Quick Start to Capture One | Photo Editing Without a Subscription

1. Course introduction: Hello and welcome to this quick start to capture one pro throughout. This course will learn the key fundamentals You need to know to get up and running with capture one pro doesn't matter if you knew the photography or if you're familiar with other tools out there like photo shop or light room capture one pro has some amazing tools that I think you'll love. In fact, there are so many great tools and capture one that most of the things will be covering in this course could be an entire course by themselves. For example, the color correction tools will look at in a single video in this course, but they could have an entire course dedicated to just them. So how do you know if this course is for you? Well, if you're new to capture one, this course will walk you through everything you need to know to get up and running as quickly as possible. If you're using a different program like light room and you're not really sure if capture one is for you. But you're looking for a great alternative that doesn't require a subscription. Well, this course will show you how you can work inside of capture one toe. Help make that decision easier. Now, throughout this course will be using a lot of raw photos as examples. Well, I'd highly recommend you use your own photos whenever possible. If you need some photos to follow along with, I'll show you how you can download the project files for this course in our next video. See you there. 2. Getting the project files for this course: throughout this course will be using a variety of different photos, and at the end of each video there will be some recommendations for how you can apply your new knowledge. And I would highly recommend trying to follow along with that, using your own photos. The best way to learn is by using your own work. The project files for this course, though, will include all the raw photos as well as the capture, one catalogs and sessions for each video. So if you get stuck along the way, those project files could be a great way to see what sort of settings were changed in that video on your side. Unfortunately, those files are way too large toe upload along with this course. So instead, if you want access to those, I have them stored on Google Drive. Now, if you'd rather not hype it in, don't worry. I've included a simple text file that you can download to copy and paste the Urals to those project files. When you're ready, I'll see you in the next video, where we'll get an overview of the capture. One interface 3. Overview of the Capture One interface: in this video, we'll get an overview of the capture. One interface now inside Capture one. There were four key areas or four key parts of the interface that will need to know. And let's start on the left hand side of the interface, starting with the tool tabs. Now the tool tabs is where we'll get access to like the name implies most of the key tools that will be using inside of capture one. And we'll be covering a lot of these tools throughout this course. But for the sake of this video, just be aware this is where we'll find the tools under these different taps. And I say their tabs because as I cycle through these, you can see there were actually accessing different tools inside of these different taps. So we have the libraries, have we have the capture tab, the lens correction tab, the color correction tab, the exposer exposure tab, and we're gonna have all of the exposure tools under their color correction tools. The lens correction tools, all of these different pools under these different taps. Now up in the center of the interface, we have what capture one calls the Hirscher tools. And in here is where we'll find things like the paintbrush to draw mascot, the crop tool in order crop, our photos being able to straighten our photos and things like that. Of course, we are going to use these as well throughout this course. But these are the first shirt pools pretty much anything that we're gonna be using with our mouse. That's gonna be kind of what the cursor tools are. No, over here on the right hand side, we have the browser, and browser is fairly self explaining where it's pretty pretty. If you're familiar with something like Finder on a Mac Windows Explorer, or even something like Adobe Bridge, it's going to feel very familiar. The browser is gonna be very familiar to you as a being able to select our photos and work with them individually. Then, of course, we have the viewer that's going to show us the photo that we have selected from the browser and in the viewer. Then we would be able to as we're making changes in the tools, the different tools that we have, we will be able to see those changes take effect in the viewer. Okay, So, to recap, the four key parts of the capture one interface are the tool tab bar over on the left hand side. We have the cursor tools up at the top, and then we have the browser on the right hand side and the viewer as the main portion of the interface. Now we will be exploring all of these throughout the duration of this course, but I'd encourage you to just dive right in, take some time between videos, play around with the interface and start getting familiar with where things are located, where the different pools are located in these different in the interface. When you're ready, I will see you in the next video, where we'll learn about the difference between catalogs and sessions in capture one. 4. Understanding the difference between catalogs and sessions: In this video, we'll learn the difference between catalogs and sessions in capture one. So let's start with catalogues. A typical workflow for a catalogue and capture one is to start by importing images into our catalogue, and then from there will make edits to the image. And all of those edits are stored in the cat Look. Then, of course, from there we can start to export those images out. Now that's a pretty typical workflow for catalogs. And if you're like me, you might jump right to using a catalogue and capture one, because that's the terminology that a lot of other tools, like light Room and Looming, are used. And that's exactly what I did when I first made the jump from light room to start using Capture one. Now, in those tools, there are no other options other than catalog, but capture One gives us another really cool option that can work better in some situations , and those are sessions. So a typical workflow for a session is well, imports the images into our session, just like we would with a catalog. But the difference here is that by default, images in a session are automatically moved to our session folder. Now from there, of course, will make edits to our image. And then all of those edits are stored in the session, just like with catalog. But there is that one key difference of by default. Those images are imported into the session folders, and so we're working with a little folder structure that so some of the differences between catalogues in Sessions catalogues work a lot like light room catalogs like I mentioned earlier. If you're familiar with light room or loom in our or some other digital asset management pool, then using catalogues in capture one would be a great starting point because it's gonna feel very familiar to you. Sessions work with folders on your hard drive so the photos are actually imported into the session folders. And then as we make selections, we select some of those full photos that we want to edit that can actually move that into another folder. When we output photos by default, they're going to be going into an output folder, and when we throw photos away when we trash them in the session by default, they're going to go into a trash folder. So we're actually moving those photos between those different folders in side of a session . No catalogues because of the way that these work differently. Catalogues are great for using photos in your current location. So say you already have a bunch of photos organized on your hard drive. You can use a catalogue to make edits to those photos without ever moving those photos around without ever touching them. Whereas on the other hand, because sessions will import photos into the session folders by default, and I do want to point out that you can change those settings. Eso You could import photos into a catalogue if you wanted to, and you could reference photos in a different part of your hard drive in a session. We will look at some of that in this course, but I'm talking about the default settings here. So by default, because it imports photos into those folders, it works really well for smaller projects. Like I'll use a session a lot for an individual photo shoot, bring all of those photos into a session and then make edits to just those. But if I'm organizing, say, a month or a year's worth of photos at a time. Then I'll pull those into a catalogue and start to organize those through that. Now, with catalogs, we have different tools to be able to organize those photos with. We have collections, groups, projects and albums in a session. We have those session folders that I talked about earlier or removing the photos between the different folders and we have albums, and we will look at both of these will look a using catalogs and sessions throughout this course. And then, of course, catalogs work non destructively because all of those edits are sort in the catalogue. And sessions also work non destructively because all of those edits are in there. So both catalogues and sessions are non destructive. What that means is that as we're working both throughout, this course as well is when you're working with your own photographs on your hard drive on your computer, any edits that you make in a catalogue or a session, it's not going to apply that directly to the original image. So what highly recommended you're following along with this course? Start using your own photos between each video with your newfound skills with catalogs and sessions And don't worry, it's not going to actually edit the original photo. You're making edits in the catalogue or in the session, and then you can export those edits out, and we will look at all of this. But just know that have loves and sessions both work non destructively. So we talked about this a little bit. But just to solidify, when would you want to use catalogs or sessions or one over the other? So because sessions import photos into the session folders by default, usually they're better for smaller chute. So you're working with a smaller amount of photos in that folder structure. On the other hand, because catalogues, let's you import photos at their current location by default, then they're usually better for handling large number of photos. Of course, like I mentioned, sessions do allow you to do this as well. Although it is easier to do in catalogues will look at some of that later on. In this course, The key thing here is to know that there is no right or wrong. You can use a cat like usual session. It's one thing I love about captured. One is that we have that option to be able to use one or the other for our project, and we could bounce between them so we could say Oh, for this project. When you use a session for this next one, I'm going to use a catalogue, weaken bounce between those and use whatever works best for our project. We'll use it. We'll look at using both of them throughout this course, so you can start to get an idea for how they work a little bit better and so you can use each one of them to their advantage. Now, before we open up, capture one itself. There is one more thing that is important to keep in mind. The way that we organize our library of photos will be different, depending on if we're using a catalogue or a session. As I talked about a little bit earlier, we have some different ways. Toe organizes, depending on a catalogue recession. So let's learn about some of those differences in our next video 5. Overview of the library tools in a catalog: in this video, we'll learn about the library tools Now, if you remember from a previous video, these are the tool tabs over here, and the first tab is the library tools tap. Now, As the name implies, the library tools are were capture of one stores all the different ways. We can organize our library. We can find the library tools tab in both catalogues and sessions inside of capture one. And most of the tools inside will be the same. But there are some differences that I'll point out as we go through them. So let's break down the library tools, starting with what we'll find inside a capture one catalogue. So at the very top of the library tools and capture one catalogue, we will have catalogue collections. And as the name implies, these are unique toe catalogues. They do not exist inside of capture. One sessions. Well, look at what sessions have instead of catalogue collections in a later video, but these are inside of head looks Now. We cannot edit catalogue collections, but their default collections that come with every padlock. So we have things like all of our images. So this is a quick way to find all the images in the catalogue at once. We have our recent imports. So every time that we import photos into our catalogue will find a new entry added here with the day and the time of the import and have used this Ah lot, actually, as a way of finding photos really quickly that were imported after each shoot. And then we have recent captures these air the same as recent imports. Except these are the photos that you actually take inside of capture one. And we won't really be covering the capturing of photos from the software itself in this quick start course. But we can tether our camera to the computer and then take photos through cap for one. And if you want to see that covered in a different course, just let me know now. Each time that you do that, you'll see again, kind of like with recent imports. You'll see each one of those capture sessions inside of this catalogue collection and the capture session not to be confused with the capture. One session that will talk about it later, and then, of course, we move on to trash now, when we delete photos in our catalogue will be sent here until we actually empty the trash beneath the catalogue collections we have user collections and some form of user collections are in both catalogues and sessions. But there are some options that catalogs have that Sessions do not. So let's run through these again. This is inside of a capture, one padlock. So we have albums, and an album is the main way toe. Organize our photos in capture one. Think of them like virtual folders. Our photos are not actually moved to a folder on our hard drive when we're using an album, which means we can have the same photo in multiple albums. Maybe we'll want an album for landscape shots in an album for Sky Shots. There might be some overlap in those shots where some photos air organized into both and with albums weaken, do that. Then we have smart albums. Smart albums are like albums, except instead of manually adding photos to them, we set up some criteria and capture. One will automatically add photos to it, for example, of you smart albums. It's a great way to maybe want to easily find all the photos that we shot with a specific lens. So using the metadata weaken set up that criteria to let capture one automatically figure out which lens was shot with that photo, and then put those into that smart album, and that will automatically update as we import more photos. If we shot some with that lens, then it will automatically be added into the smart album as long as it at meets that criteria that we set up. We have projects, no, in a project inside of capture one. We can't actually add photos directly to the project, but we can have albums inside of projects. For example, say we have Ah, wedding shoot. We can create that as a project and then inside of that project have an album with photos of the Bride, another album with photos of the groom and so on. Just a easier way of organizing our pad love overall because, as you recall from an earlier video, catalogues are great for organizing large amounts of photos so we can break down that large amount of the large number of photos into different projects to organize them easier. And that leads us into groups. This is the last user collection that we have inside of catalogs. Groups are sort of like projects in that they cannot have photos inside of them directly. But there are a few key differences, so some of the differences between groups and projects a project cannot be nested. You cannot have a project inside of another project. You can have groups inside of other groups. You can also have a project inside of a group or a group inside of a project. But you cannot have projects inside a project. So if we have a group and then we add a project under that group, we can't have another project underneath that and that hierarchy. It's just not the way that they work inside of capture one. So as you can see, we can have projects inside of groups. Now. One thing that's really cool about the differences between groups and project that we can use to our advantage is how they work with smart albums, so smart albums do not search outside of a project. So for using that example from earlier. If we have a wedding shoot and we add a smart album inside of that project, then it's on Lee going toe. Look for photos inside of that project. Say we set up that smart album toe look for anything. He was shot with a specific lens. Say we're using our 50 millimeter lens and we're looking for any of that who put it inside of the wedding project. It will only look for photos that we shot with that 50 millimeter lens inside of that project a group. If we have a smart album in a group, it will search outside of the group. So if we have that smart album inside of a group and we have it sent to look for anything shooting with that 50 millimeter lens, it will find that throughout the entire catalog throughout everything outside of that until , of course, it hits a project. And then it's going toe limit that because we have that smart album inside of the project, depending on how our hierarchy is set up, and that's really the true power of user collections in capture. One is to start using them together at groups to projects or projects to groups and start toe organize the albums in a way that makes sense to us and What makes sense to me won't necessarily make sense to you with your photos, because you're gonna have different photos and prefer to organize them differently. So tell you what. This video looking at the time it started in a little bit long. So let's stop this year and take some time between the videos to start playing around with user collections, create a catalogue, import your last batch of photos and start organizing them with user collections to start getting an idea for how you can use them with your photos and run through that little example that I gave. Create a project and then create a smart album with some sort of search criteria, maybe a specific lens, and then do the same thing with a group. Kind of like we have set up here on the screen, where we have a smart album under a group in a smart album under a project, and you can start to see the differences between those when you're ready. I'll see you in the next video, where we'll finish off our overview of the library tools in a catalogue 6. Continuing our look at the library tools in a catalog: In our last video, we got an overview of the library tools in a pasture one catalogue. In this video, we'll continue our look at those tools. So we left off with the user collections in the last video. Let's continue right along, looking at folders beneath the user collections. So when we import images into our catalogue, we have essentially two options. With a catalogue. We can either store them inside the catalog folder, or you can leave them where they're currently yet. And as I mentioned in a previous video, by default Capture, one is gonna want to leave them where they're currently located on your computer's hard drive. But we can change that option and have capture one. Move those photos inside of the Capture one catalogue folder if we want to work similar to sessions in that way, if we really want to do that now, whichever we choose, this here is gonna show us where those photos actually live. So we have photos that you can see. I have a three photos here that have actually been imported into the catalogue, which means that I told capture one on the import process to move those into the