BTS video: A photographer’s dream job
Clay Cook, editorial and advertising photographer, was commissioned for a dream job shooting a 20 page editorial in Havana, Cuba. This was a dream situation that doesn’t come around often for editorial photographers, if ever. Check out Clay’s first hand account of the trip.
Smooth transition from Aperture to Capture One Pro 9
After the discontinuation of Aperture, Derrick Story, professional photographer and presenter at Lynda.com, needed to find an alternative. Read on and get his best tips for securing a smooth transition of your image library from Aperture to Capture One Pro 9.
THE IMAGE QUALITY PROFESSOR'S BLOG
Tips and tutorials for Capture One Pro
7 easy steps to stunning wedding shots
December 10 2015
This week we have the pleasure of featuring F-stoppers staff writer, Quentin Décaillet. See how Quentin creates stunning wedding shots in just 7 steps using the newly released Capture One Pro 9.
Capture One 9: Under the Hood
December 3 2015
We have something really special for you this week. Not only is the Professor back on the blog, he’s taking us for a glimpse under the hood of Capture One 9 to let you in on the new exciting creative opportunities of this release.
Shooting with the XF Hyperfocal Calibration tool
November 19 2015
One of the most popular new features in the new XF Feature Update is the Hyperfocal Calibration tool. Read more about how it works, and why you should start using it.
First XF Feature Update is out
November 11 2015
Get acquainted with Feature Update #1, presented by our Head of R&D, Lau Nørgaard. Watch a short introduction to the new cool features and functionalities.
Capturing sirens and fairytales in L.A.
October 23 2015
Fine art and fashion photographer, Bella Kotak, recently borrowed a Phase One camera system and traveled to L.A. to capture some fantasy creatures. Bella is now back from the magical lands of Los Angeles and excited to share what she captured.
Tips for shooting jewellery
October 1 2015
Shooting jewellery is all about controlling reflections, contrast and dynamic range at the shooting stage in order to retain maximum information, detail and flexibility for the post-production stage. See how Tony May handles this challenge.