Learning Capture One

1. Intro: Hello. My name is Jordan Berg, and welcome to my course called Learn Capture One. Capture One is a powerful raw editing tool that top professional photographers use around the world. Whether you're taking pictures of portraits, food, landscape, or products, Capture one can handle it all. We'll be going over organizing your photos within sessions, a basic overview of Capture one's interface, so you become familiar with the system. In introduction of some key editing tools available in Capture one, get to know and use powerful color editing tools to master the colors in your photos? How to use the powerful layers tool. Learn to make specific selections of your photos using color so you can have precise control of your edits. Several walk throughs of my Capture one workflow, so you can see how I would use it and how to export your photos for the web. Capture one offers a 30 day trial to test out their software. So if you haven't already, you can download it today, follow along with me in this course and see for yourself the benefits of using Capture one. What prior knowledge do you need to study this class? Well, you should have some familiarity with editing programs in general, such as light room or photoshop. This is a basic course in how to use capture one. But I won't be going into detail on some of the more common editing tools available across multiple platforms. At the end of this class, I will have three projects for you to do, which you can share with the rest of the class and show off your new capture one skills. With that said, let's jump in. 2. Orientation: So welcome to this video on the overview of Capture one. So right now, what you're looking at is the basic default interface. And so over here on the left, you're going to have your tool tabs and your individual tools all laid out here. And they have them organized by this is going to be your colors, your exposure tools, sharpening, what they have. It's called styles. So it's like the capture one's versions of filters or lets information and different output settings and things like that. Over here on the right is going to be their browser. So this is like, you know, you can scroll through all of the images in that particular folder and click on the ones that you want to see, and you're going to see them in the viewer. And this is going to allow you to see really clearly what you're editing, and we're going to be seeing all the action happen. At the bottom of the viewer, it's going to have the basic notes, so the ISO, the shutter speed, F stop, the type of lens that was used in the name of the file and whatever rating system here. At the top here, you have even more options that are actually a little bit redundant. So here is your tool tab, right? Now, these same tools can be found over here on this side. And it's sort of just like for ease of access. So if you use a brush tool really often instead of searching for it in here, you can easily just click on it here. And then over here on the upper left side, you have your import, export, a couple of other features here. And then the right side, you have more options. There are options options with capture one, which at first can be daunting and in my opinion, the only hard thing to learn about capture one. Capture one has so many different ways you can customize it. It can be just a little bit confusing at first. But once you get over that hump, then it's going to be really fun to use. I think. So for example, if you go up here to Window, go to work space, right? Here, you have a couple of preset work spaces. Right now, we're in the default one, and we're going to just stay in the default one just to keep things a bit simple. They have a simplified version. So if you click on that, it simplifies this left hand set of tool tabs and puts your exposure data and it puts different tools that it thinks you know you would need to keep things simple. And then here you have wedding setting. So this isn't something you have to use if you're a wedding photographer, but they have a bunch of tools here that they think that wedding photographer is most commonly use. And then they also have what they call a migration Okay. So this is like if you're coming from light room to capture one, which is kind of like right now, the main two raw editing programs out there. Um, they made it so that you can be a bit more comfortable working within capture one. So like in light room, you know, you have all of your tools on the right hand side, and then you have your browser images here in the bottom and light room, they call it the loop view and your viewer in the middle. Now, another cool thing that you can do is so you see all these different well, wait, let me just go back to default. Okay. So what you can do here, let's say you want to customize some things, right? Let's say you don't use this normalized tool, right? You can simply click on it, remove tool. Normalize. And it's gone. If you ever want it back, right click Add tool, and you see all these tools here. T was normalized there. Yeah. And you got it back. If you ever want to rearrange any of these tools, like, let's say you use black and white more than you use any of these others, you can just click it and drag it up to the top. Or say you don't want this tab at all. You know, let's say you want to get rid of this whole thing, right? You can just right click. You can right click anywhere. I was just right clicking here because that's where we're at. You can go ahead and remove this I think it's called color. Okay. And you've removed it. You can also take any of these tools and you can go ahead and drag it out and create what they call a floating tool, which these are even more customizable. You can make your own tools. But you know they work the same as if they were in the tool tab. At this point, it doesn't necessarily change the way it works. It's what's easier for you, you want to put it back? You can put it back like that. So that's a brief overview of the layout, and let's get into the next video. 3. Sessions and Import: All right. In this video, we're going to be talking about what a session is in capture one. Now, when you open up capture one after you've gone through the basic setup, right, you're going to get a window like this. And this is going to show you what's called capture one sessions, and it's going to give you the option to make a new catalog new session. We just browse for other sessions or catalogs that you want, right? So I'm going to open up a new session. I'm going to title this session sample pictures pick C p Oh, that's What's wrong there. Pictures. The location. You can go ahead and change that. I want to put that in this folder in photos, choose. And you're not going to change anything here. You're going to click Okay. So what a session is a really simple file that capture and creates that holds all of your images. And if you're shooting for clients, you know, you can make a session for every single client, and you can categorize it by, you know, clients or trips or whatever. And it's really handy because once you've just go in here. Once you've made a session, Where is it? Here we go. It's going to be here and it's going to contain all of your folders, all the file structure, it's going to contain the actual, you know, all the data pertaining to what you've done, you know, your record of what you've done so far in that. And it's super simple to take this folder and move it wherever you want. And all that data is going to stay within that folder. You can go ahead and say you want to back up your images or you want to save multiple copies. You can very easily go ahead and click and you can copy it and then you can paste it to wherever. And you can see I have an external drive right here that I have all my stuff on. That's because I switch between computers and capture one just kind of like allows me to edit everything, but all the important data is contained within this folder. All right. So enough on that. Okay. So let's import some folders here. So now my source is downloads. If you want to go and choose a different folder, you can just go ahead and click on whatever you want. We're going to stick in downloads. And here, I have a couple of images. I'm going to import This one. So I want to import these four images here. And in order to do that, I'm going to hit command. I'm going to hold that and just go ahead and click on these individual pictures. So a couple of things. Here, import two, you don't have to change that. It's already going into the session folder that you just made. So