catalogue folder, so they live inside of the catalogue folder. We also have some photos with 12 photos here that are located on our computers. Hard drive. In my case, I have a drive that I've mapped to the letter Z. So the Z drive and there's a folder and they're called referenced files that you can see. I have 12 photos that live inside the catalog that are actually located in that folder. Now, beneath the folders we have filters and filters are pretty straightforward. They're not really a way of organizing the photos, but a way of, well filtering those photos to make them easier to find. Now, unlike the organizational methods that we've looked at so far, filters are the same for both catalogues and sessions, so we have the ability to rate our photos with from 0 to 5 stars. You can use the numbers 0 to 5 on your keyboard toe. Add a star rating to a photo once you have it selected really fast, we have color tags now Capture One gives us seven different color tags that we can use to help filter our photos. I guess you could say eight if you want to count. Not having a color tag is another method and how you use these air completely up to you. But in my projects, I like to use a green tag is a way of selecting the photo for further editing. A red tag is my way of saying I'm not going to use this photo. Maybe it's slightly out of focus. Or maybe just the composition that I thought looked good on set just isn't jumping out to me. Once I get back to the computer screen, something like that. It's just a way of tagging these photos in different ways so that we can filter them a lot easier. Now, sort of like rating photos with stars Capture one has to shortcuts built into tag your photos using green and red, the plus Sinus for green, and the minus sign is for red. Or, of course, you can always add other colors to suit. Your needs will look at using these later on in this course as well. Beneath the color tax. We have dates, so the date filter is automatically pulled in from your photos metadata. So the date that you take a photo is captured by your camera, and then when it's imported capture, one can read all of that information and display. That's a way of filtering. Personally, I don't use this a lot unless I'm going through organizing a ton of different photos. But there are times when it comes in handy for sure, and then beneath that, we have key words. Now, if you're a fan of using keywords to organize your photos, you can add those to your capture. One catalogue and then this filter will show those keywords to help you sift throughout all of your photos so you can see here I have, ah, one photo that has a keyword of people, and then the rest of, um, don't have any keywords apply to them. But it's an easy way of filtering all of those based on keywords that we add in. And then, of course, we have places now again, depending on your camera, depending on how you took it, some cameras might actually geo tagged those photos and embed inside of the metadata for the photo where that photo was located, or where that camera was located when it took the photo. So basically, where that photo was taken, and so capture. One can read that information if it's embedded inside of the photo. But of course, we can also add in our own places if we want to, to manually add those places and then filter those later on. But that brings us to an end of the library tools in a catalogue now, throughout the past couple of videos, you probably noticed a few times when I talked about how Sessions don't have something or they do something a little bit differently. So let's move on to our next video. Where will wrap up our look at the library tools by looking at how sessions handle the library tools, So you there. 7. Overview of the library tools in a session: In the past few videos, we've looked at the library tools in capture one catalogs In this video, we'll look at the differences between what we learned about capture one catalogs and how those tools work in sessions. All right, so I mentioned this earlier. But just as a recap, we learned that sessions do not have catalogue collections when we looked at those in a previous video. As the name implies, those only exist in catalogues. Instead, in a session what we have instead, our session folders. We also learned a little bit about this when it comes to how sessions work differently than catalogues. But the's session folders Corley directly to folders on our computers hard drive. So the capture folder is the default place where photos are moved to when they're imported into the session. Or, I guess if we're using capture one to take photos directly through the software, they will be added there as well. Then we have the selects folder, so the selects folder is a place where we can move our picks or selects that you would want to edit. So as we're going through all the photos that we've captured in the capture folder. If we like some of them, we actually want to start editing a little bit more. We can start to dump those into this slicks folder. When we do that inside of capture one, we move it to the selects folder and capture one behind the scenes capture. One is actually moving that photo from the capture folder into the selects folder show it will be located in the slugs folder on your hard drive. Then we have the output location, and this is pretty self explanatory. This is the default place where capture one will export the photos once we've edited them. And then, of course, we have the trash folder. So again, if you delete a photo in a session, it will actually get moved to this folder as opposed to in a catalogue. If you delete something in a catalogue, it doesn't actually get moved anywhere on the hard drive. It just deletes it from the catalogue in the catalogue trash itself. The trash folder in a session is actually a folder on your hard drive. So when you throw something in the trash folder, it will actually get moved to that folder on your hard drive. Now, something that's different with Sessions is they don't really have user collections. Not really. I mean, they they have some of the user collection that we talked about in a previous video. We have session albums, so an album is a user collection inside of a catalogue. But because catalogues also give you projects and groups in some of these other ways to organize them, they're all kind of bundled into user collection. In sessions. We don't have any of that. All we have our session albums so we don't have projects in groups. We only have our albums and smart albums, so you can see by default. We have smart albums, and they're set up for the criteria of all images in the session, as well as all of our five star images if we rated those, but we can also add in albums and manually add folders into their. So this is a great way of organizing those photos in our session inside of albums. And unlike organizing them with the session folders, organizing them in albums does not actually move. Those photos on the hard drive there just added into the album inside of the session. Now beneath the session albums. We have a session favorites, and I know I touched on this briefly. But this is the way that you can work with photos outside of our session folder without actually moving them into the session folders themselves. So if we add a folder as a favorite inside of our session, it's basically just a folder on our hard drive. That's gonna let us view the photos in that folder inside of capture one inside of our session without actually moving them into the session folders. Of course, we can do that. We can move them into their if we move them into our say, our selects folder. It will actually move those from the favorites into that folder if we want to do that. But we can also dress reference them inside of the session favorites and keep them at their current location. If we want to do that now, beneath that, you can see here I actually have an example. So that Reference Files folder from the previous video where we saw that we have that in there as well beneath that we have our system folders. So these are all of the folders on our hard drive. Now, if you recall from a previous video, we can see folders with the photos in them. So in a catalogue, when we import photos from a different location of folder location on our hard drive, it only shows us the folders that we have our photos in an a session we can actually see and weaken. Browse through all of our system folders here so you can see we can see all of our folders on our hard drive. And then, from here we can add those folders. Your favorites move images to our session folders or even a different set of folders as our session folders inside of all inside of capture one. If we want to do that, navigating our systems hard drive thru capture one that way. Now the last few library tools are the filters, but we covered filters in catalogues in the last video, and filters are the same in sessions as they are in catalogues, so I won't repeat myself there. Instead, let's move on to our next video war, actually hop into capture one and start seeing how all of this works together, and we'll start by importing photos into a catalogue. See, there 8. Importing photos into a catalog: up until this point, we've learned about catalogues, sessions and how to organize our photos. Using the library tools in more of a lecture style format in this video will take all that knowledge and put it together as we learn how to work with catalogs inside of capture one. So let's actually start by creating a new catalogue because I want to make sure that this catalogue is in the project file so you can open it up on your side if you want to going to come up to file new catalogue and let's find our location for the project files here. So pull this down. I have this location and I'm gonna paste that into the location. We could click the three little dots here if we wanted to browse, but I can pace that in. And then I want to give this a name of video. Eight video. We're on. All right, so that's gonna create a new catalogue. Forests capture One is going toe automatically load that had luck. And now we are ready. I'm gonna not back up that previous catalogue that I had open. That's fine. And now we're ready to start importing some images, so there's a couple ways we can do that. One is this huge import button right here. We can also use this import button here, or we can come in here and go to import images. Or we can use the keyboard shortcut control shift I or command Shit, I If you're on a Mac, there's a lot of different ways you can import images, but all of them will lead us to this same dialog box. This is the import images dialogue. Now in this dialogue, the key thing you need to look at every time when you import images is really up here in the top left, and this is where it's importing from the importing the images. From now, if you have an SD card or something like that in your computer, you might see that show up by default Capture. One will try to find that if it can, assuming that you're importing from your camera something like that, Um, but we can also come in and choose the source. So let's find the folder here. If I hop back to my project files, there is a raw photos folder, so let's select that folder. When we do that, capture one is going to go through and find all of the photos in that folder and weaken. Tell if we have sub folders. We can tell it to include sub folders in that. In this case, I don't have any sub folder, so all of the images are exactly the same. It can look to try to find duplicates if it thinks that there's duplicates of photos that we already have inside of our catalogue. Weaken, Tell capture one to exclude those. We can see the number of duplicates right here. So because we don't have anything in our catalogue when we're importing, of course there's gonna be zero duplicates now, beneath importing from we have import to. And this is what I was talking about earlier when I said, by default, capture one on a catalog is going to try to leave the photos where they're at. So the destination is current location. That means capture. One is not going to move those photos anywhere. They're going to stay right where they're at on the hard drive in this source folder, and that is exactly what I want in this case. But just be aware that we can change that as well. If you want to weaken, say, want to move it inside the catalog, which is actually going to move those photos into the catalogue folder, Um and then we can tell Capture one. If we want a particular place that we want to move those two anywhere on our hard drug, we can choose a folder on a hard drive on this case. I'm gonna leave it at the default of current location. Now we could tell Capture one if we want to add it into a selected album. You can see this little warning here because there's no album selected over here. We don't have any albums in this catalog we just created. It s so it's not really gonna work. I'm gonna choose the recent imports on Lee. And so what that's going to do is that's going to add that on Lee into this recent import catalogue collection. And as we talked about in a previous video, it's a great way of just being able to see the different imports that we've had into this catalog. And usually that's the default that I'll go with is leaving it at the recent imports. We have the ability to back up our photos if you want. If you want to enable a backup than on the import, not only will import into this catalog, we can choose a folder on our hard drive that we want to back up those photos those photos to. So this is a great way. If, say, you are working from an SD card that you are putting in your computer and you're importing that, we can tell it to import those photos and also back them up to an external hard drive or something like that. It would be a quick way of backing up those photos immediately once we bring them in to capture one. And then there are some further options down here. We won't dive too deeply into these, but they're pretty straightforward. Weaken Tell capture one. What naming location are naming strategy we want. If we want Teoh do that. Of course, if we choose current location, it's gonna keep the current names of the photos, so it's not gonna rename them. But if we are moving those photos to a new location, we move them to inside the catalog we can retell Capture one to rename those as it's moving them as well. If you want to. We have things like metadata. We can add in some metadata to all of these images as we import them copyright description . We can see you know, something's of some of the file in for information so we can see the name when it was taken . Ah, what camera was taken on or what type of photo it is a swell. Some of the filing for for each of these is we select them. And then, of course, we can apply some adjustments two days as we want to as well. And ah, we won't really leave this. We will really do that right now. I'm just gonna leave everything at the default. Now, the last thing I want to point out is that we can tell capture one to import. All of these photos are we can tell capture. Want to import only a certain number of these photos. So you can see here with this one selected down here we tell capture one to import one image. If I click over here and that's gonna de select now, capture one is gonna import All which means is going to import all 11 of these images. I can see there's a limit images up here. We could start to filter these if we wanted to. So we could say, You know what? I only want to import Evelyn's images. So weaken if I could spell correctly, There we go. So type that in and then we can see. Okay, those are the only images here. Now we can select those and import just those two images. So there's multiple ways that we can filter this down pretty quickly here inside of the import dialog. Or I can clear that out de select an import, all of our images. And that is what I'm gonna do is I'm gonna click on import all capture. One is gonna go through the process of it open offscreen. It's gonna go through the process of importing these images in core catalogue. And when we do that over here, you can see we have in recent imports. We have this import that we've we've done. These images are starting to show up in our catalogue and we have this session here or this up. This album here of the recent imports added automatically as well as all images. So because we've only done one imports all images is the same as the recent imports. But we can see those two different, um, catalogue collections over here on the left hand side. Great. So now that the photos are in our catalogue, we can use the library tools to start to organize them however we want. So we'll look at how we can do that in our next video. 9. Organizing photos in a catalog: in this video, we'll learn some ways we can organize photos in our capture. One catalogue. I mentioned this in a previous video, but it bears repeating that how I organize my photos won't necessarily be the same way that you want to organize cures. That's perfectly fine, but I know how helpful it can be to see how others work. So here's how. Typically, work with images once they're imported into a capture. One catalogue. All right, so we have our images that were imported in our previous video. Let's come in and start creating some user collections. I want to start by creating a project. So this project will be for portraitists. We can see the images that we have here if I pull the browser open just a little bit to make it a little bit easier to see. We can see we have some portrait photos that we've taken, and then we also have some nature photos here. So I want to start to organize those a little bit differently so I can prioritize how I'm going to be editing these. So once we have our portrait project, you remember I can't take this. I can't just drag this over here into the project because, as we learned, we can't add photos directly to projects. Instead, we need to add them into albums. Someone coming, create an album. This will be an album for Evelyn, and then we'll create another one. Once this is done, creating will create another one for Laurie Lee, and we can start to organize thes by the person and the reason why I start with this and organizing by person again. This is just a personal preference is Ah, lot of times when I'm working on shoots is if there's multiple people on those shoots, a lot of times I need to send them off to those individual people for approval and so I can work on all the shots. They work on all of Evelyn shots first, and then I can send him off to her for approval and then move on to the next person, adding those while I'm waiting for approval on those first ones and so on. It just makes things a little bit faster. Once we have our albums, we can let click. I'm gonna hold down control or command on a Mac and order Select multiple photos left, click and drag those into that album. Do the same for loyally left, click and drag you can see it's really easy to add those into the album, and then we can just take these albums here, left click and drag them into the project. And now they're nice and organized inside of our Portrait project. We have an album for Evelyn's photos, and we have an album for Laurie Lee's photos. We can always come back to all images. Let's start to organize some of these a little bit more. Someone create another project to be my nature project. And then we can start to create another album and organize these nature photos, how we would want to so maybe landscapes and do another one for maybe something with Sky. And we could start to organize these photos. They're actually it looks like we have one that's gonna be animals as well, so we can start Teoh, create that album also, and take this photo and drag that in there. So, animals, this one's gonna be landscapes. And again, how you organize thes is gonna be up to you. 1,000,000 escapes. This one's gonna be sky looks like all of these air gonna have sky. Actually, let's take those dragons in the sky and then some of these here. Ah, I suppose we could put these into a landscape as well, so you can start to see how we have the same photos in multiple albums. So we have in our landscape we have these four photos in sky we have, you know, these six photos here and some of them are the same. Now, if we make edits on one of them, it's gonna make those same edits on inside of this album. Could, it's still it's just referencing them. Essentially, it's not actually a copy of them by any means. It's just referencing them. But it's a nice way of being able to organize our