have to change anything apart from whenever you change your folder. Let's say it changed from one to two. So you want to be sure that you capture counter is going back to one. So x so that every time you change your folder and you're shooting into the next one, that you reset your capture counter as well here. So apart from that, here, you don't really have to make any changes. What's the most common way of working with your style is to copy from last. So that means whenever you're shooting with a style, the style which has been before the upcoming image will be used for the next one. And now as a bonus, really want to give you, on hand a way of optimizing you tell the flow to a new speed level. So you can set up keyboard shortcuts right here. And the most useful I found, and I have to vet these over a few years. And every now and then I've added one more shortcut which really benefited my tethering workflow. You can add these in here, and there's lots of things you can add here. For instance, to be really quick to check your exposure. I have the exposure plus and minus set to these two buttons I have next to each other on my keyboard. So that's the comma and the dot. So that's a really quick way for me to find out if we're shooting tethered. And I see that the exposure is not right. Basically, what I do is, I see this is a little bit under I click 123, and I see this needs a third. Within a second or two, I can tell the lighting assistant or the photographer that we need a third on top. And other thing which will really come in handy is to actually set up a shortcut for capture folder. And what I do is I've set this to command one, so I'll press Command 1, it's already set up. This is much quicker than going in here, clicking, finding it. Okay, This takes a few seconds, maybe at the vest, this is less than a second. This is Command 1 and that set. But we can do even more in this second MOOC. We can add this two favorites, which we would usually do by click and right and then have this favors. This is especially useful for us if we work with lots of folders and we want to create another overview right here. And especially if you're shooting with prepared folders by using the favorite. You already know, you always know, which is already done. So we can set this up to be Command 2. And one more thing, since I've told you to reset that counter, you can set this to Command 3 and your edit keyboard shortcuts. So now every time you change folders during your tethered session, all you have to do is press Command 1232 to three things in less than a second 3D. And this would take you so much longer to do this by hand, especially if you see now that you have to click here and you have to reset, that takes way too long, especially for your digital, digital operators and photosystems out the work with photographers who don't have the time for you to check. If you're ready to shoot and if your folders prepared and your image is already about to come in and you see, you see the flesh already triggered. You still have a fraction of a second to press Command 1, 2, 3, and it will end up in the right folder, trust me. So that's much quicker than doing everything else. So to utilize a few more of these numbers, we can go further. You can actually also use the batch rename and put that on command for. That's what I really like to do because that's one of those things you might have to use in case you have accidentally shot in the wrong folder. Now you have to these images into a different folder. That's the reality on some short. So a good way to, to speed and up that is to add to that. And I'll show you right here. And we can search for batch, batch rename images. And that's custom command for that won't be set up like that before. So you can select all of these. I press Command 4 and I have to reset this, right? I don't want to be clicking here. I press Command F5 and it's reset. So waving quicker when it comes down to that. And we can also set this up by searching for reset. And he will see the renamed counter is right here, as well as the capture counter. Then we're left with one more and it relates again to a counter. And what we will see sometimes is if you're shooting tethered and let's say you delete an image and you want to continue shooting, you'll find out that you're counting will be interrupted. If you want to change that, you can add the set capture counter on your command six and you'll be really quick when it comes to making these small changes as well. Instead of clicking here and clicking here. And again, find it. I'll know C. And again, clicking here said capture counter. You'll be much quicker and there won't be a question of even making that small mistake I've just done. We just pressing Command Six, type in your number, enter, you're done, you got to go. So that's really it when it comes to the tether workflow, I really hope that I can improve your workflow also by giving you these shortcuts on hand. I can only speak about myself and I can tell you that these shortcuts have improved and speed up my workflow. Something in comparable which I would never want to live without anymore. It's as easy as pressing 123 on your keyboard and you'll be quicker than any other option really. So I hope you've enjoyed this chapter and this whole course on capture one. I hope that I was able to provide you with lots of value and lots of small little insights which I was able to pick up throughout my years in working in a professional environment. Thank you very much. Have a nice day.