you don't have to change that. Um, naming is important because this is going to title each of your images. And so I would give it, you know, it can be the same title as session name or whatever. I'm just going to call these sample images. Metadata, this is if you want to put, you know, your name or your, you know, description of the images for that purpose, you can change this, by the way, whenever you want, like, if you're going to export that photo later, you can change it on that and. You do have the option here to make auto adjustments. So when you import the images, capture one is going to decide, Okay, what needs what adjustment, you know, and it'll come with that. You don't have to click this on. I never click it on. If you do want it on and you decide you don't like it, you can very easily undo that. Okay. Okay. And then we're going to import four images, and it's going to show up here on the right hand side. 4. Organization: All right. So now we're going to just go over organization briefly because this can be a big subject, and we're only dealing with four photos, so it's not going to be that big of a deal. When you make a session, right, capture one automatically creates what they call a capture folder, selects folder, an output folder, or trash folder. So these have automatic instructions. So whenever you decide to export your image, it will default to the output folder. So all your images will wind up in this folder. Okay. When you're done with them, and if you go to that same one within the hard drive. Okay. Your sample pictures. You can see there is an output file, and all your images will be there. I think it's a handy way to keep everything in one place, but you don't have to save it. You don't have to use this folder at all. But we're going to talk about session albums here because a session album gives you the option to categorize within the session like subcommitte groups, and I'll show you what that means. So here by default, have something called a five stars and all images. All images pretty straightforward. It shows you all the images. Five stars is a preset where Any image that you decide to give five stars to will wind up in this folder. Like say here at the bottom, here in this corner, you can see these little dots. If you click on any one of them, it's going to give a certain number of stars. I decide to give it five stars, right? I five stars, you'll see it saved there automatically. And this is totally up to you by preference. You don't have to use the five stars one. And what I actually like to do, let's take this down here. What I actually like to do is I'll create a new one and it gives you two options. Create an album. Create a smart album. We're going to talk about the smart album here. So I'm going to just types and then I'm going to go down to search criteria. I'm going to click on the plus symbol, and search criteria. You're going to scroll down. And you see you can decide quite a bit of different options about the images, like what you want to categorize it by automatically. And we're not going to go into all of them. We're going to kind of stick to the one I'm using most of the time, but you can see, like if you want to categorize it by date, by color tag, format, you know, height, keywords, so many different things. I'm going to go to rating. And then this next one says equals is not equal to greater than or equal to. All these we're going to skip that, just going to equals one star. All right? So this means that we've changed it so that any image that has a rating equal to one star will wind up in this folder. Okay? And you have your picks. If you want to go ahead and delete that, you can just have it highlighted and click this little minus button. Okay? So there's nothing in this folder, right? But say we go back to all images and say you're scrolling down you're scrolling down these different images, and let's say I want this one. And you can get a little shortcut here just using the numbers on your keypad, you can hit one, two, three, four, you know, to change number of stars. Let's say, you know, okay, I want that one and I want that one. Okay? One star is each. If I go back to here. Now, both of those images are here. And this is useful because at least for me, you know, I do a photo shoot. Sometimes I'll wind up with 200300500 images, and I have to go through and select, you know, which ones am I going to start editing or even consider editing, you know, for the client. This makes it really easy for me just to go through rapidly and star Star Star Star. And so I wind up with, you know, maybe ten or 12 images that I can then start to work on. And what I'll even do is I'll make another smart album and I'll do this final edits. And I'll do like a two star. So let's say I finished editing this image from the PICS file, and I just two star it, and then it minds up here. This is my process. You don't have to use it. Capture one makes it so, you know, you can pretty much customize it anyway that you want, whatever makes the most sense for you. So that is an example of how to use smart albums to organize your images really quickly. 5. Editing Tools: In this video, we're going to talk about editing and the different tools that you have available to you to edit. We're going to go back to all images here and I'm going to click on any one of these tabs. Any one of these tabs, like the names these are given, little icons are given. They're all totally arbitrary. Okay. So, you know, again, this is just a pleasing way to look at it, I guess. You can change it up however you want to. Let's talk about a couple of the main ones that you might be familiar with if you've used program before. So here you have your white bounds, right? I'm not going to describe exactly what that does because I'm kind of assuming that you're not unfamiliar with this, but you can see that it's doing its job there. Okay. And the white balance tool, like most white balance tools, it has a little eye drop here so you can go ahead and pick your neutral color, your neutral gray or white. This is not going to be a neutral color, but we'll see what happens. Okay, that didn't do too bad. Kind looks a little bit greenish to me blue on my screen at least. Yeah. Anyway, some enough of that. If you ever want to redo or undo that tool right here. Is a neat little option, reset it. Okay. So you ever wanted to let's say you make a really crazy change because you're really feeling creative today and you want to see the before and after of just that one tool. You can go ahead and hold the option key down, and then click this button on the PC, probably would be Alt. You can option click, then hold the mouse and you can see the before and after that one tool. Here you have your exposure, so you're light. You're dark contrast. You know, pretty easy to see that Brightness, saturation, right? High dynamic range. More options is talking about your highlight shadow, white, black, Jess highlights, your shadows, your whites. You Blacks has a levels feature, and I personally really like this levels feature here, specifically the auto adjust. Very often, I'll find an image I want to work on. And the first thing I'll do is click this little auto adjust because it's going to make just often very tiny adjustments on the white and black ranges and just give a great base to start off with. You can see it barely did anything because it could tell this image is already, you know, pretty much at a good starting point on that. But you have even more options here. Okay. Here in your curve, you know. It's it's a curve. I don't know if I need to explain it anymore. Within the curve, it gives you a cool little graph of where all the different colors sit based off of the lightness and darkness. So you have, you know, some reds in the in the darks and reds in the highlights, and you have some green in the mid tones here, and then you have some blues and all that good stuff here. So in previous video, I showed you how to, you know, rearrange all these tools and stuff like that. And it's basically up to you what you decide to use. You can play around with it for a little bit to see which ones you prefer. Some of them might be totally new to you, like normalize base characteristics. Here is a clarity option. If you've used light room or camera raw, you're familiar with the feature. I've used both of those previous programs, and I find that the way that capture one uses both clarity and the structure is just really, you know, gentle and it doesn't actually wreck the image. If you were to go all the way to 100, you know, it's