albums really, really nicely inside of projects here inside of our capture. One catalogue. Now, after I've got thes organized into projects or groups, if you prefer to use them and albums and I've got this kind of started to organize here in my user collection, I'll start going through and holding some of these photos, basically finding a photos that really want to start to edit more and you can see, you know, safer Evelyn, for example, we only have a couple of photos here to work with. Let's actually make this a little bit bigger so we can see here in the browser Low bit, bigger weaken. Change that. We could change the different view here in the brother who wanted to, you know, grid mode. We could go toe list mode or ah, filmstrip mode. We're gonna start to filter these, you know, by name. By date, when it was taken ascending, descending you. However, we want to do that, I'm just gonna leave this at the default here. But that's how we can start toe organize things here in our browser a little bit. But yes. So once we once I have these in the album, then I'll start to call some of those down in order to make it easier for editing. So I'm not gonna edit every single photo that I take this because some of the photos might be a lot of it is gonna be for technical reasons. The first reason their first round that I'll do for editing is for calling. Those photos is looking for technical, so making sure that the focus is good. The motion. There's no motion blur things like that. So we can come into these photos and you say This is the one we want to edit. An easy way to do that is to either. We can come in and double click in order to zoom in and make sure that the focus is good here. Everything's good. I would say that this is a good photo that I would want to edit another way that we can do it. If we double click to zoom out, that's gonna be, ah, here with the panto. When I have that, we can also use our loop. So Loop is one of those little tools easy on jewelers use a lot of times in order to magnify. We can come over to the loop and we could just left click and dragon and start to zoom in here really quickly to see and make sure that our focus is good. We can change the size if we want to zoom. How we want to do that. No, it's cool about the loop here in Chapter one is weaken. Do that on our images over here in the browser as well. So we could come over here. Make sure you know what that is actually pretty good too. Ah, but, you know, if I were to pick between one or the other, I would probably pick this one here. I just like the composition a little bit better. And so we're going to go and work with this one here. So my next step in this process here is I'm going to start to filter these down using tags using Holler Tax. So? So we learned in a previous video, the plus keyboard shortcut is gonna add a green color tag. You can see that green color tag has been added. Now, over here in our filters, we can see all of the green, uh, photos in side of this album, and that's gonna work universally, cross anything in the library. So if I select all of my images, then we will see all of our images over here. Now I can start to filter. You see, there's only one green color tag. So across all images, we only have that one green color tag that we've added. So it's a great way of starting to come in and call the images and narrow down those images and really start to, um, take all of the images that we've taken and start to organize them a lot easier so that we can really just focus on the ones that we want to edit. We can do the same thing for lease. We can come in and start to look at hers and say, um, you know this one here? It's pretty good. This one over here. Yeah, it's pretty. I mean, it's pretty good as well. I kind of like the, uh the composition of this one here so we can hit. Plus, in order to do that, if I would hit minus, you can see it's gonna turn red. And again, this is just a personal preference. I usually use red as meaning that there's some reason I'm not going to use this image. So it's just a personal thing that red means I'm not going to use it. Green means it's gonna be good for editing, and we can use all of these other colors. How you organize is completely up to you, but it's a really fast way of doing that. We can add on to this if we wanted to and say, OK, so let's go back to all of our images and filter by things that we have Green. Actually, I'm sorry I added this and made it red to show that example. Exchange Inspector Green. So we could do that. We can go to our images here. Go to green weaken. See? Okay, So now we have these two images across different albums that we have. We could start to filter this even further. And depending on how many photos you have and how you want to organize things, this is something that I'll do. A lot of times were. Okay. I've gone through one, and the green tags mean that they're technically good. The focus is good. There's no motion blur. You know, this is a good image that I want to use. But you know what? Out of these two, if I were to focus on, say, I just had pick even further and go down to pick one further, we can use the tags or the ratings in order to do that even further. So this one here, you give a five star this one here, we could also give a five star four star, you know, just using the keyboard shortcuts on my keyboard. In order to do that and say, You know what? This one here is one of we need to focus on first, for this is the first priority from and then this one here is gonna be the next priority. So that's typically how I will use the ratings is typically a priority system. So, you know, five star is gonna be the ones that I need to at first, whether it's because I just need to get those approved first a lot of times, that's what What that is, you know, based on deadlines, not necessarily the anything to do with the composition or the technical aspect of the different photos just helps me start to prioritize those. So I can say, Okay, the five star photos are the ones that I need to work on first. Once I have all of those done now, I can start to move on to the four star photos and so on and so forth and really start to prioritise that little bit easier, using the different organizational methods that we have inside of capture one. Okay, so now that we have our photos organized a little bit more, the next step would be start editing our photos. But before we do that in our next couple of videos will learn this same workflow that we just walk through in our catalogue. But we be using a session instead. So if you want to skip ahead to editing the photos, feel free to do that. Start to call some of your own photos, start to pull in some of your own, start to organize some of those. Maybe add in. You know some of the landscapes here. If you want to edit some of those, you can pull some of those from my project files as well. If you want to do that, start to add some color tags. Start to add in some ratings. Start to organize some of those in order to do that's here inside of Capture one and feel free to skip ahead to the editing process. If you want to jump to that, otherwise I will see you in the next video, where we'll take a look at importing photos into a capture. One session 10. Importing photos into a session: In our last couple of videos, we learned how to work with catalogs, and our next couple of videos were learned how to work with sessions starting by importing photos into a session. So let's kick this off by actually creating a new session. Because, as you can see, I still have the catalogue open from our previous video. I'm gonna come up here to file new session and let's make sure our path is correct. I'm gonna go off screen real quick. Here, open up my project files. Copy this path here and paste that in So kind of like what we did with the catalogue. Just make sure that I'm actually saving this in the project file so you can download this on your side. Could also come in here and and select that folder. I call this video 10 and hit. OK, Now you can see we can change the name of the folders inside. These are recession folds if we want to. I've never had a need to do that. I'm perfectly fine using the defaults. Go ahead and hit OK, and now capture. One will close out of the catalogue and open up the session that we just created. We go and we don't want I'm not gonna back this up. It's always a good idea. Whenever you close out of a catalog or session than capture, one will be like a hasn't been backed up in a little while. So never a bad idea to come in here. Back it up. But I'm not gonna do that right now. Hari So here we are in our session, and a lot of this should already look familiar if we went. If you went through some of the previous videos where we got familiar with the interface over here on the left hand side, we have all of our session folders, but we need to start importing photos into our session to come up to the import button and let's find our raw photos folder So it's paste this in help. Actually, let me come over here. There we go, our raw photos. So when we select this now, we can see all of the photos that were working with in our project files. Now, in here, we have a very similar to what we saw with importing into a catalogue. You know, the ability to include sub folders. Exclude duplicates. We can come in here and select just multiple images if we want to, you know, import those four images, we can use the same filter type in weaken. Do all that sort of thing that we had before. I could just deke a click over here off one of the images in order to de select. And then we'll be back to importing all of the images, all 11 images in here. But the key difference here inside of this session and this is something we talked about earlier is that by default capture, one is gonna want to import Thies to the capture Fuller on the hard drive so we can if we want to. We can choose this. We can choose a different option if we want to choose a particular folder or one of the other folders in the session folders. Ah, but by default, it's gonna want to go into the capture folder. And again, this is something that it's very rarely that they will ever change this. And usually if I do, it's just to add a sub folders say, if we just wanted to import Evelyn's folders, evidence photos into a so folder with her name. We could do that as well. But I'm gonna leave this at the default. All of these down here, the same as what we looked at in the catalogue. The ability to back up at change, the name, that sort of thing. So I'm gonna leave all of this at the default click on import All and all of these photos are going to be imported into the Capture folder now, while it does this, let's come over here and let's hop back to our project files so we can see the difference here of what's going on behind the scenes with the catalogue and the session. So video nine we were looking at the I'm Sorrys video eight. We were looking at the catalogue and importing into there so you can see the folder structure for a catalogue. It's very similar to a folder structure you would expect in something like Light Room. Ah, lot of these are really just not folders that we need to get into. If we do import into the catalogue, it will go into the originals folder in here. But all the rest of this this is all just cash these air adjustments that we made all of these things. And realistically, there is no reason to ever have to open up those folders because this is all just stuff that capture one is using in order to you know what? You know, creating the thumbnails, all that kind of stuff. This is all just stuff. Four capture one in the catalogue, inside of the session, things look a little bit different. So you can see inside of the session. We have the session database, which is theatrical file, that we have open inside of capture one right now. But we have these folders here. You can see those line up with the session folders that we have over here inside of capture one. So inside of the capture folder, you can see all of these photos are imported into the actual folder itself. So if I were to take this, let's minimize out of this. You can see it's still important. But if I were to take one of these folders here with one of these photos, we can actually close out of this if you want to. If you ever need to bring that back. When you just click on this little activities up here, we can close out of that. Let it work in the background so we could take this photo and say, You know what? I really want to work on this one, right? So last time we picked this one, let's pick this one. Now you say I want to work on this one, We can take it, move it into the selects folder and a couple of things are gonna happen. You can see capture. One is actually going to move that image. You can see it's it's working on moving that image over, and it will show up inside of the selects folder instead of being inside of the Capture folder. You can see here in the selects folder. Now we have this image to come back over to the Capture folder. It's no longer in the capture folder over here. Let's make this a little bit smaller so we can see all of our images here. We can see it's no longer in this folder. If we hot back to our project files on the hard drive, we can actually see. Evelyn Owen is no longer in the capture folder. Now it's actually in the selects folder. So that file has actually been moved on our hard drive from one folder to another. And that is the way that sessions work. It's a little bit different than the way that catalogs work. All right, So tell you what, This video is not starting to run a little bit long, so we're not really gonna be able to cover more of the organization here inside of the session. So now that we have these photos in the session, let's start looking at how we can organize these a little bits mawr using the library tools that we've learned about in our previous video, and we'll look at how we can do that in our next video. 11. Organizing photos in a session: in this video, we'll learn some ways we can organize photos in our capture one session. Now there are some differences in how we can organize photos and a session compared to a catalog. For example, we don't have projects or groups in a capture one session, so we'll mostly wanna work with session folders and albums. Now, as we looked at briefly in our previous video, one key way that we can organize photos is by using the Sessions folder so you can see all of our session folders appear. The Capture, the selects folder. These are actual folders on our hard drive. We looked at that a little bit in the last video when we're looking at the session itself, but we can take some of these and of course, we can just left, click and drag. In order to add that to the folder where we can right click and move to selects folder, we can see the keyboard shortcut. There is Control J or Command J. If you're on a Mac when you do this, you'll see that that photo will automatically get removed from the capture folder because we're looking at all the photos in that capture folder and in the selects folder. If we look over here now, we can see that photo is there. And again, if we hop into the project files here for this video, you can see in this Lex folder. Now, we have two photos actually in there and in the Capture photo folder. That photo has been removed. So that's one way that we can organize our photos by using the folder system itself. And one thing that's interesting about this is because this is a fuller system. We could come in here and start to organize this through Windows Explorer or Finder. If you're on a Mac, you can start to organize that there. So we could say, You know, let's take this nature photo here. Let's this from this folder. Move it into our selects folder and now you can see right away. It's showing up here inside of capture one, because this is just showing us anything that's inside of that folder and nature 03 has been removed from our capture fold, so we can start to take this to another level here and start to organize this me. Hop back into the project files here because this is a way that I would like to organize things sometimes that again, how I organize my photos probably be different than how you prefer to organize yours. But usually, if I'm using a session, it's gonna be for an individual shoot instead of organizing a lot of different photos. But sometimes on those individual shoots Ah, there will still be multiple people in the photos. And I like to organize them in a similar way for when I do with catalogs. That way, In my own mind, I'm just doing things in a similar way. But we can come in here. Let's come into our capture folder here, and let's create a new folder, take her photos, take low release photos, dragged them in there. You can see they're removed from our capture folder right away. And we could start to organize thes directly on our hard drive. And now you can see these are removed from the capture folder so you can see they're no longer in here. Well, then you might wonder. Well, how do we get those back? How do we start to see those? Can we see them in all images? No, because they're not in those folders. What we can do now is to start to use our session favorites so we can come into our favorites here. And let's add this folder. So capture our low relief older, and then we can come in and add another favorite and go click on plus at another one, and we'll add our nature folder so you can see these folders start to show up in our session favorites. So now if we click on this here, we can see those images in there, and we can see our nature photos in the nature folder that we created. Now, of course, we created those inside of the session folders. We could create those really anywhere on our hard drive and pull those in as a session favorite. That's one way we can organize those another way that we can organize them. It's similar to what we did with our catalogue and start to use album so we can come in and create an album. So maybe we want to create an album for Laurie Lee, create another album here for Evelyn's photos, create another album here, for there are nature photos. If you want to separate those from our portrait that we shots? Yep, because Out Album. And this will be our nature album. Once we have those created weaken, select these photos and start to add them into our album here. So you just hold down shift left, click on the last one in order to pull that in and then just add this into the nature album and the same for lordly Here we can come in here. Hers Add those into her folder for her album Rather, and I kind of have. I kind of have some of these scattered all over the place, but have this in here so you can start to see how we're starting to organize these together . And now if we come in here to this album, we can see we have evidence, folders, photos. We get lower lease and we have our nature photos all inside of these album. They're still located in the same place on the hard drive. They're still located in these different folders that we have them in that we organize them in. But now inside of capture one. We've also organized them into albums and then, of course, from here, we can start to do the same thing that we did in the catalogues, and that's typically what I'll do is once I have these organized into albums or session favorites and kind of have that structure organized, then I'll start to go in and call them start to do the same thing we did in our catalogue. Remove some of the images based on technical things, you know, if it's not in focus, so there's some motion blur something like that. Or maybe just not happy with the composition of something. Once I get it back on the computer screen, we can start to really start toe do that so you can do the same sort of thing. Maybe in this one, the last one we chose this one. We can choose this. This photo here hit. Plus, in order to add a green color tag on this one, we could hit minus in order to add a red color tag. And in my mind, the way that works is is the green means that I'm gonna go ahead and and edit that the red is that I'm not going to be editing that Well, we could always change those color tags if you want to and organize that. However, we want to do that once we have those organized. So we could do the same sort of thing over here for evidence photos, we could say. And we're gonna go with that one. Ah, this one here, we could add Attack two or we could just leave it on tag. We can start to come in and again, like I mentioned in a previous video where we're talking about organizing our catalogues out. Typically, you start off with the color tags and it's just the way I prefer to work is I'll start with the color tags and then I'll start to add in our star ratings. And I had the star ratings based on Priory. So maybe, you know, for Evelyn, I don't really need to get to hers right away. So I'm gonna do a four Ah, Laurie Lee. I need edit hers first while I'll add her as a five star. Um, and then some of these nature photos we could come in and say These are really not very time dependence. Ah, lot of times I based the time dependency based on if they need approval or not sending them to the client for approval before doing some more significant edits to them. Eso We can start to do that now. In order to add these ratings, all I'm doing is using the keyboard numbers. One through five can also come in here and click so we could come in and click up to 342 if we wanted to. How we want to do that, If you want to remove the star completely, hit zero on the keyboard in order to remove that star and it's it's back there. And then once we have all of that, we can come in and say, OK, so here's our five star images. This is the one that we really need to focus and work on. And then, from there we could start to build out some more. Now if we wanted Teoh, maybe add another smart album with our criteria here. So maybe all of our four star images so find all ratings of the equal to four stars Save. Now we can find all of our four star images and start to go through and prioritize those an organized those based on how we need to actually start working with these images. All right, so to recap, sessions are great for smaller numbers of photos, while catalogues are a great way to organize a lot of photos. And now that you're more familiar with both of them, go start organizing some of your photos. If you're not sure where to start, used the technique that I do to start organizing my photos in a session that I showed you in this video or how I organize them in a catalogue a couple videos ago. Then use that as a stepping stone to organize things in a way that makes sense to you and work best for your own workflow and your own photos. When you're ready, it'll be time to learn how we can start editing our photos in Capture one. So we'll start looking at that in our next video 12. Cropping and straightening photos: in this video, we'll learn about cropping and straightening our photos in capture one. So let's start by learning about cropping. So I'm gonna choose this photo here because it's a great one to crop in and really transform this photo and get rid of some of the unnecessary ah, space around the subject to the turtles. They're on that rock. So our crop tool in capture one is one of the cursor tools because we're going to click and drag the area that we want to crop. And so we're doing that with our mouse. Ah, we're doing that essentially with the cursor. And so, of course, that's going to be a cursor tool. So to do that, we come up to the cursor tools, which we learned about where those were up in the previous video and come up to the crop tool. You can see the keyboard shortcut there is see, so we select that and we can come in. You don't notice these little handles around the edge now, and as I hover the over those you can see the purser changes and we could just come in and resize this toe whatever we want. So we can resize. And then in the middle, you'll notice the cursor changes once again, and we can move this around. So we could really position this how we want crop and really tight if we want to or give us a little bit of space, maybe depending on how we want to crop this photo. Now, in order to complete our crop, the keyboard shortcut for that is V as in Victor hit V and you can see that capture. One will finish that crop, and right away you can see Well, now we can really focus on those turtles. You really see the the focus of this shot, and it really just transforms that photo. Now, depending on what you're needing the photo for, you might need a different aspect ratio. So you'll notice if I were to hit see again, or come up to the crop tool and turn that back on. I was gonna hit. See? You will notice that it doesn't actually delete the pixels. We could reposition this if we wanted to, but as I'm dragging this around, I can Really This has no aspect ratio to its unconstrained, so I can crop this however I want. If we're gonna be maybe posting this on INSTAGRAM, for example, Instagram prefers a one by one or four by five or two by three aspect ratio. And so, in order for it to work really well, we can start to tell capture one that we want to lock that into a specific aspect ratio. To do that, we'll just left click and hold on the crop tool and come down to one of these aspect ratios so we could do, um, if we have a specific output set when we're exporting, we'll look at that later. In our course, we get set that we could do the original. So whatever the aspect ratio was for the original photograph, or we can come into some of these presets here, 16 by nine is common. One or nine by 16 is for instagram stories. If you want to do that, I've essentially a portrait version of that. When we could come in and do, say, one by one and watch what happens. As soon as I left Click, you'll notice it snaps so it's perfectly square, and this would be great for an instagram post or if it's maybe an instagram story. We could do a 16 by nine and have it be, ah, portrait like that and crop that in. Or if we wanted to go out, we could scale this out and flip it over that way and get a 16 by nine image. Or however we want to do that. I like to work in four by five. Personally, I kind of like that cause it's a little bit landscape or a little bit of a portrait mode if we do it that way. But it gives us a little bit of extra space and again come in here it V in order to finish , and we have our cropped image. So that's how we can crop a photo. What about straightening one? Let's come in. Let's find a different photo here. Maybe this one here. This will be a great example so you can see the horizon. There is not really straight. I didn't do a very good job of taking of a straight photo with this, and that's fine because we can come in and fix this afterwards in capture one. The easiest way to do this would be to come in to our rotate tool, so the keyboard truck out for that is our But the very first of the rotate tools is straightened, which you can see up here in the cursor tools. If I would've left, click and hold this down, you can see we have other rotate tools, toe rotate, a photo around which we're all familiar with. But if I come to the straighten tool, they can left, click and drag. Essentially, what's gonna be a straight line someone, a draught along this horizon? It makes it nice and easy, so watch what happens as soon as I let go of the left mouse button. You can see that capture one is automatically going to say, OK, that line that you drew that's going to be a perfectly straight line. And so from there it's gonna rotate the photo to make everything else, uh, rotated perfectly so that the line that we drew is straight. And then, from here, we could come in and start to crop this down a little bit more. We can hit, see on the keyboard to get to our crop tool, crop this down a little bit more if we wanted to Maybe something nice like that Hit V, and we have our image that we've really transformed just by straightening and then cropping that photo in and really helping us focus on that lighthouse already. So, to recap, a fast way to crop and capture one is to use the keyboard shortcut C as in cat in order to initiate the crop tool. Or I guess I could say, See, as in Crop on once you're happy with that hit V as in Victor, in order to complete the tool, straightening and rotating an image can be done using the keyboard shortcut are. And, of course, both of those. We can come up to the cursor tools and access those in the interface as well. Now it's your turn. Take some time between videos to crop and straighten some of your photos when you're ready . I'll see you in the next video, where we'll learn about some ways we can holler. Correct our photos in capture one. See there 13. Color correcting photos in Capture One: in this video, we'll get a crash course on some of the tools we can use for color correcting our photos in capture one. All right, so let's get started. I'm gonna work with this photo here. And you can find this, of course, in the project files. So let's hop over to the color correction. Cool tab. That's this. You wonder here, over in the tool tabs, which we learned about in a previous video. Okay, so put the top. We have our history, Graham, which is gonna show us essentially, Ah, the color values in our image. So we can see from this history, Graham, that we have a lot of mid tones and not a lot on the highlights, and not a lot on the darker. And so just a lot of mid tones in here. And then we have layers. So we'll talk about layers a little bit later. In this course, we won't talk about that. Here are based characteristics which are, you know, that the profile this was taken out on a Sony A seven are too. And so it's it's using that profile there. Really? Where are color correction tools? Start is going to be with the white balancing here now, generally speaking, the way that white balancing works, and this is not just in capture one but in any software or even in your camera is it's looking for a neutral gray. Think about any time you've seen something in the real world like it's, ah, neutral gray color. Maybe it's under a fluorescent light, and it'll look a little more cold and have a blue issue than that same material will if it's in sunlight and look a little warmer. So if you tell the software what is neutral, great in your photo than it can use those different hues based on the lighting to balance out all the colors of the entire image accordingly. So basically, we're gonna look as try to find something as close to neutral gray between white and black in our photo to do a good color correction, at least to get started. Of course, you can't always get that. That's why you can customize the white balance afterward to fit your needs. So there's a few different options we have in here. One weaken tell we can tell capture one to try to do it automatically, and that's using this little wand right here. Any time we see a little wand, it's gonna tell Capture one toe automatically try to set that tool. So if we click that, it's gonna try to automatically adjust our white balance. You can see it did some adjustments, but not really a lot. So we can come in and start to tweak this a little bit more if we want to. So we could maybe change the mode. Weaken, say, How is it originally shot? So this is the mode that was originally shot based on the white balance from the camera information. Or we can choose some of these presets so we can tell. It's It's daylight. It's shade, It's on a tungsten. It's cloudy. Ah, lot of these different presets and there's a fairly straightforward as far as a lot of photo editing software. But what I really like about this is using this eye dropper and this is gonna allow us toe pick the White Mount, try to find that neutral gray in our scene and then tell capture one to base everything around that. So I'm gonna use this sale and assume that this sales probably it's not gonna be it. It's probably gonna be a 50% gray, but it's going to be as close to neutral gray as we can get in this photo. So if we click on that, you can see it changes things a little bit. But from there we can even come in and start to tweak this change. Maybe the kelvin, so that Calvin is the color temperature in the image. You start to tweak that maybe Adul make it, make it a little bit more blue in the water. We can change the color tint, maybe something like that. And a lot of this has to do with your eye and just kind of how you're visualizing this. If you don't have ah white balance, you can get little white balance cards that you go out with you in the field in order to take a picture of that and use that in order to set so you would set the eyedropper on. That's a 50% gray or even a white, or, you know, a darker color in order to set the white balance based on those on that with the lighting in the scene. But If we don't have that, then a lot of times it relies on our I to determine what we think looks best. Yeah, that looks pretty good. And we can continue to tweak this using some of our other color correction tools. So beneath the white balance, we have our color editor. Now there's three key different things in the color editor. There's the basic, which is you just choose these different swatches. So say, maybe the blues in here we can change the Hugh. You can see how it's affecting the blue. It's not really affecting the sunset here. I'm actually switch this so I don't actually accidentally click most which back to my hand tool so we can change the hues of just the blues. We can change the hues of maybe the orange you can see how are how are affecting that. Maybe the yellow's a little bit. It doesn't look like it's changing much. So what we can do is use this little guy right here, and that's gonna let us pick a color in the scene, and that will tell us Oh, that's this one over here. So then, in order to affect that, you can see. Now it's affecting that a little bit more. You can see how it's affecting that. But what if we don't have enough colors here? What if there's not enough? These aren't a less not a lot of different swatches here. Well, I'm gonna reset this using this little icon right here again. This icon can reset any of these tools so you can reset any of those tools that you want back to the defaults. And we can hop into advanced now in advance. What we would do is set the's swatch so the color that we want so we can pick that, Say, maybe this color here, you can see that's the color that we selected was right here. And now if we change the hue or the saturation could see how that's affecting that. So this is before and after our edits. So you can see we're really starting to change the colors there. We can even change this size if we want to have it affect some more colors and our image. So some or the oranges, some or the purples having an effect, that saturation might be a little bit much. Maybe a little too bright starts to look a little unrealistic when you get to too deep into that and we can come over here and effect that one. So we're, you know, changing these different colors. You know, this is not affecting this now because we're affecting that. I won't affect too much of the blues. You can start to see how where, how we're affecting this up. That probably pulled a little bit too much of the blue. I don't want affect this area down here and that there we go. Something like that. We could even come up here and start to affect this. So maybe pull this in a little bit more saturation. You can see it starting to affect this blue down here. It's because it's, I mean, that blew up in the sky and blue down there. It starts to be a little bit tough in orderto separate a lot of that. Here we go. So something like that. Now, the next option we have in here is this skin tone. And in order to do this, let's hop over to a different photo so we can see this some photo that actually has some skin tone in it. Maybe this This photo of Evelyn here so hot back. So this is very similar to the advanced and basically what we're gonna dio if we zoom in here. What we're gonna do is we're going to pick a skin tone color. So let's say, you know, maybe this color here on her skin tone, and then it's the same sort of thing where what we're doing is we're adjusting the saturation of that. You can see how it's adjusting that on her face, the lightness of that, the hue even you can see the before and after. So how it's affecting that. And really, this is, you know, depending on your photo and everything is gonna department the exact setting that you use. There's no one who have right or wrong cross all photos. It's all gonna be different. So that's gonna be the amount that we're changing there. Now, the uniformity here is going to determine the colors around what we just picked, which is this color here. So we can view just the colors that we picked. You can see that those colors there, any colors around that's around this area that we picked. We can start to adjust those in order to help it blend in a little bit more. That's gonna help this color that we're changing Blendon around around it, right? So that's gonna be That's many of the uniformity of essentially what that does. And again, there's not gonna be a writer wrong for this one image just gonna fit on all other images. It's gonna be a matter of your your photo, but also, really, what style you're going for, right? So you want you change it, changing it up quite a bit, or just making the edits be really, really minimal. So it's not nearly as stylized in that way. Now this video is already starting to run a little long, so let's move right along here, too. The color balance. So color balance here is we have all these different ways of adjusting. Well, the color and this is gonna be something. Is pretty Templar typical? The color wheels are pretty typical for a lot of different software. In a lot of different color question tools, you might find out their master is going to be overall, our image. Overall, you can see how it's affecting our image. Overall, we have our three way, which is exactly the same as these. The only difference is we can see our shadow are mid tone and our highlight all at once, instead of doing just the shadow, just the mid tone. Just a highlight. Um but what this is doing, you can see how this affects just the shadow areas of our image. Or maybe just the highlights. So especially up here, you know, some of the highlights there we can affect that and really change our our image. However we want over here we have our saturation slider to crank the saturation or the lightness in order to change the lightness of that as well. Based on the highlights, the shadows and the Midtown, you can see when I come back to three way we have our edits that we've already done in here . These have already been edited because we wanted it ended those individually and of course , at any time, if you're not happy with that, you can always come back, reset that back to the way it was beneath that we have black and white, so this is pretty straightforward. It allows us to convert it to black and white and then using the colors in here. So you see, if she has a blue dress, you can see we can start to change just that area there. Just what that effects. Just the blues, just the Cy ends. And it's affecting only those colors in the image in order to change the gray scale. For that, we also have our split tones. So this is something you've probably seen in photo shop. If you're familiar with that again, we're enabling this, so it's gonna be black and white, but then it's gonna allow us to add a little bit of color in there. It's a great way to maybe add in almost C p a type tone, something like that with our highlights. Or we can do the same sort of thing with our shadows so you can add some different effects if you want to. Kind of depends on again what sort of look you're going for. A lot of black and white photo, especially older ones, are not entirely black and white. Someone have a little bit of a bluish. You have a little bit of ah, orange or yellow issue to them just from aging of the actual photo itself. And so you can start to mimic that really easily with split tones. And then the last thing that we have here is normalized. And the way that this works is you're gonna pick a source color. So this is the source color. Let's maybe pick something on her skin so we can see what this will do. And then we're gonna want to pick the target color. So maybe something on the card to make it very, very different. So what is going to do is it's going to take this source color on her skin and then the target color, and it's going to try to match the source color using the white balance and exposure, because we have both of those selected. So if I were to undo that, let's come in here and controls the or command Zito undo. We want to do that. We could do the opposite to see how that changes. So source on the white and skin color to be the targets and so you can see it's taking the source, and it's trying to take trying to match the target to that source now. Personally, I don't use this a lot for the white balance again. This is going to be something that it depends on your project. But I do use it quite a bit for exposure. A lot of times, you know, where we might have one part of the image that we want as the source, and then we want to match that with a target for the exposure and start to brighten up some of those areas. And a lot of times it could be a quick way in order to do that across the image. Okay, so I know we covered a ton in this video and we were really on Lee able to scratch the surface. We could probably dedicate an entire course to these tools and how they work. But for the purposes today, in this quick start Not that you're more familiar with these tools. It's your turn to start using them on your own photos to see how they affect them. Learn by doing. And of course, if you have more questions along the way, feel free to watch this video again as we walk through some of those in an overview or ask in the Q A for this course and now help however I can. And since we kind of talked a little bit about the exposure there at the end, in our next video, we will look at capture ones exposure tools. 