too much for this particular image, but it doesn't, you know, wreck it like I think another program would. So these styles here, these styles are Capture one's version of lets or filters. And you can buy these off of Capture one's website, it also comes pre installed, with a bunch of different styles. So they have say IQ styles. You don't have to click on any one of these. You can just hove your mouse over it and it will automatically give you a preview. Let's find one skin effects. Some of these are pretty cool. And if you click on this, Let's see here. Yeah. You can see all of the individual adjustments for that style, and you can you make your adjustments as you want to, like say, it's like, I really like how it does the contrast on that. But for me, it needs more color. You can just go ahead to let's say saturation. Oh yeah, see, they really bump that down. I just bring back the color a little bit more. Great. And you know, we could probably spend a lot of time going through each individual tool, but I just want to, you know, if you're used to certain tools in previous programs, then likely they're going to be here. Levels, curves, exposure, hdynamic range, y balance, it's all here. 6. Color Editing Tool: In this video, we're going to talk about color because capture one is super super big on color. And because there's actually so much to do with the color and capture one, is it going to be a three part series on color specifically because there's the color editor tool, the color balance tool, and then a lot about adjusting the skin tones. So we're going to get right into this. Right now, I'm looking at a raw image. I'm going to drag this out here just so you can see it a little bit more clearly. Okay. There we go. So we're going to check out first the basic tab. In the basic tab, you can just choose a hue. Let's say we want to adjust red. We see there's some red on her lipstick. And we're going to adjust the saturation. You can see it also at saturation on her face there. And we're going to change the hue a little bit. Okay. Okay. So we give a really red lips and slightly warmer face here. Obviously, if there's no color in the image, there's no green, then it's not going to adjust anything. But you can go a little bit farther with this. So let's reset. I'm just double clicking these and it's resetting these. See this little three tab here. If you click on this. It's going to give you kind of like this pie chart here of all the different colors it picks up in the image. And if you have this, normally, it'll probably be off when you open this, but if you go ahead and click on this, you can go ahead and see the image with just that hue selected, right? So right now we're on this yellow orange and we're just seeing the color of the hair. You can go one step further and you can make these adjustments to include more or less of the hue. You can only go so far in this and Okay. In the advanced tab, you can make a lot more adjustments. But one thing in the color editor, you're going to run into this word smoothness. And all that is you see it's kind of like this fuzzy outline right here. Smoothness just adjusts that. Something that's really smooth, right? As this fuzzy outline just means that it's going to pick up more color and do it in a way that is a little bit more gradual. And you know, only having smoothness of one, it's going to just hone in and get that exact range of colors, right? But you pick up that one, that color, apply it. And you can make your adjustments from there. I use this tool often to actually pick up if there's any unwanted colors in there. So often if I'm shooting under some fluorescent lighting or something like that or there's some weird green cast, I can easily select that out of the image, like I can using this tool. I can visually pick that up and I can select that and I can just remove that saturation. It's really really cool visual activity here. Clicking on Advanced. Now, advanced is similar to that Pi wheel chart, but we're going to choose a color. We've chosen this specific color here and it's going to give you the specific number, like the numerical information about the color. And it's going to give you the similar tabs here that you saw in the basic panel. D. And here, you can move this wherever you want, and you can get you know, very specific range of color. And you can hone in and I just want to adjust this one because this dot here, this is your color. This is where that numerical color is on this chart, right? But you can move that around. You can really hone in and say I want this very specific color. I want to adjust that. And that's the only thing I want to adjust, right? Cool. Now, question is, how do you know what color you're picking on the image? Well, you have the option to view that selected color range. And here you can see you're not picking anything up. So we're going to click on lips again. I'm going to get that color, and we're also going to pick up some color in the face. Okay. So just like the last one, you can go ahead and adjust the hue a bit, saturation, lightness, Okay. Right? And you see your little before and after colors right there. And by the way, if you click on Okay. You can make as many selections as you want and adjust you know, these are recorded now, and you'll be able to adjust these specific colors. So let's go ahead and delete all these. So let's say we want to, you know, make some adjustment to the red, let's say we want to want some more saturation. This is just to demonstrate that's not what I would actually do little disclaimer there. And then we want to adjust the hair. Okay. So let's say I want more saturation and I want it a bit lighter. It's also picking up the face here, but because we've selected this hue, it's not selecting the lips at all. Okay. So now we have these two different these two different selections and we can see what it looks like before and after before and after. If we want to see the before and after of this whole image, we can hold our option key before and after. Four and after. So really cool, really fun to play around with, and there's lots that you can do. One little disclaimer here is that if you are working on a JPEG, you're going to have less information to play around with. So let's take a look at that. Here is you get some purple hair and purple lips here, pretty simple. If I go ahead and select this color, do you see how much data it has right here? It's Let's actually view it here. We're not going to actually be able to pull a whole lot of data from this image because it's a JPEG. And so the amount of information you have to work with in that specific file means going to vary from image to image. You can still mess around with the colors. I'm just showing you this here because the difference between the raw and, like, a JPEG is simply the amount of information there to work with. So the next video, we're going to talk about color balance, okay? 7. Color Balance: All right. In this part two, this color series, we're going to talk about, color balance. Let me just drag this out here. Okay. So if you are unfamiliar with this, that's totally okay. I got really excited about this because I have a background in video editing, and you're going to see a tool like this in video editing far more than you would in photo editing software. So anyway, You have these little wheels, and you have the master three way shadow, mid tone highlight. So you're going to be able to actually change the colors, shift the individual colors of the shadows, right? And the highlights and the mid tones individually, or you can do it overall. So I'll show you what I mean. So let's take the mid tones. You can take this little circle here and you can drag it gown to the purplish section? You see it's actually shifting and adding this color blue, can, getting to the greens, warming up in the yellows, red, purple. Pretty cool. Double clicking resets it. You can do it in the shadows. All right? Affecting the shadows and in the highlights specifically. Now, why would you use something like this? Okay. Part of it would be maybe for correcting some of the color in the image. But honestly, this would be used. I mean, I would use it for creative effects, right? So say I want to do an orange and teal type look, right? So let's say pump some tealish color into the shadows and then in the mid tones, some orange. And sometimes you kind of have to be subtle with this. Um Okay. Yeah. Just there you go. You can adjust the lightness of that color in the darkness on this side, you know, if you wanted it to be. You know, you can adjust the shadows there. But that's the color balance tool. And if you wanted to, you know, let's say, you know, in your head, your like, it'd be really cool if this was totally blue. Check it out. You can make it totally blue. All right. That's a really cool little nifty tool that you can use and another way that you can affect your raw images. Will it work on JPEGs absolutely? Let's really make it kind of moody here. Cool. Okay, so going to just reset that. In the next video, we're going to talk about skin tone. Okay. 8. Skin Color Correction: In this video, we're going to be talking about how to use the color editor to correct skin tones. Now, if you're ever doing portraiture, you know that the camera can pick up everything, which can be a blessing and a curse. So in this example, my model here, she actually has, like, really great skin, and I actually love texture and she has great freckles, and I actually really like it. But I'm going to do some things with skin tone correction just to show you, you know, how you can use the tool to kind of manipulate the skin tones to kind of, I guess, flatten the color out. One thing to keep in mind is skin is not made of one color. You know, there's no such thing as a pure white person or a pure black person. You know, you have white, which is more like a reddish pinkish hue and black is going to be more, you know, in the darker red tone. So keep that in mind. Okay, so I have the color editor tool open. I'm going to go skin tones. First, let's just look at a few areas to adjust. Namely, So here in the cheek, top part, the head, a little bit here on the chest and the shoulder. You can see it there's just a little bit of redness, which is completely normal if you're a human being. But if you're going for those magazine photos or those fashion shoots where you have the flawless, whatever that, you know, is not reality, but it's just you know, that's the current trend. I'm going to show you how you can achieve that. So let's go to skin tones. And what we're going to do is we're going to pick the skin tone that we want to correct. So you're going to select the problems area, all right? Because you'll see what I mean in a second. So I'm going to go ahead and select this area right here. And you see in the bottom corner, this is the color it's selected. And if we view selected color range, you can see it also selected everything else. So we want to narrow in the selection until we just get the parts that we want. So I'm going to take down the smoothness all the way. I'm going to adjust the yellows go away. Probably bring this in a little bit more. I'm going to shrink this and you can see, now we're getting a much better selection. Okay. Let's take this away even more. Even more. Let's see how narrow can we go 'cause it also had all these flowers before, and I really liked those colors. I don't want to mess with that. I just want these bits on the skin. Okay, so it selected these parts, right? So this is what we're going to adjust. Just these red areas now on the skin. And if I turn the view selected color range off, Now, by paying attention to those areas, now we can adjust it. So we have two sets of sliders. We have amount and uniformity. Amount you're familiar with, it's where we change the hue, change the saturation levels, change the lightness. But what's new in this tool tab is the uniformity sliders. And uniformity is responsible for taking that hue selection, right? So you have this selection here. So the dot represents the specific color, right, and everything else in this selected area or all the other specific colors in that range. So it's going to take all of those colors and we're going to make them uniform. We're going to make them the same or the same as possible. So if I adjust this hue slider, it's going to take all those colors and it's going to even them out. And it's doing this very gradually. But if we look in the before and after, before, after. Before, after. I'm going to just zoom in a little bit before, after before, after. Okay? So turn the skin into like a purpliish color, those areas specifically, and we don't want to do that, so we're not going to really mess with. Let's see what happens with saturation. All right. And let's before, after. Zoom in maybe a little bit. Before, after before, after. It doesn't do a whole lot in that if we turn the selected color on again. It doesn't do a whole lot with that either, so that's fine. This might be a bit of a experimentation. So I'm just going through to show you what these tools do. So lightness is interesting because as I adjust the lightness, it actually brings it to a uniform, darker level. Se level it's doing with the freckles here actually. But it also is bringing out this other color that we were trying to make uniform. In a later video, I talk about how you can make adjustments with these colors specifically. So say, like I liked what it did with the freckles, but I didn't like what it did with the rest of the skin, then I could I could isolate just this area without affecting everything else. That's another video. But Right now, we want to make it kind of brighten the skin up, make it a little bit more even. So let's just add a little bit. Okay. So now let's go back to lightness. Let's adjust the lightness here, and immediately, we see a difference. Okay. And again, pointing your attention to this area right here, dark, brighter. It also takes the color on her fingers, darker, brighter, darker, brighter. You see it kind of blends that a bit more. Let's adjust the saturation. I'm going to take the saturation a bit down because it's a very similar color to the rest of the skin, but it's more apparent because of the saturation. You don't want to minus it, but a little bit. It's fine. Now adjusting the hue. So we're now going to shift that color that we selected to a different hue. So I'm going to first show you what it looks like in the view selected color range. So to the left turns a bit more kind of like magenta, reddish purple, but we shift it here to the right and it's actually going to take it towards the yellow side. And we want that actually. We want a little bit of that. So we're going to turn this back on and see what it looks like again. Red? Yellow. Red yellow. And maybe that looks a little bit weird at first, and so you're just going to have to go back out of this and look at it before and after. Foo, after. And you can tell. It takes those colors, and it just evens that out. Again, like, there wasn't a whole lot to correct necessarily on the skin tone. I personally like a lot of texture and, you know, if there's freckles or whatever, but It just kind of brighten that up and evened it out. We can adjust it even further if we wanted to. So if we go into advanced, right? So remember, in the color editor tool under advanced, you can make multiple color selections and adjust them individually, okay? So we're going to so we adjusted the skin tones, right? You can tweak it a little bit more if you want. But let's say you want to take it a little bit further. You want to take that color, like that area specifically, and you want to adjust it even further, all right? Because now you basically have you shifted the color of that original red area, and so you have a new color to work with. I hope you're tracking with this. So we're going to view selected range. So again, we're going to get that area. Okay. I want the red area. We don't want the yellow so much. Okay, good. Good. So again, we got a similar area. The rest of her body. We're also picking up the lips, which we don't want. Okay, good. Again, we can always go back in and add more saturation to the lips if we want. But, good. No. I got it. I got it. Good. All right. So now let's turn this back on. Now we're going to adjust the hue again, saturation lightness. So let's go ahead and adjust the hue again. Going to pump it into the yellow zone, going to decrease the saturation just a bit. And you'll really notice in the lightness tab. Okay, good. So now let's look at before and after. Before after before, after. Before after. See, this is just so cool after. Again, I would really want to see more of those freckles, and so I would probably go back in there and specifically adjust that. So that shows through while we still have a more even skin tone. But I wanted to show you that as capture one's ability to correct skin tones or should I say even the skin tones because this didn't really need a whole lot of work, but that's an example of how to use the skin tone correction tool on your photos. 