14. Using the exposure tools: in this video, we'll learn about the exposure tools in capture one. All right, so let's have over to the exposure tools tab. So how over here and you can see at the top we have the hissed a gram. We have layers and the white bounce. So again, a lot of these tools we can see they're the same ones is over here in the color correction . So it's the same tool, you know, editing and one versus the other. It's really just a matter of convenience that they're in multiples and we'll learn how to customise. Capture one, even mawr, to fit our needs a little bit later in this course, if you want to remove that or add new tools or start to customize that, too, to fit our needs. But for the most part, the two key tools that you probably use the most here in the exposure tools are exposure itself and high dynamic range. So let's walk through those first before getting a quick overview of the rest of them. So here in exposure, we have the exposure slider. Now in photography exposure is thea amount of light that your camera's sensor is exposed to . Obviously, we're not on a camera right now. We're in software, but one of the benefits of shooting a photo in Raw is that you can mimic that effect after the fact using the exposure slider so you can see how we're able to brighten the image, make it darker. You can see our history times or even changing. You know, if I would have pulled this back to you can see that up there as well how it's starting to affect that so we could brighten this up can darken it a little bit, depending on what sort of mood we're going for as we're editing this image, then, beneath that we have the contrast. So contrast controls the difference between the tones in your photo You can see as we're doing this. It's starting t almost stretch out that hissed a gram. So instead of having just the mid tones like we have here, it's starting to great in some of those areas. It's gonna make deeper darks and brighter brights. Think of it like the contrast ratio on your TV. It's very similar. Ah, higher contrast ratio on your TV means you're gonna have blacker blacks and whiter whites is how they often advertise. That is gonna be deeper colors in the darker spectrum and brighter colors in the brighter one. And the same is true for your photo. Now, lower contrast means you know it's gonna be the opposite of that can also have a little bit of a dreamy feel to it in some creative effects, depending on what sort of affect your going for how you want to do that. I just know that. You know, as with anything, you can crank it up and start to really overdo it. Kind of like you can't with exposure. You can really start to overdo things. So, uh, used the's, you know that you see sliders for their benefit, but depending on your photo will determine exactly what sort of settings you're going to need. And from there we have brightness. It's pretty straightforward. The difference between brightness and exposure is that the brightness of the phone, the brightness slider is not trying to mimic the exposure of the light in the photo. So brightness is gonna be a little more overall so you can see it's it's a little more overall in that it's brightening up the photo everywhere as opposed to exposure. What is going to do is is going to try to, uh, used the exposure from the camera. So up here, it's gonna be probably a little bit more then down here, where it's darker. Even though you were using the slider, it could be a little tough to see in some photos, depending on you know, the the photo itself what the difference is there. But this is a pretty good one to kind of show some of that and able to see how it's adjusting up here, more so than down there is opposed to brightness where it's evenly doing it. Across the board, we have our saturation, so saturation controls how much you know how saturated the colors are. You can see it's it's cranking that up there as opposed to de saturating, which is essentially turning into a black and white image, really starting to do that so we can control all of that now again, like anything else, we can reset this. We could do hit the auto in order to tell capture, want to try to figure it out for us and leave it at that and then start to tweak it from there. However you want to do that, the next set of tools or the next tool here is the high dynamic range tool. Now pretty much all of capture ones. Tools will work best with raw images, but that is especially true for the high dynamic Range School. The reason for that is because there's a lot more color for information in a raw image than in something like a J pic, and that just has to do with the technical information behind the files. There's more color data in there. I'm not gonna get into all the math behind that. Do you want a course that cover some of that? I do talk about that in my photo shop master class, and talk about the differences between eight bitten and 16 bit and raw and JPEG and all that kind of stuff. But for our purposes today, the benefit here in high dynamic range if we're working with Raw, is that we're be able to pull back some of that detail so you can see if I were to take this highlight and bring it back down, it's gonna pull back some of that detail in the sky. Maybe, Ah, maybe an image like this might show it even better. So if we have this image here and I start to pull this down, you can see how it's pulling back some of that detail in the sky. So reset that pull it back. That's pulling back some of the detail. But is maintaining the did information there. So the clouds and all that it's maintaining that information. Same for the shadows. We can start to brighten up some of the shadows there without affecting the sky without affecting that. So it's not doing it across the board like adjusting the exposure of the brightness would. But it's doing it in just those areas, and then we have the ability adjust the whites and the blacks. This is essentially similar to contrast, just a manual contrast where you can crank the whites up, bring the blacks down or to get real high contrast, or start to get a lower contrast by making these be pretty much, you know the same. And doing that, bring them down to get lower contrast higher, depending on what sort of photo you have of what sort of look you're going for. So those are the key tools, this key exposure tools. Now, of course, these not to make say that these, you know, the levels and the curves are not important at all. They are very important facts. You'll find the same tools in something like Photoshopped. Light room affinity, photo looming are pretty much any other photo editing tool out there. There are very, very common. In fact, as I mentioned earlier with the technical details behind raw image and stuff, I do cover the technical details of levels and curves in photo shop in my photo shop masterclass from a technical perspective, and they work exactly the same here in capture one. It's the same sort of concept here, but basically, you know what the levels you have from 0 to 2 55 That's 256 colors in in the image here. And so you're gonna be able to adjust that intel capture one where to clamp those off. So you know now, but we're between 17 and 2 55 instead of 0 to 55. So it's clamping that some of these areas those colors that were beneath that it's essentially clamping that off there. And of course, we can always come in doing auto until captured wanted tryto get that in there through onto the curves again are gonna work very similar to pretty much any other curves that you probably worked within different photo editing tools. If you're brand new to curves that essentially what we're looking at here is the red, green and blue so blue, green and red, You can see that and then the gray is gonna be overall the RGB overall value, and we can come in here and on the import. So that's gonna be the darker areas you can see. We can start to change that. So instead of having it be, you know, the input is zero here, So zeros pure black. We're gonna change that to be a value of 15. So what we're doing right there is everything that is a pure black or value of zero is now a value 15 and you can see how that starts to bring up. So there's no pure black in this image anymore, And it the effect that that gives in this particular case is that kind of a mat effect that were popular on Instagram and could be really trendy sometimes to give that man effect because it's eliminating all the cure blocks, and the rest of the curves work exactly the same way. We have an input color value, and then we're gonna have an output color value depending on how we shape this curve. And again, there's no right or wrong Herve shape. There's no right or wrong values here. It's really going to depend on your image. An image like this is gonna look no different than something like this that's taken at night. And so you're gonna have very different. You're probably gonna want to do some very different options, right? Because you can see here the history am already looks completely different, and so we can start to change that. It would bring some of the whites back some of the highlights down to bring some of that detail back up here so you can start to see how using all of these together we get to have a lot of different effects and really start to customize the exposure of our images. Now, at the very bottom here, I haven't really talked about clarity and vignette ing. And again, these are tools that you'll find in a lot of other photo editing programs. Essentially, clarity is going to increase the mid tones of your image to try to make it look a little sharper. It doesn't actually affect the sharpening of the image. Will look at that in a different video, but, uh, it tries to mimic that. Now we recommend using this very lightly. It's very easy to overdo clarity. If we were to hop maybe back to this image here and crank this up, you can really see how it starts to affect this image. So it's something like this. No, doesn't look too bad, right? But if we were to hop into an image of a person, maybe less Youse wanna lower lease photos here, Select for photo. Come back over here and start to crank up the clarity. Let me adjust the exposure here automatically and bring this up some just so it's a little bit easier to see. There we go. So with that now, if we start to crank up the clarity, you can see how that affects it even down. It starts to look a little bit, A little bit of a glow, ma'am. You know, it really is a personal preference. What you like. I don't really like a lot of clarity personally and a lot of my photos, but it's there, if you need it tries to kind of mimic that sharpening, like bringing up those those mid tones a little bit. And then finally, we have our been yet ing. So vignette ing is essentially the gradual shading around edges of an image. Probably seen it before. If we take this to a negative value, it's gonna add that a darker vignette. If we add it to a positive value, it's gonna add a brighter vignette. You can see the difference there, and we have the method, you know, if it's gonna be on crop. So is it gonna respect our crop if we'd see and start to crop this in? Is that vignette going to respect the crop? Ear's are going to stay here so we can we can tell it, you know? Yeah, it's gonna effect that or not affect that or stay completely separate. You know, it's not going to affect the crop, be affected by the crop. It all. Now, I'm gonna reset this because the last thing I want to point out here is we can add a little bit more customization to our vignettes. And this is something that I know. Ah, light room users may be familiar with and, you know, have been getting in there, but then also have the ability to do a radio grading it mask. And we can do that in capture one as well. So to do that, we need to come up under here under our masks and draw Ah, radio ingredient masked. As soon as we do this, we can start to customize this shape You whatever sort of shape that we want. You know, however, we want this to effect. And in this case, you know, we're doing it for a vignette. So weaken, Um move this around. You can see how we can scale this. Move it here, rotated around. If you noticed that it starts to, you can rotate it scale. This up scale is in a different direction. However, you want to change this scale of our mask. Once we have this mask, then watch what happens. We can see it's on a different layer. So it's not on our background. They were created a new layer automatically with this mask, and now we can control. You'll notice all of these are set back to a default so we can come in and maybe change our exposure. And it's on Lee affected by that mask so that we can do some really cool stuff, not only with their exposure, of course, that's just an example, but we can start to use our high dynamic range. We can affect that differently. So maybe we want to, you know, affect that a little bit differently than, um, around her might be a little bit extreme, but we can start to add that effect in there. Maybe add a little bit more of a feather here so it feathers off a little bit easier. Something like that. So you can see it kind of starts toe playoff. What we have in the image let me actually turn off the mask. You're so I'm gonna dio always just play Max. Turn that off to never display mass so we can see this a little bit easier. And we could start to see how this, uh, we can play with the actual image itself. And in this case, I'm using Ingredient Mask to essentially make this area over here a little bit darker and a little bit brighter over here in order to really make that son seem like it has a little bit more power in there. Okay, so I know we covered a tonic stuff in this video. To recap we learned we covered about the exposure tools, the high dynamic range tools. We also learned about some of them or standard photo editing tools like levels. Pervs clarity. Finally, we learned how to add a vignette and even touch on a more advanced technique of creating a custom vignette effect. Now it's your turn. Use the exposure tools on one of your own images to brighten it up some and then take it to the next level. Try building out your own radio mask on one year photos and start using the exposure tools to customize your photo even more. Now when you're ready, I'll see you in the next video, where we'll learn about the detail tools in capture one 15. Working with the detail tools: in this video, we'll get an overview of the detail tools in capture one. All right, so let's hop over to the details. Tool tab now starting at the top. Here we have the navigator. So if I were to double click in here to zoom in, that's going to zoom us to 100%. We can use this little guy here in order to zoom in or out however we want to. Ah, so now we're at 50%. But you can see the navigator shows us where in the image we are so we can click and drag an here in order to move around. If we wanted to here on the Navigator, then we have layers which we saw in a previous video. We'll look at a little bit more in depth in, ah, future video. So we won't really focus on those here on. And then we have focused. Now, this is really just a way to zoom into the photo. So we're at 50% here, 25% over here. We could zoom into 100% or even further if we wanted to to really be able to see the detail and be able to see, you know, at 100% at 50% here. And as we're making changes to the tools, we can see those there. Honestly, I don't really use this myself. I just prefer to zoom in. If I want to see 100% I'll just zoom into 100% over here and then zoom back out. I'm using the mouse wheel in order to zoom in and out. It's really not that hard to do. Ah, so that's just my personal preference. But if you want to use it, that's the focus is here. You can use this in order to, you know, click on an area in order to see that particular area if you want to. Now the key areas the two key tools that will be using mostly in the details tool tools tab are the sharpening tool and the noise reduction tool. So let's walk through those before getting a quick overview of some of the rest of them. So we have our sharpening here. Let's go into 100% so we can see a little bit easier back to my hand tool. Then we go 100% and watch what happens if I just crank this all the way up? And I wouldn't recommend doing that unless you just want to see what it does. You can see. Essentially, it's gonna frank that up. So I know I've mentioned this before. I'm gonna repeat it again. There's no replacement for something that you take in your camera. You can bring back a little bit of detail using the sharpening. So this is original, and we can start to bring back some of that detail. You can see how we're sharpening that a little bit there, but if you're shot is too far out of focus or to blurry. That's really not a lot that you can do in order to bring all of that back. So always try to get as close to tack sharp as you can in camera, and then you can tweak it a little bit further and push that just a little bit further with these settings. So the amount slider that I've been playing with in a nutshell the way that sharpening works. If I were to crank this all the way up, we can see it a little bit easier. The way it works is it's gonna find the edges in your photo, and then it controls the contrast on those edges, and that makes your photo appear to be a little bit sharper. So this controls the amount of sharpening that contrast Adjustment applied to the edges in your photo. Yeah, but you can easily start to overdo it. And that's why there's, you know there's no replacement for making sure that your photos aren't blurry in the camera to begin with. Beneath that, we have a radius. Now, as a general rule of thumb, I recommend starting with a low radius and then start increasing it as you need to. So by default that 0.8 and really just increase it very slowly, as you need to looking at your image in the process, you can see how it starts to affect that. It's kind of tough to see, but crank it all the way up. You can see how it affects it. What they're radius does is it controls the width of the bright and dark areas at those edges. So once it identifies the edges, that's gonna sharpen, using the amount the radius controls the width of the bright and dark areas at those edges , so that in conjunction with the amount is going to control essentially the sharpening amount and then the width of that amount. If that makes sense and then we have the threshold. Threshold is a little bit more of an abstract concept. When you apply sharpening, using the amount and radius the threshold then controls how those edges you've sharpened blend in with the pixels around them. So not necessarily the pixels that are right on the edge. That air getting that contrast. And, of course, the radius is going to control the width of where that contrast is applied. And then the threshold is going to be the brightness of the pixels adjacent to wherever that radius would ends. So it's gonna try to blend that in to the rest of the image a little bit better, using that so you can see how we start. When crank that up, it starts to almost blur the image a little bit because it's trying to blend that by bringing up that brightness, which is going to make a lower contrast overall, and that's going to affect that image that way, so sort of like radius. I would recommend starting low and then start to increase it very slowly until you're happy with the results. Um, and in some cases, you may not need to change it all now. Halo suppression. I don't have a good photo example for this. I was looking for somebody. Couldn't