9. Layers: All right. In this video, we're going to talk a little bit about layers. I'm going to show you how I would use layers within capture one to get the most out of my edit. Here we are in the layers menu, and you'll see it has a background. Just like if you've ever done photoshop before, it's very, very similar. You can add your mask simply by just clicking that button. And then you can also add masks to the layers two, which we'll go over in a second. But let's say, okay, I want to start off by just cleaning up a little bit on your forehead, right? So I'm zoomed in 100%. If I go ahead and click this little band aid, right, which is the healing tool, it's going to you don't see anything yet, right? But watch. I'm going to actually, I'm going to make this a bit smaller. Left bracket key right bracket key makes this smaller. I'm going to just click there. All right. So two things happened. One, hand on the spot. But two, it created its own adjustment layer. And this is going to happen on any heel tool that you use, and there's also within this cloning mask that you can do, right? Um. So just real quick on the healing mask itself. I'm going to show you these arrows, like what it's actually taking from, and you can move them around if you want. If you don't like seeing these, you can just go ahead and right click. And right click and check it off. And here we can also adjust, you know, flow opacity hardness, all that. So I'm going to actually bring the hardness a bit down. Okay. Good. And then if you don't like seeing red dot, which goes away. After you click off that layer. You can just hit. Okay. So let's just go through and quickly just handle some of these spots here. Here. There's a hair here, but I'm not going to mess with that right now. I think that's just part of her face. Okay, good. All right. So all those edits are going to be on that mask, okay? Just like any other kind of layer would work in program like photoshop. So now let's say I want to adjust something with her hair. Let's say I want to do a little Little dodging and burning on air, right? Simple. So I'm actually going to move to my exposure tab. I'm going to create a new layer. And by double clicking, you can just type in dodge and you can create a layer. Double click. Burn. Okay. So you can do this in numerous ways loaded with the exposure or you know, if you wanted to use levels or curves. I'm going to use a curve. I just bring that up a little bit. My brush tool shortcut is B for brush. I'm going to decrease it. I'm going to right click and I'm going to just adjust the opacity and bring down the flow just so I can build that up. Zoom back out and just going to start painting. You can load any of these layers with any kind of adjustment that you want. It's not limited to just like exposure settings or just one setting. You can do whatever you want, which makes it really cool and allows you to be super specific with your adjustments. Okay. So I see before and after after. Let's look at before and after here. Very subtle light. Let's just add some burning. We're going to bring it down and the brush so have the same settings that I applied last time. To bring this upps Okay. Not even saying it really needs to be dodge and burned, but, you know, this is just for, you know, showing the dz. Okay. We can see before and after. All right? Pretty cool, huh? Other things you can do with layers. So let's make a new layer again. If I click the layer, I have a couple of different options. And so if I already had a mask, I could get rid of it, right? If I had a mask and I wanted to invert it, right? Simple. You have something that's called a film mask, right? So film mask, if you click on that and hit to see the mask, fills up the entire screen. So that means in the layer, right, whatever you do will now act as if it were like the background layer, like, you'll be affecting the entire image. And that's really useful if you want to create overall adjustments to the whole thing. You know, with a layer, anything that you mess around with. Let's let's do that. With a layer, right? An adjustment you make isn't going to affect it until you actually apply some brush tool of gradient or something like that. Other cool things you can do is let's say you want to affect all the highlights in the photo, right? Well, you can go ahead and fill the mask and you can type in Luma range. All right. And what this is to do is you see how it instantly made the mask select only the subject, right? And you have a couple of different options here. You have the range from dark to lights and you have two different little inverted triangles here. So if I pull this guy in this direction, you see the mask is now moving away from all of the darks, and it's staying just on the lights, the lighter parts of the image. If I drag this little guy in this direction, It actually increases or decreases the amount of fall off. So the amount of the light and dark bleed off into each other, right? So let's say that's the mask I want, okay? So then I can apply that. I can turn off the mask so I can see what I'm doing. And let's say I want to increase even more. Okay. Okay. And it's affected everything except for the darks. Or let's say I wanted to add some color color color color, color balance. In the highlights, maybe I wanted to add, make it look like she has a tan. And then, you know, it would just be affecting that. I could make another one and I could do the same thing. But actually, I'm going to show you probably a bit more of a useful tool with Luma range. And I showed you the dodge and burn with the hair, right? But let's turn those off for a second. Let's make a new adjustment and let's get our brush nice and big. Okay. And I'm going to turn my opacity on all the way and type M to see what I'm doing. I'm going to go ahead and just kind of brush over really roughly with the hair. You don't have to be super specific when you're doing this. Okay. Good Gina. Just get this part here. I want this little strand. Okay. Okay. And this guy here. Okay, so I have a pretty rough mask here for hair. So now I'm going to go ahead and create another layer. Right click. I'm going to copy mask from adjustment layer one. So now I have two masks that are both the exact same. So in this first one, I'm going to now apply the Luma range option, and I want to affect just the highlights. Okay. I apply. And the second one, I want to apply just the dark. I'm going to pull the opposite one. Okay. I'll just darks here. Is around with this. Okay good. Apply. Okay. So now I'm going to turn the mask off the visibility of it. Now I'm going to go to my exposure. Now if I want to do some dodge and burning, This is kind of like a fast way to do this. You go to your curve and you can brighten up those highlights and adjust the darks. See the before and after here. All right. That's a neat way of doing that. And we can turn those off and see. What I did with the brash definitely was more subtle. So you probably This was probably a bit. But you get the point. You can easily make adjustments attacking different parts of the image by using. 10. Color Masking: All right. In this video, we're going to be talking about color masks. In the previous video, we talked about layers, and I want to talk about how you can make a layer from a very specific color range. It's going to make it easier to do selections. And it's most useful when you have different hues in an image, particularly like clearly defined hues. And I chose this image because it has this pink red, has some yellow, has greens, and has this purple wall. And we're going to play around with this. So let's jump right in. First, I'm going to go to my colors tab. There's already an adjustment layer there, so we're not going to worry about that. Yeah, just some small detail. All right, we're going to click on background. We're going to go to color editor. And you can do this using any one of these tabs, basic advanced or skin tone, if we look at basic, we can just go ahead and cycle through and see, Okay, good. We have some red hue. Got some orange yellow, some yellow green, more green. And it gets blue purple from this background. So let's go back here. Let's adjust the red, and we'll see if maybe we can get the yellow. So I'm going to go to Advanced. I'll take this out here so you can see this better. And we're going to take our eyedropper and click on the red. And we're going to say view selected color range. Good. It has some of this yellow. Let's see if we can expand the selection. Yep. There we go. Beautiful. And it has some yellow right here. Let me zoom in so you can see that better. Yeah, I can pick up some of the yellow here. So we're going to take down the smoothness. Making sure that we can keep that yellow in the flowers. I think that's pretty good. All right, I'm going to zoom out. Now that I have the area of color I want, I'm going to go to the three dots here. And it says, create masked layer from selection. Click on that. It's going to take about 5 seconds, more or less. And then it's made a brand new adjustment layer right here. And so if we go ahead and hit the M key to view the mask, Look at that beautiful mask. Now, you'll see though it also has gotten these little bits here. That's not a big problem by hitting the key. You can go ahead and turn the eraser key on or you can just click this little tool up here and you can just get rid of that mask. All right, that's simple enough. Let's just zoom in so we can see this more clearly. Look at that. All right, it's gotten some of this green bit here, but most likely it's because it picked up that color. Capture one is super powerful because it will take your raw photo, and if there's a color there, it's going to pick it up. A little story here, so this is a wall in my house, right? And you see it's kind of like a grayish color. Well, originally, this wall was super purple, and my wife did not like it. So we decided to do like a light grayish color. And when you're just looking at this photo right now, you can't actually tell that it's gray because it's coming through almost like a blue gray. So if I go back to the background and I go ahead and pick this wall color. You see, it's actually picked up the purple. And let me just go ahead and enhance the image a little bit. Let's pull out this color. It's pulling that purple color straight through the paint. I mean, that's a gray wall. Like, we painted that like two or three times. So it's picking up it's high quality paint, too. So this is just an example of not just the power of a raw photo, but also the amount of information that capture one can really suck out of that image. And if I wanted to say, really make it gray, that would be easy for me to do. Oh, let's adjust it here. Right? So that particular color is now it's like a gray. It's probably not that gray. Right. Okay. But you get the point. You can make color selections by simply using the color editor, selecting the color that you want, adjusting the selection here, going to the three dots, create a mask selection, and you have a mask, you go and let's go back to this layer. Let's say there's a little bit of it that you don't want mask or mask something accidentally or something like that. You can easily take the key or up here for the eraser, this guy, race mask. And you can just erase the mask. Any part of it that you don't want. Okay? Simple. So that is how to use colors to create selections using capture one. 11. A Basic Edit: So in this video, I'm going to take you through basic edit of this photo, using the capture one tool, show you a little bit of my workflow, and just maybe find out a few of the little tips and tricks using capture one. Again, there's so many tools. It can be a little bit overwhelming. So I'm going to just walk you through some of the basic ones that I use when editing a photo. So in this image, the first thing that I want to do and what I normally correct in all images is the Blacks and the whites. I'm just going to go here to my levels and click this little magic wand here. Okay. And it's made just a slight adjustment. Again, why I love capture one because it just it just, you know, just touches it there. It's still too dark, though. I'm going to go through my high dynamic range here and I'm just going to decrease the shadows just a bit. I do that, you know, doing it the opposite. Okay. Enhance that highlight just a little bit. Okay. And then with my curve, pull this up in the center to a little bit. Another reason why I like to work on the exposure, first, like the light levels is that as far as colors go, you can get a lot of the way there with just changing the light. Okay. Next, I want to go to white balance, and I feel pretty good about the wide balance for here, but I did use a gray background. So I'm just going to go ahead and pick it. I didn't really do too much for the image. Okay. So it's nicer, but it's still a bit too dark and I'm not a big fan of the skin tone. She obviously use make up here, but then, you know, it's clearly brighter down here. So I want to go and fix that. So I'm going to go in my colors tab. And I'm going to first W is it? Oh, it's up here. Get down there, guy. All right. So first, I want to isolate the different colors in the image. So I'm going to go to my basic tab. I'm going to click the three dots, and just going to cycle through. I'm going to just make sure there are no unwanted colors and also what the basic colors are. And so there's not a whole lot of looks like it's just going to be in the red orange yellows. Good. So you're going to cancel that. And that was just so I could see what's going on. Take this off. We're going to go straight to skin tone. Ops because we're still on white balance here. No command or control Z to undo that. Go to click the picker from the color editor to pick her skin tone here. You can see it's picked rather dark skin color. If we view that selected range. It literally I mean, right now, it's encompassing everything in the photo except for a little bit of her lips and maybe some of the firm, but we want to just attack the skin here. So let's reduce that. Here we go. Okay. Good. I don't really care if I get the hair in it, but, there you go. Good. Some of the hair, it's not going to be a huge problem. This isn't for like a magazine or something. So good. So now I have my selection. I've turned it off because I want to see what it looks like in relation to the rest of the image, right? So I'm going to the hue a little bit. I'm looking both not just at her face but the neck line. Just the saturation. You can notice it specifically and the neck line there and the lightness. I'm not going to mess around the lightness too much. Okay. So let's go to the amount. Good. Good. I'm going to pump that up pretty high there. Saturation. Okay. You know, if anything on saturation, I'll tend to go down a little bit because that sometimes can help give a good base point if you want to add more color and later on. They don't look like they're from, they just arrived out of a tanning booth or something. I'm not going to mess with you. Okay. So let's see where we got to I'm going to tap to see them before and after. I want to take it off this full view. Okay. Let's just look specifically at this one. Option or Alt and hold this little button, see before, after before, after before, after. Very gradient, subtle, but pleasing lift on the skin tones. We're going to this time, just go into advanced and we're going to make a selection. And we get some of the face, and we're going to just cut the smoothness down. And expand it because I want all that red. If I get some of the skin, I'm not that problem because it's not that much of a problem. But it looks like I got pretty much you can still see some redness that it picks up, but I'm not too concerned. I'm going to turn this off. And now I'm just going to adjust the saturation a bit and the lightness. Just a tad. Okay. Don't want to adjust the hue. At this point, as soon as you adjust the hue, now you're really, you know, it's now not what it was. You know, it's it's like your call and if you want to totally alter the image from the original or do you want to enhance it? So that's what the hue would do. And I just I want to just a little bit more of a subtle one. So let's check it out here now. Like that. I might change my mind later on, but I think that's nice. Okay. Good. So now we're in what I think is a pretty good starting point. Before or after before, after. And by starting point, meaning like now I can go in and I can correct and blemishes on the face. I can, you know, enhance other details outside of the subject. But I want to be able to start off with a good, you know, level of lightness because it's going to if I go back later on and try to mess with that, then any other corrections or additions or enhancements I make later on are going to be affected by that, and they don't want to do that. Okay. So let's go in and do some stuff with the healing. So I'm going to zoom into 100% space bar, by the way, pulls up the hand so you can move the image around. It's not too different from photoshop and come in from that. So I'm going to click on the heel brush