find some. Uh, it's not for all photos. Sometimes when you're sharpening the edges in your photo might start to reveal some hail owing effects. And really, this just starts to mitigate that. We can crank this up in here in this photo. It doesn't have its not gonna effect that really at all. But it's just going to try to mitigate that some if its text that in the image itself now moving right along to our noise reduction, what we're doing here, there's luminosity, detail, color and single pixel are the sliders that we have. So Luminant, I said Luminosity. I'm sorry. Luminant. This is a similar concept, but luminous measures the intensity of light. And in this case, what capture one is doing is it's trying to reduce the noise patterns that will often show up in darker areas. Let's have over two one of our landscape photos here because we have some of these in darker areas. So in here we'll start to see, actually, maybe even this one here might be a little bit easier to see. If you look closely, we'll start to see some noise in here because he was taken at night and you're gonna have ah Hirai s. So that's very common. And so what that's going to do. Actually, this one a shot with 50 eyes, So I forgot that was a long exposure. So that's not gonna work. Um, you can see a little bit better here. You start to see some contrast here. I'm sorry, Some some noise there. So what we can do is start, come in and reduce some of that. See, if I go negative, you can start to see some of that noise show up here and then bring it up. It's starting to remove that noise using the luminant. So using the intensity of the light in those pixels, it's going to try to reduce that noise and again. Usually it's from higher ISO settings on your camera. Ah Hirai eso is going to be a more sensitive to light your cameras will be more sensitive to light. But the downside of that is going to introduce Mawr of the digital noise that we can start to take out with the noise reduction here, the luminous but sort of like with sharpening. There's really no, there's no ah substitute to making sure that you get it good in camera. So that's why, with this one here, I ended up going with the 50 I. So in doing a long exposure on a tripod, and then we have our detail now this controls how capture one tries to either smooth or bring back some of the details around the edges. So a lower value watch the detail around these edges here, lower values going to smooth that out at a higher one. You can see it's gonna bring some of that detail back so lower. See, it's it's almost a kind of fuzzy there and then hires. Bringing some of that back now is gonna introduce a little bit of noise in this case. But again, we're also zoomed in at 400% but you can see how that's bringing some of that back. It's sort of like sharpening, but not really in that. It's, you know, we have more control with the sharpening amount over here. Ah, this is really focusing more on some of the detail that we might have lost from the loom in its noise reduction. Now, not all noise and image is luminous. It not. It's not always the intensity of the light. Every camera is different because it has to do with how the camera captures like data and convert it to a digital image in the sensor. Sometimes that noise from the camera sensor is color noise, and so this slider tries to help reduce that. In this case, you can see some of that up here, so with nothing, and then it's reducing some of that noise in there. So before, after before, after you can see that noise up here in the sky that's starting. Get reduced with that. Now, the single pixel, this is another one. That is not gonna be for every photo I tried to find what I couldn't find. What, um, it's rare that you're going to need to use this. Honestly, I've never really needed to use this in, you know, a couple of decades of working, but I also don't shoot a lot of low lights. Long exposure, Um, even though this is an example of of that, but I don't typically shoot at night. I'm not. Don't do a lot of nighttime shooting, but if you do a lot of nighttime shooting, you do a lot of long exposure shots. Sometimes you're Kaymer Sensor might produce a single pixel. Usually it's a really bright or even pure white. It just has to do with how the sensor is reading that light information. If you are seeing that in your photo, this slider essentially is looking for that. It's looking for a single pixel where the contrast is so much different than the pixels around it, and it tries to deal with that by blending it into the background. So in this case, you're not really going to see a lot of difference. But that is what that slider does. Okay, so that is a look at the key detail tools, but as you can see, there are a few other tools here that could be helpful in some situations. So we have our film grain. Let's hop back to our photo. Maybe let's hop to a photo of Laurie Lee here just to change it up a little bit. Here we go. So we zoom in here, maybe go to something like 67% so we can see a little bit easier so we could have some of the sky in this and her face here if we hop back over here. So film green is going to exactly what it sounds like. It's going to add in some grain to your image. So if I were to crank this up, you can see how it's adding some of that green into the image. But if you'll notice it's not only adding it over here, it's also adding it over here as well, so it's adding it very consistently, and that is the key because, generally speaking, we've become accustom to photos, having a little bit of grain in them. So once you start to reduce the noise in your image, sometimes it can start to look a little bit too unrealistic because it might be too smooth and one part or a little bit too a little bit different in another part, adding in some film grain and it adds it universally across the entire image can help the photo look a little more, well, like a photo. And so you can start to add that. And there's different types of grain that you can start to play with and adjust the granularity and really start to play with some of this. Ah, these settings. Here, you can see different types of green. There's no right or wrong here. It really depends on your image what sort of style you're going for. And really, ah, how much grain you want to add to your image, if any at all. And if you don't want to add any at all, that's perfectly fine as well. I'm gonna reset that back to zero in order to get that back. Now the next tool that we have here is the spot removal tool, and the spot removal tool is incredibly helpful. In fact, it's so helpful that we will cover this a little bit more in depth in our next video, so I'm not going to spend any time on that in this video right here. Instead, let's move on to the more rape. Now, more right, this is again, and you know, some of these are tools or features that you're not gonna come across on a normal basis. This is something that can happen in images. It's an optical effect. I tried to find some photos that I took that had it, and I couldn't. So I'm just gonna do a quick search here and pull this down. You can see what Murray is. So it's this effect and you might see it may be in a in a shirt like this. You can see that kind of a pattern effect that starts to come in, or this sort of effect, or this sort of effect may be on a computer screen. So what happens is with the digital image ing it the way that the pixels work. And essentially it's going to create this pattern. It's almost an optical illusion or optical effect that can happen. And so what this more a slider is going to do is it's going to come in here and try to smooth some of that out and try to fix some of that out again. There's no right or wrong setting here. You're probably not gonna you have to use it on like 99.9% of your images. But if you do come across some more and your images, then you can use this tool in order to remove that. Okay, so to recap in this video, we learned about the sharpening and noise reduction tools in capture one. We also got an overview of how to use capture, one toe ad film, grain and how to how the more a tool works, as well as what Morrie iss and when. You might even need to use that tool when you may not even need to use that tool in your own photos. Speaking of your own photos, now it's your turn. Grab some of your photos that could use some sharpening and start using these tools to see what detail you're able to bring out. In fact, take it to the next level. Start to use them in conjunction with the color correction tools and the exposure tools that we've looked at previously, and your start to see how you can use all of these tools together in order to really bring your photos toe like in our next video, we'll talk about spot removal and healing larger areas of our photos. See you there 16. Removing spots and healing photos: in this video, we'll learn how to remove unwanted spots and he'll photos. All right, so this is the photo that we're going to be using, and right away you can probably already see the spot that we need to fix it up here at the top of the photo. This is something that happens all the time, especially if you're out taking landscape photos or out in nature. You're going to how often get some dust on your lands or something like that, and it shows up in the photo like this. And of course, you need to go clean off your lands or censor. Make sure that there's no dust on there any more. But that doesn't really fix this photo. Fortunately, it's very easy to fix and capture one. All we need to do is to hop over to the spot removal tool, which is in the car shirt pulls up here because, of course, we're gonna use our mouths in order to invoke this. And then we just left. Click on that piece of dust and that dust disappears. You can see it's no longer there. Now one would think we can do is resize this depending on the size of our dust weaken. Come in here to scale this down. Make it smaller, Make it larger. In this case, you know, if I make it to small than that, we start to see that dust around it. So I'm going to make it the largest size that we can. No, it's cool about this is we can use the spot removal tool to remove more than just dust on our lens. So down here you'll notice there's this little stick of water or stick in the water, right, And when in this size is kind of is a little bit distracting, so maybe you want to remove that from the water. Well, we can come in here and just like we did before, add that, Ah, spot removal tool. But it didn't really make a difference. We can still see that. Let me zoom in a little bit more. Just so it's a little bit easier to see space in order to pan down, just like in photo shopped so we can see that that spot is still there. That stick is still in the water. Well, there's a couple different modes that weaken due in by default capture. One is going to be set to dust so it doesn't do anything because capture. One is able to figure that this is not dust, and so it's not going to remove. It thinks that we don't want to remove anything but the dust inside of that spot. We can change that up here in the details tab like we looked at in the previous video spot removal, and you can see the two different spots that we have. So we have this one and then the one up at the top, this one here. Of course, we can change the radius just like we were doing in the photo itself. We can remove the spots if you want to. That's what that little thing does weaken cycle between them, using the arrows back and forth. We can also change the type, so by default it is set to dust. If we change this to spot watch, what happens can see that's going to disappear because now capture. One knows that it's not looking for dust, and it's able to figure out with the algorithms that it's what is inside. There is is not dust, so it's not removing that. Soon as we change that to spot, then it heals that for us. So as you can see, this could be a great way to remove some unwanted spots in our photos. But the radius of this is at 100 we can't make this any larger. What if we wanted to make some bigger changes over here on the left side? We can see there's actually some more sticks in the water, and we could start to, you know, ads spots over each of these and and remove them individually. But there's a different way that we can do this, and we can do it using capture ones healing capabilities. Now, if you're familiar with the heel tool in Photoshopped, it's very similar to that. But the way that we invoke it here and capture one, it's a little bit different. We're gonna use it with layers, so let's come in and add a new layer. So we see our layers here come down to the plus at a new layer. Right now, this is an adjustment layer. That's not what we want. We want this to be ah, hell layer. So when this is a hell layer. The way that this is going to work is anywhere that we paint, that it's gonna paint a mask, basically a layer mask. It's going to try to heal so we can come into our paintbrush here and paint this area over here and you can't really see that. Let me come over here and let me turn on the masks so you can see. So this is what I've painted here. This is the mask. And if I would have turned this off that set this to Onley display when drawing There we go . So that's this is before and after you can see it's it's healing that And in this case, it's actually healing it to where we can see that over there. So maybe you want to adjust. This mask may be removed. Move the source to be somewhere a little bit over here. So source and target very similar to the way that it works in photo shop and were able to heal all of that. Now we can add to this mask if you wanted to maybe start to come in over here with a right click, change the size of my brush and paint in some of these over here. So we're using that. But you'll notice that, especially on this area here is a little bit smaller because it's using this same source of distancing. So what it's saying is, from this is the target. So on this spot right here, this is the target. Display this a little bit easier. So this is the target over here, and this is the source. So however many pixels far away, that is up here, it's gonna do the same thing. So our source is gonna be way over here, which is gonna be these smaller ripples. If we wanted to change that, it's gonna be universal across this entire mass. I'm sorry. Across this entire layer. If we wanted to change that and have these source be something different for up here, we would have to add in a new layer. So to do that, I'm just gonna come in a race. This mask let me re size this year. So again, plus and minus. I'm sorry. Um, the open and close bracket, just like in photo shop, is going to change the size of ah, the brush and we can always come in here change or bar size. Here, hardness, flow, opacity. Exactly the same is what you would expect for any sort of a brush and Photoshopped or any wells. And we can come in, add in a new layer, a new Helier, and then draw our mask back up here. And now this source is going to be facing this way. And so our results let me turn this off again. So only one drawing so we can see a little bit easier. And you can see what happens is now. We have thes spots here that blend in a lot better. We might even take this and take some of these here. I don't want my spot tool. I'm sorry. I select that I wanted the this here. You might need to adjust this a little bit in order to affect that. And of course, we can always change that. However, you want to come in, start to add new layers and start to adjust all of that, however want to it or to make it blend in. But to recap, the spot removal tool is a great way to remove smaller things like Doster. Maybe some smaller spots in our photo. It's also great for skin blemishes and things like that for some more significant healing we can use. Ah, hell layer. Now it's your turn. Find a photo of yours that need some healing done. Maybe there's some dust on the photo that you need to take out CF capture ones. Tools are able to get that done for you. If not, you can always bring it into Photoshopped for some more significant editing. But I love how you can save a lot of time by avoiding that for a lot of smaller fixes, like the dust on the lens and things like that by using capture ones built in tools. Now, when you're ready in, our next video will build on what we learned about the hell layer in this video and look at layers overall a little bit more. See you there 17. Working with layers: In our last video, we learned how ah hell layer works in capture one. In this video, we'll learn how to work with layers overall and capture one. Now there are three types of layers and capture one that we can use. And if we come over to the layers and really most of these tabs, you can see in most of these tabs, we have the layers here, and they're all the same. If we add one, either layer and one of the tabs is going to show up in the others. It's just a matter of convenience that we can see them across these different tabs. So if we add in a new layer here in this drop down, we can change the type of layer. And there's three different types here. We looked at the hell layer and how that works. In our last video. We also have a clone layer. Now, a clone layer works the same as hell, but it clones the pixels from the source to the target. So the way this works, if we have the layers selected, come over to our brush and then we're going to want to paint a mask so we can come in here . We can use our brackets and or to make it smaller or larger. We can right click and change the size if we want to use pen pressure. If we have a graphics tablets or something like that, I'm just the hardness to just that. You know the feathering on the edge of the brush. All of these typical tools that you would expect for a paint brushes with opacity and flow . This is something as a little side note there. A lot of times, people get capacity and flow confused. If you think of it kind of like, ah, garden hose or some sort of a hose, you can change the flow of what comes out of the hose, and that's gonna be a little bit different than what's actually coming out of it. So it's water or paint or something that's not quite as transparent. Ah, that's gonna be the difference with the opacity. And then flow is how much of that is coming out. Um, I realized that it could be a little bit confusing, depending on what you're actually painting. In a lot of digital programs, it can have a lot of the same effect, but that's the difference between those two. So once we have our brush settings, fine. Let's just paint something over here just as an example. Okay, so we have that. So you can see what happens is that is our source by default. So this is thes I'm sorry. The target over here. And then this is the source of source over to park it. And then what's going to happen? Is this here? The's pixels over here in this shape, our around this area here and just being cloned over there, you can see things. It's an exact clone. Now, the difference there would be if I would have come in here and switch this to a hell layer . Now what's gonna happen is capture. One is going to take this over here and try to clone it or try to heal it over here by merging those pixels together. So the hell layer is going to use the source and then generates new pixels based on the source and target together to try to blend them together a little bit better without making it look exactly like a clone in photo shop. It's a difference between the the hell tool and the stamp tool, Right? The stamp is is cloning the clone stamp tool. It's pretty much the same thing here, except we're just working with layers. And of course, we can come in here and we can rename these if we want to. So we could come in here and call this our fuel layer. We could change the opacity of it so we can change the opacity of the overall layer and the effect. This is really nice. If you wanna blend things in maybe just a little bit easier, we could come in there and do that, or we can come in and remove those layers so we can just come in and delete that layer in order to, uh, remove that layer completely. Now the hell and clone layers air Great for some fixes in our photos. We looked at hell in our last video, so I'm not gonna cover it. Ah, whole lot in this video. We're just re repeating ourselves. But it's important to point out that capture one does not have the same advanced photo manipulation tools that something like photo shop or affinity photo does so we'll look at how we can work with Capture one and those programs later on this course. But for now, let's