and we'll just cut Come on, guy. And to get rid of the mask. There you go. I'm just going to quickly. You know, the capture healing tool is pretty good. I definitely find that, you know, photoshops is better, just as far as like blending in things, but it's it's not that big a deal. What I'll normally do is before I actually heal anything in capture one, I'll get the colors right and maybe you know, basic adjustments, and then I'll take it into photoshop, which you can do from capture one. And then I'll, you know, do in healing. I'll also do my dodging and burning in there. I find it's a little bit more powerful in that sense, and, you know, I can do it pretty easily. Okay. So there's not too much honestly to correct here. I want to do some enhancing the highlights and the shadows and I want to do it in a quick way. So I'm going to make a new layer. Fill the layer so you can see it's completely filled. I'm going to go on oma range. And I'm going to go ahead and adjust this until I get the highlights. And probably a lot of the mid tones too. All right. Yep. Good to apply that. So now I'm going to take the mask off and go to my exposure, no. Here it is my curve. Going to pull that up a bit. All right. Excellent. I'm going to make a new one. Right click, fill the mask. Just taped there just so I can see it. Visually. I'm going to do the opposite. Okay. Apply. Take the mask off. And now I'm going to darken bit. Okay. What though, as I look at this, this crushes the blacks bit too much for me. If I pull it up a little bit. I actually get some warmer tones and lightens up the shadows. Actually I actually like that. So here, I've adjusted the highlight specifically, and then I've adjusted the shadows or the darker parts of the image individually. They both have the different things, and you could maybe argue you could have done that different way, but I like the way that I did that. So next thing I want to do is I want to enhance the hair. So I want to make a new layer. And yeah, maybe I probably should be naming these. But I I don't. So just lights. Darts. And we're going to say that this is going to be the hair because what I want to do with the hair is I want to take a brush. I want to adjust about 50 opacity, 50 flow. I want to take clarity. Okay. And I want to load some clarity into it. So you can do this two ways. You can either, you know, load the brush or you can paint and then mess with settings. And I think I'm going to paint so I'm going to turn my mask on the display. All right. Just paint on the hair. Okay? To the display off. And now I want to adjust the clarity. And then the structure. You can see that that does. That's more contrast to the lights and dark silver hair. Then I want to make another layer, call this fur and do the same thing but this time to the fur. I'm not too specific when I do this because of the adjustment that I'm going to be applying. See how far we're going to go here. Here we go. And we can look at it before and after. There we go. Okay, let's see how far we've come. Four, after. Four. After. Four after. Maybe the last thing I want to do is I'm going to go into my adjustments layer. I'm going to I and I'm going to Okay. And up here at the top, brush tool, here's a new tool, radial mask. So we're going to make a radial mask. Probably could have done this with a brush, but this is just to show you and going to God Okay. And you should be able to rotate it, there it is. Now I'm going to go to my high dynamic range. I'm going to decrease the shadow. Okay. So the mask here is inverted or the other way around. So it's affecting everything outside the circle. So you want to draw the mask inside. Yeah. Whenever you use a brush like this, beforehand, if you want to affect inside, I'm going to click draw mask inside. Since we already did it, we can just right click the layer and invert the mask. Okay. So now you'll see it only affects this area. Decrease the shadows and also increase the contrast, I'm sorry, decrease the contrast a bit. Increase the brightness. Add a little bit of saturation and some clarity. And some structure. Good. Now I'm going to make a new layer and I'm going to right click, I'm going to copy mask from the eye, Pops I'm going to click and drag that guy over here and put the eyeball there. Okay. And you can see that it's copied the mask, but none of the adjustments. We're just going to do the same thing, decrease the contrast, increase the brightness, accentuation. Decrease the shadow too much, increase the clarity and the structure. Let's see if we overdid this or if it was just right. Four after. Four after. Do I like it? Maybe this is a bit too big, so we're going to go back to the si and drop the opacity. Here we go. I like it. 12. Food and Floral Edit: In this video, we're going to be editing some food photography, using Capture one, and I'm staring at some delicious cookies, and I want to enhance them. And I'm going to show you a few things I would do with the tools here to go ahead and do that. The first thing I'm going to be doing is using the levels tool. I'm going to hit the automatic adjustment. And it gets the whites and blacks there real good. So the next thing I want to do is specifically isolate just the cookies and do a little bit of work on them. The photo isn't that bad off to begin with, but I just want to enhance, I really want to get in there and see all the crumbliinss and the crevices and all the chocolate goody bits. So I'm going to tap B for my brush. And the moment that I start to brush on these cookies, it's going to make its own layer. See that. Now I'm going to turn on the mask display by just tapping M. I'm just going to get the cookies here. On my brush, I have my opacity and my flow at around 50% in zero hardness. And that's because when I make my adjustments, I want to always do it on a gradual basis. I don't want to be too heavy handed. And so it's just my preference. You don't have to do that. You can always make your adjustment and then turn down the opacity of that layer if you think it's too strong. Okay. All right. Okay good. I'm going to turn to display off. Now that I have my selection, I'm going to go ahead to my clarity tool. We actually before I do that, I want to just actually do a few things right here in the center of this cookie. Let me zoom in. It's a the detail is a little bit lost here in some of these highlights. So I'm just going to before I make this next adjustment decrease the exposure just a little bit. There we go. Because what's going to happen in this next adjustment is going to bring that back and I don't want it to be too strong. Now, I don't like what this does specifically again to the same spot. So I'm going to go see here under method. We have a few different options. We have natural punch neutral and classic. Let's check out what punch does. Okay letter. These are cookies. This is not something like super, let's go to neutral. That might be a bit better. What about classic. Hmm. I like this because I have it all the way pumped up to 100, and it's being really gentle on this image. It doesn't really blow out the highlights. The clarity is another contrast type tool. So it's going to take the lights in the darks and it's going to brighten them up at the same time so you can get a photo that looks kind of not so great if you're not careful with it, but this does pretty well. Let's see if structure. Yeah, see, when I just structure, Whoa that's maybe a bit too far. Okay. When I adjust structure, see what happens. So here's like -100 bring this up. So now you're seeing almost like I don't know if you can see this on your screen, but I'm seeing butter or oil or whatever it is that is stuck to these pieces. So I'm just going to drop that down just a little bit. Okay. So back out. Look what we have before and after. Great. So there's only one other thing that I want to do with this, and that is, where are you? Here we go. I want to add a little vignette. I'm just darkening the sides just a bit. Just a little bit. I can go one step further and go into my color editor. It's already open. Pick a color. Make sure I have just the cookies. I have some of this redwood, so I'm going to expand this selection, and then take this bit out just so I'm not affecting this wood bit here. And then I'm going to turn the view off and I'm going to mess around with saturation. I'm going to mess with lightness. Just a little bit. Let's see before and after. All right. I like this. They're more in your face, and you can really emphasize all the yummy details with this photo. Now I want to show you how I would