wrap up this video with the last layer type. But I saved the best for last because adjustment layers can be amazingly powerful for editing our photos. Someone add a new layer here, and by default is adjustment. We're gonna leave it at adjustment. And what that means is anywhere we paint with our brush. If we were to come in here and maybe start to paint out a real quick mask, tough to see their let's display our mask here, There we go. Start painting this so we start painting in our mask. Then what's going to happen is that as we adjust things here in any of these, so maybe our exposure if we start to bring this down, you can see it's only going to affect that area. So this could be really, really cool, because we can start to come in here, get a nice mask. And of course, we could spend as much time as we want getting the mask. I'm just doing a quick little mass care so we can see what this will look like and this is a common thing that I'll do a lot of time in capture. One is to take advantage of this in order to really customized different parts of our photo . Right. So here, let's maybe change the size of our brush up a little bit just to make it a little bit bigger. Paint a lot of this in here we go painting all the Senate, and again we can take as much time as we want to on painting these masks. But you get the idea, basically, just painting all this in here. So once we have this, we could even come in here and start to detail this a little bit more if we wanted to. But you can you get the idea. So once we have that, now any and you sort of changes that we make our adjustments that we make, it's going to only effect that layer so you can see we have this. We can start to adjust. Our our highlights are shadowing right so we can start to affect that, not affect her. But on Lee, what's on that layer, which really cause we can start to merge these together. So this might be our back. Our maybe our sky so we can call that are sky adjustment. Right. But in the background, we still have our overall. So this is lying underneath and the reason. So this is our photo underneath. If we turn this off, been kind of set our base adjustments. We've looked at all of this and are in previous videos and how we can start to speak some of this. Ah, but just so you kind of get an idea, here it goes, something like that. And then we can adjust this sky a little bit further. We could come in here and let's come in and create a new layer and maybe just the chair so we can just start to paint this in. So just this bench start to affect that a little bit differently. Maybe change the coloring on it. Right. So maybe we want this to be Ah. I mean, we want this to be black and white, not the color balance there. I'm sorry, the editor. Come in and change saturation on this. Bring it down. Go something like that. So again, you can see how that changes that. So there's a tot of different things that we can do and with these adjustment layers and really start to customize our images. Maybe we want to take this. Let's right click. And we could invert this if he wanted to. So you can see now it's on Lee on her. So now it's just are our model, Aurelie. We could come in there and then start to tweak this and make changes. So now it's on Lee affecting her. It's pretty much the exact opposite of what we had before. So again, there's Aton of different things that weaken doing here in order to fix adjustments and start to tweak things. How we may want now, the last thing I want to show you this video starting one a little bit long. But I want to show you one really quick hip that I love doing in my own projects. I'm going to remove these layers that we actually you know what? I'm gonna save those layers so they'll be in the project files if you want to play around with him. Um, but I'm going to This will be just the bench, so I have that named, But I'm gonna turn him off so they don't affect that. So the last thing I want to point out is here in the collar editor. What we can do is we can come in here and we can create a mask from the selection. So let's say we want ah, maybe our blues. Right? So something up there, let's create Let's create a mask from the selection So it's gonna create that mask and it's gonna paint all of that in for us. And if we look at the mask, you can see what it's done, right? So this will be just our skies so we can come in there and we can actually erase maybe some on her just because there were some blues in there. That's why it shows up. So me a quick way to get our masks without having to paint all of it. I did it the hard way first, so you can start to appreciate some of this easy way. Um, but you get the idea for how we can come in here and really tweak this. And maybe in this area here, we could come in here, and if we right click, we can refine our mask a little bit more, so watch what happens in here. So as we start to refine this, you'll notice it will start to as Capital One cranks away, it'll start to blur that in a little bit more. It's gonna help it blend in a little bit more with the background, which, depending on the adjustments which were doing, can be really, really helpful way of adjusting and fixing things in our image. Let me turn off that mask there, and we can start to change this, really start to adjust this and tweak this how everyone We're just changing that top part of the sky. So some really, really cool things that we can start to do here in capture one with layers and masks and adjustments and started to use all of these different things together. You start to see how powerful just how powerful capture one can be, using all of these different tools together to their strength. Now this is pretty universal across any photo editing tool, But when we're dealing with masks, one of the most important things is how well that mask is drawn. For example, the mask of Laurie Lee. When we actually did that, there were some things that we could probably clean up and take some time in order to clean that mascot for our photo. But now that you know how all of this works from here, it's just a matter of taking the time to refine the mask and make the adjustments that we want to make for our photos. In fact, what do we make that your assignment for this video? Take this photo from the Project Files and Hate and Adjustment Layer mask and make some adjustment layers to it. Don't forget to share what you're edited. Image looks like in the comments for this course. When you're ready, I'll see you in our next video, where we'll look at some ways we can work even faster and capture one with tips and tricks for editing. Multiple photos 18. Editing multiple photos faster: in this video, we'll learn how we can work faster with multiple photos here in capture one. All right, So to get started, let's make some edits to one of our images. So I'm gonna select this photo of Evelyn here and let's start making some edits just to do this quickly. We've looked at a lot of different ways. We can edit photos so far. I'm just gonna use this Ottawa just and that's gonna have capture one. Go through the process of automatically trying to figure everything out for us. Ah, and in this case, I think it had a pretty good job. But it's a little bit dark. What's maybe bump up the exposure a little bit. Maybe some of the shadow, maybe something like that. We can always continue to tweak and adjust and make adjustments. We want to. But let's say I'm happy with that. So I'm happy with the way that is. I do want to crop this composition. No. So I'm gonna come up to the crop tool and let's so this down. I believe I am for five, yes, aspect ratio. So something like that hit V in order to finish that and we have our composition. So let's say OK, we're happy with the way this is and we want to apply those same adjustments. All these adjustments that we've made over here, we wanted to apply all of that to some other photos. Well, there's multiple ways we can do this. I mean, it's doing the same thing, but there's multiple ways we can apply it. What we need to do is tow have the photos selected, and then we can either come up to adjustments and hoppy adjustments. So that keyboard shortcut is control shift see or command option. I'm sorry, Command shift, See if you're on a Mac or we can come over here and hit this little copy and that's going to do the same thing and copy. Ah, I'm going to just use this since we are to have the menu open, we have that. So once that's copied, now we need to select the photos. We want to apply those adjustments to someone to select a few different photos here so we can see what happens. We can select. Maybe these four photos here, we can come up here hit, apply up here in the top right hand corner. Or we can come back to adjustments and go to apply adjustments again, using the keyboard shortcut if we want to. Once you get familiar with capture one, using the keyboard shortcuts is a lot faster. Now, watch what happens when I hit. Apply what? Before I do that, I would want to point out this little icon right here in the browser means that there has been adjustments applied. So you can see this has no adjustments applied. This has no adjustments applied. This has no adjustments. Applied. This photo here actually has some adjustments applied to it because we've worked with that previously in this course. But if you notice over here those air different adjustments than we have on this photo. So we're gonna apply the adjustments from this photo, overwrite this one and apply it to some of these other photos as well. All right, so with those selected, let's come up to adjustments. Apply adjustments and you can see what has happened. So this one here, you can see we have the exact same settings here. See, the numbers are exactly the same over here. We have the exact same numbers over here, we have the exact same numbers, and over here we have the exact same numbers as well. Now, in this case for this one, it's probably not really the numbers that we want. We probably want to make some more adjustments to this to start tweaking, but it could be a great way to get started so you can do this. I'll do this a lot for photos, especially if they're taken in the same lighting in the same place. We can start their happy the adjustment and then continue to tweak in order to make some incremental changes and unique things across these different photos so we can start to change this just a little bit, really. Start to customize this and tweet this, but starting off So we're not starting from scratch every time it allows us to do that. Now, one thing that you might have noticed was weak, dropped down that other image, and that did not get copied. So what if we wanted to copy that? Or what if it did? What if you pasted and it did copy the crop and you don't want it to? Those are both very viable situations that will come across inside of capture one. And fortunately, capture one has a great way that we can control what gets copied and applied between these different photos. So to do that, we want to come up toothy adjustments tab. So in adjustments, we have the adjustments clipboard. So you can see if I select this and copy, it's showing us all of the different things that we have adjusted that it's going to apply to the next image and you can see under composition are prop is not selected. So now if I come in here and apply with that selected, you can see now the crop from this photo is being applied to this one. Of course, this being a portrait, this being a landscape just in the way it was taken, we may not want that exact same crop. We may want something a little bit different. We can always come in here hit, see, in order to get to our crop tool hit V in order to finish that and continue to tweak that. But in the adjustments, clipboard can be a great way to copy and paste and choose what actually gets copied and pace it. So maybe, you know when we're tweaking this. You know, I'm really happy with the exposure here, but I don't want him. I don't want to change the composition. I don't want to change any of these. I only want the exposure will. Now, let's just double check this so we can see exposure is at 0.3. This one here, it's at 10.17 Okay, So pretty small difference. We might not see a huge difference, but watch what happens if I come in here? Copy this? Come over here and apply. You'll notice that everything got adjusted. And that brings up a great point that wanted Teoh point out, is that if I undo this, let's go ahead and undo that application. What happens if we hop back over here? You can see now we're pulling from Laurie Lee's photo instead of evidence. So if you come over here, copy this, you'll notice that this changes, right? So what we're doing is we're hopping these adjustments, and in some of these photos, we've actually made some different adjustments. We actually adjusted the contrast. We adjusted the brightness in this photo that we didn't in this one so that one is checked . And so that's always something to be aware of. And if you ever happy and paste between your different photos to be a really fast way to make your adjustments. But if something happens that you don't want, come into the adjustments clipboard and make sure that things are the only things that you're copying and applying are the adjustments that you want. So in this case, from this photo, let's come in here, turn off everything except for our exposure. Just that. Come over here, apply and watch what happens. I'm gonna come in here and do it appear. So we're gonna watch this should jump 2.17 which it pulled from over here, and none of the other settings got changed. So to recap in this video, we learned how to use the keyboard shortcut to copy and paste adjustments across multiple images. We also learn how we can use the adjustments clipboard to choose which adjustments we want to be applied. Then, from there, we can always go in and start making some or fine tuning tweaks to each photo individually , as we normally would. But that could be a very fast way of setting a base for all of our images from the same shoot without having to manually go in and adjust each one individually. Now, in our next video, we'll learn another way that we can speed up or workflow and capture one by customizing the interface to fit our needs. See there. 19. Customizing Capture One's interface: so far in this course, we've learned a lot about the great tools available to us and capture one. In this video, we'll learn how we can speed up our work flow even more by making it faster toe access, the tools we use the most. So one way we can do this is by reorganizing the tool tabs in capture one. So if we hover over one of the tool tabs, you will notice that it says all two plus dragged to reorder now on a Mac that would be option plus left, click and drag. But on it windows, Ault plus left, click and drag and watch what happens. This maybe take the exposure and we can left, click and drag an move that over. And now our exposure tools are right next to our library tools. So the tools that we use the most we can start to order these, however we want in order to access them in whatever sort of order we want to do. And personally, I like to do this in ah, left to right, so I'm going to start with the library and organized things, and then I'll probably do some color correction after that. And then I'll do some exposure and maybe a little bit of detail ing before finally exporting those images. So starting to order that in kind of, ah, step a pipeline that we're going to be working with. But what's cool is we can take this to the next level and start to add our own custom tool temp. So if we right click up here, we can add a tool tab and let's add in a custom one. So this will be my tools. And let's change the icon, maybe to be the number one. There we go ad and you can see Now we have a new tab up here. We can Ault left, click and drag in order to move this around however we want. So maybe this is the 1st 1 right, And in here we don't have anything yet, but we're gonna start to add in whatever we want. So right, click, add tool. And maybe, let's add in Ah, white balance. Since that's going to be popular, that something will probably do, maybe add in sharpening so we can add in these different tools. Now, these are exactly the same tools that we've used throughout this course. But the big benefit here is that we can start to include the tools that we use all the time in our own custom tap. Now, we can take this a step further by removing some of the tabs that we don't use. Maybe we don't want to use most of these. We can come in here and let's remove this tool tab so we can remove our exposure tab. We can remove our holler tab. We can remove are sharpening tab. Maybe our metadata tab. We can remove our capture tab. That's where we go to take pictures directly inside of capture one. Ah, we can move our lens tab starting to clear all these up that maybe we're not really going to use a lot of these. Um, but maybe we want to organize this a little bit better so we can add another tool tab. So maybe this one is my second tools. And this is number two. So this is the 2nd 1 in the pipeline, and in here we can start to add in some of those things that we got rid of. So maybe you want to add are Hurvin here we can add in our levels We can start to really customize these different tabs in a way that we want. We could even come in. Maybe in the 1st 1 I would make sense to add in our library. Add that back in weaken left, click and drag in order to re order this. And you know what? Maybe I don't want sharpening. And here, maybe I want sharpening in the 2nd 1 Now, we could come in here and right click and add that in just like we saw or another way we can do this and you can take this left, click and drag this out. And this is now what capture one calls. Ah, floating tool so we can come upto window. Great floating tool. And add any of these tools that we want to. And it's gonna be ah, floating tool like this Here we can just drag around her interface. Or we could take these And maybe in this one here we want to bring our sharpening in drag this in dragging our exposure. Maybe reorder that however you want to do that and really start to customize our interface here inside of capture one. Okay, so to recap in this video, we learned how we can rearrange our tool taps. We also learned how to add a custom tool tab at tools to that tab and how it can remove any tabs that we don't want to use. And now it's your turn. Take some time to hasta Mayes, your capture one interface and at any time, If you want to get back to the default capture one interface, you can always reset your workspace. So before you do that, though, I do want to point out if you reset your workspace, any changes that you make are good to be gone if you don't save it first. So there's two things you can do here if you want to save what you worked on. If you've made some custom is ations and you want to save that to use later in comfortable window workspace, save workspace and then course Just give it a name. Save that and this is now safe. And now we can come back in here toe workspace. Go back to default and watch what happens to all of our tools. You can see everything comes back. It's back to the default workspace that we had in capture one. And at any time we can come back in here and switch back to our workspace, you can see even the size of the viewer changed, and we can start to tweak all of that and customize it. Now. The last thing I want to point out are a couple of very helpful keyboard shortcuts that can help you really focus. And that is a control T, and that's going to hide our tools. So control T or command T. If you're on a Mac that's going to show or hide, all of our tools toggles that on and off and control or command B as in boy, if you're on a Mac and that's going to be over here hiding and showing the browser so you can use both of those in conjunction in order to really help hide everything in your workspace. If you really want to go the step further, you could hit F on your keyboard, and that's going to go into full screen mode, just like inside a photo shop. And that can really help, uh, help you focus in and just focus on what you're working on, maybe hit control t to bring the tools back and start working with this photo without any sort of any extra, you know, interface distractions that we might have. And then, of course, hit F in order to bring it out of full screen hit control. Be to bring back the browser any time. We could save that workspace if we wanted to, in order to to, ah, save those customization that we had. Or as we mentioned earlier. If you go through and you lose things or things get lost, you can always come back to the default workspace and jump back to the way that capture one comes out of the box. Now, in our next video, we'll learn how we can use capture one and photo shop together. 