edit some flowers. I do some flower or floral photography, flower photography, flower photography. I do some of that. And I want to show you how I can enhance this image specifically by using the color editor tool a lot. And so first, I'm going to c I want to crop it up to here. And just so you know, when you're in the crop tool, if you hover near the corners, You see this circle guy. You can now go ahead and rotate it if you need to. Otherwise, you'll have to go there's its own rotate tool. But if you're in the crop tool, you can just go ahead and adjust or make that rotation right within that. First, I'm going to do as I always do, automatic adjustment on levels, gives a nice bright boost there. Then I'm going to just check my curves. All right. Let me look at my. Okay. So one quick point, the histogram basically is a graph that shows where the information in the photo sits on this scale from left to right, so left would be dark and right would be bright, and you can see here on the curves graph two. And without getting super specific, and maybe I could give a better description of this. When you see a lot of information or a lot of hills or peaks really up against this side of it, that basically means that all of that information is going to be squished together in that darker side. It's not a bad thing necessarily because obviously, you see there's these flowers here and you can see the colors pretty well. But it just means that as far as information wise, it's all squished together, it's in the dark part of the image. So what you can do, you don't have to do this, but when you decrease contrast, what you're doing is you're spreading that out a bit. Okay. Just a little bit. I'm going to go in and make some adjustments that's going to just bring it back. But with the adjustments I do, you'll see what I mean. I'm going to open up color editor. First, I'm going to select the red if you selected, make sure I select these red flowers. Okay. I don't want to select the yellow ones, so I'm going to go. All right. Now I'm going to increase saturation just a bit. Adjust the lightness. Okay, good. W it look like? Looks pretty good. Going to go to these yellow flowers and it's grabbed all the yellow. And, I'm happy with that selection. Oh, no, wait. This is also grabbing these red flowers. I don't want that. So the yellow flowers. Good. All right now, let's adjust the saturation, lightness. How does look? Good. Now I want to take the greenery. This is picked some cyan colors. I want to make sure I also get any green too. Now with this green, what I want to do, I do want to adjust the color a bit. Which way am I going here. See if I go to the right, you're going to get more of a blue and left, it's going to turn more green. I want a bit more on the blue side, and then I want to decrease the saturation just a bit. Maybe increase the lightness, am I decrease it. Let's see here. I actually like that. Okay. Now, there's one more area I want to adjust and that's in these guys. Okay. There we go. Get rid of this one. Okay. All right, so there's some color it picked up here. So what I want to do is just adjust this hue. It's like a yellow. I want it to be a bit more green. Dark bright, maybe you leave it kind of dark before, after. Good. One other thing on this photo is the background. I actually used a black background. But because my light also hitting the background, you're going to see a bit of that color too, and it has come in like blue, purple. So if I click on the background, it's going to pick up all of that color in the reflection. I'm not against this at all, but I just want to see what would happen if I decrease the saturation. Okay. Okay. So if you wanted to completely black background, you can do that. I kind of like that look, but what about if I darken it? Maybe just the hue. Okay. I mean, I think it's kind of cool, honestly, but you got to think with your client and preference and style and all of that. Okay. So now that I've done this, what I want to do is make another adjustment. I'm going to go down to draw radial gradient mask. And the moment I draw this, it's going to create its own adjustment layer. And you want to make sure it just kind of gets in the flowers, and what I want to do is go to my clarity tool. Close these guys, glow my clarity and increase the clarity. Maybe a bit of structure. Okay? Now let's look at before and after. Four after before, after. I might go in and maybe decrease the saturation of that red just a little bit. But this again shows you the power of capture one's ability to manipulate and make the most out of these colors. And you see, I was just really adjusting the individual colors themselves. I wasn't going and making these other adjustments to the exposure, the highlights or the shadows or using the brush tool or whatever. It was just making specific color selections, adjusting those, and then maybe making a few more kind of more broader generalized adjustments. And I got an image that I think is pretty cool. So that's it for this video. I hope you got something out of it. 13. Export: We've edited our photo and we're happy with it. We're going to export it. So if I just tap G, all right, it's going to take me back to this viewer here. And you see here this little export option. You're going to click on that. It's going to pull up this menu here. So first, this is where you're going to save it. Now, normally, I don't change the output location because it's going to keep it together in its own little folder with the rest of the images, and it's easy for me to access. So here's where you would name your image. Now, I'm just going to name this final image. Okay. So a recipe is sort of like Capture one's way of doing automatic procedures to the image. So if you, you know, need to always export your photos out to, you know, for the web in a certain, you know, dimension, certain file size, and you want to add, you know, certain metadata or whatever, you can have that set up capture one. And this is really useful if you, you know, have a certain workflow, certain routine and you're doing this all the time. So for the web, you know, this is going to be a pretty big image quality of 100 resolution, 300, you know, so for the web, I probably scale back maybe to hit. Necessarily it's not as important, but the resolution 72 is like the standard. And then you would want gosh, on a long edge, I think, it's It's 3,000. You might correct me on that one. More often than I actually print so that my settings are going to be a bit different. But, you know, you have to decide where your image is going and, you know, how you export them is going to have an effect. And you have different options as to how you want to export them here. Um. File adjustments. So adjustments is where, like, if you know, it's going to add a little bit of sharpening for the screen or for the print, you can add your metadata, you know, any copy right that you have, all that stuff. And you also have the option to export this and then open it with any additional program. So I have photoshop, aura and Luminar, but it's okay. You don't want to do that. So now I'm going to export it. Okay. And it's going to export this really fast. And now, if I go back to my folder structure, looking my output folder, it's going to be right there. 14. Class Project: Capture one class project for you. I have three parts to this. And this is going to have to use your own images because capture one is specific to the cameras that you own. So you're either going to have a capture one for Nikon, Cannon, Sony, I think, Fuji cameras, and they might even have a LCA version now. Or you got the pro version because you use multiple formats, and you can use any kind of raw photo. Part A includes importing some JPEGs or raw images and make sure you get something colorful in there, you know, so you can mess around with the color tools. And first, you're going to practice creating a smart album and using the color editor tool. Then part B, you're going to take another image, and you're going to practice using the luma range to affect the shadows and highlights separately. And then the last part, you're going to take an image that has some clearly defined colors, clearly defined, you know, red, blue, whatever it is, and you're going to make a selection from those colors and mess around with it. I would love for you to share your image with the class and show me your befores and your afters and what tools that you ended up using and anything that you found cool or interesting in the process. So I'm excited to see what you do with it.