20. Using Capture One with Photoshop or Affinity Photo: There will always be times when we need to do more advanced edits to our photos beyond what capture one is designed to do. So when this video will look at the workflow for working with Capture one and Photoshopped and this process is very easy to do. So we might actually throw an affinity photo as well if we have some time towards the end. So this process all we need to do is to find the photo in our browser, right click Goto edit with and choose the application that we want to edit the photo it. Now when I do this, it's going to come up with an error and a wanna point point this out because, uh, this won't work soon. As I do this, you can see editing image from this collection type is not supported. So right now we're looking at a smart album. So what we need to do is to find the photo in an album and not a smart album. So once were in the album here. Now we can come in at it with and come into Adobe Photoshopped and what it's going to do that tells capture one to create a tiff file with your adjustments applied to it, and we could change that format if we wanted to. Personally, I like to use Tiff. That's the default. It's going to stick with 16 bit color, so we're not gonna lose any color information there. I always like to stick with un compressed, leaving it with the adobe profile and leaving it at a scale of 100%. So it's the entire resolution, you know, in the adjustments tab Weaken, Tell photo shop if we comptel capture one if it wants to. If we wanted to ignore the crop So we've crop this image down, as you can see here in the browser, if we ignore the crop, it's going to send the entire image. And we're gonna have to re crop that If we want to do that, course we can copy and paste that crop, just like we learned in the previous video using the adjustments. Ah, clipboard. To do that. So typically, what I like to do is to ignore the crop, make whatever edits I need to do to the higher image and then bring it back in to capture one. And if I do need to do some re composition there. I can just copy and paste that or I can go in and find a new composition based on whatever edits that I do depends on what sort of edits I'm doing in photo shop if they're more significant or not. Ah, but what we do is we tell Capture one to edit that, and it will go through the process of exporting. You can see it's exporting their up. It popped up off screen. It's exporting that variant. We will see a tiff file show up here. And so what it's doing is it's creating that tiff file. You can see it shows up right there and then it's gonna launch photo shop and we will automatically open that tiff file inside of Photoshopped. Give it a moment to load, and once Photoshopped loads, we'll have that tiff file that weaken. Start going in and making whatever sort of adjustments and any sort of, um, and it's that we want to it. You can see we ignore the crop. So it adjusted it, shifted the entire thing or exported the entire thing I should say. Now, of course, inside a photo shop. We could spend a lot of time. We're finding this. I've got other photo shop courses that dive deeper into that sort of thing. If you want to learn a lot more about Photoshopped but for our purposes today, I just want to make some sort of an adjustment so we can see how capture one handles it. So with this, let's come in. Let's just do a quick, select subject and just let Photoshopped essentially try to select this automatically selector automatically. Ah, we could come in and tweak this however we want to. But of course, you know it's not gonna be perfect every time, but I'm gonna create a layer mask so all double click create a layer mask, maybe just fix that little bit, cause it bothers me. Appear at the top. You may switch to my a round brush and yeah, so we can We can get as in depth as you want to with masks and again. I got other photo shop courses that talk about that, but we could start fix all that, but you get the idea. So we've made some adjustments in here. Now, if I close out of this my clothes. Yes, I want to save and popped up off screen. I'm going to save with the layers, so no compression. I'm gonna make sure that the layers are there. I'm not going to discard the layers it. Okay, save this and let's hop back into capture one. So what's gonna happen is as photo shop is saving that as soon as that closes out, Actually, let me show photo shop here and let's resize this just so we can see a little bit better has this is working. So once this is done saving here and capture one, we can come in and see what it looks like with those changes applied. All right, so we've closed that back here and capture one. We can see this image here, but will probably want to update it. So right, click regenerate the previous that's gonna force capture one to go in there and look at the file again. And before I could even finish explaining that it did it automatically. Ah, but if you do need to re force force that you could just regenerate those previews and then capture, one will go through that process and you can see, now we have that edited version in here. Now, the last thing I want to point out about this is if we want to bring this back into Photoshopped to do further editing this tiff file here will want to come in and do open with. So the difference here is edit with that's going to generate a new file, kind of like from the raw file. When we generated this tiff file, it's going to generate a new tiff file. So if we click on this, it's gonna come up and say, All right, well, let's what format do you want? The same screen that we saw before. Instead, if we open with that's gonna open that exact tiff file, that same tiff file is gonna make some open it up inside a photo shop so we can make whatever sort of changes we want to it. And then we can walk through that same process, save off that tiff file eso maybe Let's come in and we can just add a layer and I don't know, just paint something up here just so we can see that there's a difference, right? And then control W come in W to close. Save that. So as that saves once that's done saving back over here in capture one will see that this file updates. We're not actually creating a new file or anything like that. We've opened this tiff file and then here and capture one once that's done here in a photo shop. There we go. So that's finished. And now back and capture one. We can regenerate that preview and we'll see the updates happen once that review is done. There we go. So we have that updated file in there. So that is the basic process for editing in photo shop, exporting that as a tiff file editing that in and and then making those edits and capture one. And then, of course, here and capture one this tiff file weaken. Come back in and start to make any sort of adjustment that we want to, um, adjusting the exposure, the contrast. You know, any of the things that we've looked at up until this point, we can start to make those adjustments here inside of capture one as we would with any other image. And really, it's the same workflow for any other photo at any tools that we might have installed. So if we were to say Maybe, let's pick a different photo Maybe like this one here, lets say we wanted to edit this one. We could come in and we can edit. I have women are four installed as well. But let's say we wanted to edit an affinity photo if we wanted to edit and Luminal we could do that would be the exact same workflow. But I also have affinity photo installed, but it's not shown on here. So if you see something or if you have something installed that doesn't show up, we can come in to the preferences to plug ins. And when capture one starts when it first starts up, it should look on your hard drive and look for anything that will edit photos. You can see even things like Hank's, right. Technically, you could edit a photo and paints, and so that's going to show up here. You can uncheck it if you don't want it to show up, but as soon as we check this now, if we come in here, close out and now if we edit, we'll see affinity. Photo shows up in that list. The same goes for If you want to remove things from the list, just uncheck it from that plug ins list. And now this process is pretty much the same. We just come in here, I'm gonna leave this at the at the defaults this time. Let's actually respect the crop instead so we can keep that crop, See what that looks like differently. Edit that variant. We're going to see another tiff file show up here and then once that exports and then however long it takes for affinity photo load, you can see it's going to start loading that. And it's gonna load that tiff file in affinity photo Now again, just like in photo shop. We could take a much time you want to make any sort of edits that we want. I'm just gonna come in here. Let's create a really quick mask and just, you know, paint some stuff out just so we can see the difference here. Kind of like what we did in in photo shop. I'm just doing it manually this time so we can see a little bit of a difference here. There we go. Just a really quick, quick and dirty mass to show to show this so some bad And go now with that again, I'm gonna come in. I'm just gonna close a close out of it. You don't have to close it every time, I guess, But I'm gonna close out of it and thats gonna force it to save. Now when we do this, there's something important to keep in mind when we're working with different programs. Notice that this says going to save a tiff with affinity layers. Okay, so what? That means when I save this, I'm gonna save it with the layers. Capture. One is going to be able to read it. Fine. Just like with photo shop. It's gonna read that Fine. It's not gonna read the layers in there. It's not gonna read them as capture one layers, but it reads the image. Fine. We can make edits to it in adjustments to it. Like we saw with the image in photo shop by minimize here. Now we can see this. If we just regenerate the previews, we can see that the update is going to take effect. The same is what happened when we made the updates in. Ah, Photoshopped. There we go. Regenerate that. So you can see. Um What? There's something important to keep in mind here and has nothing to do with capture one, but a lot of photo editing tools like photo shop and affinity photo. They use priority methods to save their data. So if you remember when we saved the file infinity, it called them affinity layers will watch what happens if we open this tiff file and try to open it in photo shop. And when I do this and open the file fine. What? It's not going to have the layer that we had inside of affinity. You'll notice we don't have that layer mask. And the same goes for if we add adjustment layers. If we start to add things an affinity photo, it won't necessarily work inside a photo shop and vice versa. If we start making edits and photo shop, it won't necessarily work inside of affinity photo. So again, that has nothing to do with capture one itself. I'm gonna close out of this and close out a photo shop. We're done with that. It has nothing to do with capture one itself. It just has to do with how different programs save files. And when we open the file in a different program, sometimes those and it's don't really translate over to other programs very well. So that's something to keep in mind in particular when you're working with capture one. Because a lot of times you're gonna be working in these different programs and do something in photo shop or do something in affinity photo. Do something in luminary and use these different programs if you have them for their benefits and for their strengths. But just know that sometimes if you make a you save something in affinity photo. It might not work really well in photo shop, and vice versa. But we can see how easy it is to use capture one plugged into our workflow, no matter what Advanced photo editor were using it with. Now, in her next video, we'll learn how we can export the photos we've edited in capture one 21. Exporting photos: throughout this course, we've learned how to make a lot of different edits and adjustments to our photos. At the very beginning, we learned that capture one is a nondestructive tool. So any of those edits and adjustments that we've made in capture one it's not making those edits to the original image at all. So the way that we need to get those edited images out of capture one is to export what it calls a variant of the original. And the easiest way to do this is to come in, select the photos. So let's say we want to export these two of Evelyn. We can just right click go to export export variants, and then we have the option of how we want to export these. So by default, we're working in a session right now. So by default, it's going to export to the session output folder. As we learned again in a previous video, we could change that if we wanted to, But I'm just gonna leave this at the default there. Ah, I'm gonna leave the file name the same, but we could change us if we wanted to. We could come in and add some tokens if we wanted to, you know, maybe adding in something like the lens. So lens that was used if we wanted to changed by that. So you can see adding in the lens for each one Really a lot of different ways that we can customize that. But I'm just gonna leave it at the image name and then we have the export recipe, and the recipe is basically what it's going to The file format basically is going to be exported. It and the controls for that file format. So do we want it to export as a J peg? Do we want A, P and G? Do we want a PST? A tiff? File a DMG a digital negative. Ah. And if so, if we change this than all of these options are going to change depending on what option or what to file format we choose. I'm gonna leave this at a J peg, leave it at 100% quality, and I'm gonna leave this, as is just as a personal tip. The scale is something that I will change. Sometimes when I'm exporting, really has to do with what I'm using the image four. And so, if I'm exporting it for social media, I'll usually exports along the long edge to be somewhere around two K or something like that. And that way, like that would be tu que along this edge here and then this edge is going to maintain the ratio and be whatever it needs to be in order to be. In this case, we cropped four by five. So they're actually before by five. And so five here would be that 20 of 48 or to k image, and then this would be whatever that math turns out to be for that aspect ratio. But the other way that I'll export is if I do need the full resolution for whatever reason , then I could do fixed at 100%. And that will be 100% of this crop area because we have cropped this photo so 100% of that cropped area. But for this case, I'm gonna do the long edge at 2048. I'm gonna make sure that it does respect the crop in the adjustments. We're good there and then go ahead and exports. Once that exports, we hop over to our Sessions folder, we can come into our selects. I'm sorry, The X the output Rather told it to go the output so we can see here R J peg files that we have exported and you can see they have been cropped just like here in capture one. So you can see the crop in the original versus the J peg file there that we actually have cropped down. So all of our edits have been saved with that variant. So that is a fast way to export any photos that we have selected. But what if we want to exports multiple photos or multiple formats at once? Well, we can do that by adding them to our batch. Cute. So let's move this out of the way and hop back into capture one and make our brother a little bit bigger. So it's easier to see some of more of our photos here, and I'm gonna select the rest of our raw photos here. There were no we haven't really edited all of them. We've made edits to some of them, but let's select those and let's add them to our batch queue. So to do that all we need to do is to right click, go to process and or the keyboard shortcuts controlled the or command. If you're on a Mac now, when we do this, capture one's gonna say, OK, the batch queue has currently stopped. Do you want to start it? I'm gonna hit. No, because that way we can go look at the batch queue and see exactly what's going on behind the scenes before anything ever happens. So if we hit, no can hop over here to the batch queue and we can see all of these files have been added to the Q. So if we were to start this right now, we would get an export of tiff files. You can see roughly about 120 megs for some of these tiff files. But ah, that's gonna make our project files even more massive than they're already going to be. So what I'm gonna do is, instead of actually including all of these tiff files, let's exports, um, different variations of J pegs. Just so it's ah, just smaller file sizes here. So we'll come in here and let's clear the Q clear all of that and we come in here instead of tiff files into our outputs. So tiff files. Let's choose. Ah, full sized J peg actual. Let's do an instagram optimized J peg and a 2048 j peg as well. And for this 2040 s two K along the long edge, I don't need to be 300. We can do 72 pixel resolution outputs gonna be in the destination is going to be in the session output folder And let's give this our recipe name as well. That way we'll know which J. Peg is which. So recipe name. So now it's gonna export. You know, that's going to say Jay Paige 2048 then this one here is going to be J peg Instagram optimized. So that way we know the differences between these and we can see the difference between this is gonna be the long edge of 2048 this one's going to be with, and that's throwing a full size that's gonna be fixed at 100% as well. And so that's going to give us all of those. All right, so with that set, what we need to do is to tell, uh, capture one to process this and again. It's going to say the batch queue is stopped. Do you want to start it? And again, I'm going to say no. So that way we can come over here and see that Are images have been added to the batch queue? No, it's on Lee showing one of the J peg formats, but it will export all of them. All we have to do is hit, Start. And if we hop over here into our output, we can see these images start to process. We can see as this works through the Q. We're getting ah, the J peg at 2048 pixels for Web use the J peg full size, highest quality. So difference resolutions here and you can see the file size. So this one full size at 100% is, you know, 28 megs, and this one here is only 500. Hey, so depending on what your uses for instagrammed optimizes even smaller, right? So depending on what you're gonna be using them for, you can start to export these files as different sizes very, very quickly. Using the batch queue process. Now the last thing I do want to point out about this is as long as we have our batch queue running. If we were to come in here and maybe add one of these photos of Evelyn to the batch queue, it's gonna add it to the end here of this Q. And that's going to process along with all of our other images. So it's not going to stop after this. It's just going to keep going. And that means once all of these are done, then it's gonna is going to stay on. It's not going to stop automatically. So if we add things to the process Q to the batch queue rather later on, it's just gonna automatically start processing them instantly with whatever with whatever output recipes, whatever process recipes we have selected. So if at any point we wanted to add in a tiff or something like that and export them separately would probably want to come in here and stop this process from watching the batch queue and automatically processing anything that gets added in there. Okay, so in this video we learned how we can export variants as well as how we can use the batch , queue, process toe, export a bunch of different photos using different recipes at once. And with that, we've come to an end of this quick start to capture one. There are so many more things that we could, however, as capture. One is an incredibly powerful tool for any photographer. But now that you know the key things, you need to get started. I can't wait to see how you use these tools with your own photos. Be sure to take advantage of the Q and A section if you get stuck along the way until next time. Thanks for watching.