Black and White: Working with Styles and Presets

October 27, 2011 by 1 Comment

In order to achieve a specific look when doing Black and White work, you often need to combine a number of tools even though your original image is well exposed. Capture One Pro 6 comes with a number of specific Black and White Styles that can inspire you to create different Black and White looks. You can use the Black and White Tool Tab to get a nice overview of the Styles as well as the other relevant tools for creating beautiful Black and White images.

Capture One Pro 6 also includes a number of Black and White Presets showcasing how you can create very specific looks by using different combinations of the tool. These include Presets that utilize the Color Sensitivity sliders and Presets that include Split Toning. When preset stacking is allowed, you can combine Presets for Split Toning with Presets for Color Balance.

Use the built in Styles and Presets to be inspired; optimize them according to your personal taste and save them for future use.

 

Styles for Black and White:

The Styles and Presets can be found in the Black and White Tool Tab. This gives you easy access to both the built in Styles and to your own Styles via the User Styles.

In the example above, the Style “B&W – Old Look 1” has been used. This style uses the Black and White Tool to convert the color image to a black and white image and to add the brown/yellowish toning. Besides changing the color, this Style also increases the Contrast, adds a strong Vignetting and adds some negative Clarity. Also note that if you select multiple images, you can apply the Style to all the selected images at once.

3 different built in Black and White Styles. From left to right: B&W-Old look 1, B&W-Old look 2 and B&W-landscape 1.

 

Presets for Black and White:

The Black and White Tool has 2 tabs, one dealing with the conversion of colors into grey tones, and one dealing with color toning of the converted black and white image.

In the Presets dropdown menu, you will find Presets for both color conversion and toning. You can set up the tool to allow stacking of presets which allows you to combine presets. For instance, you can select “Color – Landscape 1” for the color conversion and select ”Split Toning – Blue Brown 2” for the toning like in the picture below.

The same image with 3 different Black and White Presets applied. From left to right: “Split Toning – BlueBrown 2”, “Split Toning – BlueRed 2” and “Split Toning – YellowBlue 2”.

The Presets named “Toning” rather than “Split toning” refer to a number of Presets where the Hue for the shadow and highlight toning have the same values.

These images have the same Color Sensitivity conversion but different Black and White (Toning) Presets applied. The upper left image has no Toning applied.

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Black and White conversions

October 20, 2011 by 10 Comments

The Black and White Tool in Capture One Pro 6 is split into two sub-tools placed on individual tabs. The Color Sensitivity tool deals with the conversion from color to black and white while the Split Toning tool deals with toning of converted gray tones.

The Color Sensitivity tool gives you full control of how the conversion from color to black and white takes place. You can control the conversion in 6 color bands.

Controlling the conversion in color bands is very powerful, and it enables you to create great black and white images from colorful landscape, nature or portrait images.

It is important to remember that it is still essential to have a good white balance when you want to create black and white images. The conversion tool works strictly according to colors. For instance, if the whole image has a blue cast, you may not get the desired or expected conversion.

The image above shows 3 versions of the same original image. The left image is the color version. The center image shows the default black and white version you get by just enabling the Black and White tool with the check mark. As can be seen in this image, the red color of the rose and the green color of the leaves get the same gray tone with no clear separation between rose and leaves. For the right image, I have used the individual color sensitivity sliders to lighten up the red color and to darken the color of the leaves. To darken the leaves, I used both the yellow and the green slider as they both affect the gray tones of the leaves.

For portraits, it is often interesting to utilize the red and yellow sliders as they both affect the skin tone colors.  For natural skin without makeup, the skin tone pigments vary between reddish and yellowish tones. Traditional panchromatic film made a conversion that turned red colors dark which can have an interesting effect for portraits of women wearing red lipstick. In the example below, the red sensitivity slider has been used to make the lips darker.

On a Mac, you can temporarily reset the slider positions in the Black and White tool, and this makes it easy to toggle between your adjustments and no adjustments. Hold down the option key and click on the tool reset icon. The tool is reset only as long as the mouse key is pressed down. This feature is currently only available on Mac.

Remember, it is always a good idea to use variants when you want to test out different conversions.

Three variants testing different Black and White conversions. Notice the different color of the lips.

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The Black and White Tool Tab

October 13, 2011 by 4 Comments

Capture One Pro 6 comes with a powerful Black and White tool located in the Color Tool Tab. Besides this tool, Capture One Pro 6 also has a specific Black and White Tool Tab which includes a number of relevant tools to perform Black and White conversion. 

As there are many Tool Tabs in Capture One, the Black and White Tool Tab is not visible by default. If you produce Black and White work often, I would strongly recommend enabling this Tool Tab.

Remember, you can always customize a Tool Tab. If you are missing a tool or find one you never use, just add or delete it. By default, Capture One remembers how you arrange the tools, and Capture One’s layout is stored in the default Workspace. You can always save the current layout as a named workspace to allow you to return to that specific layout again.

The left image is straight out of the camera. The center image is a black and white version made by simply desaturating the colors in the image, and this is by no means a very interesting image. The last image is made with the Black and White tool as well as some of the other tools found in the Black and White Tool Tab. This image is based on the Black and White tool preset called “Color – Landscape 1”.  This preset brings down the lightness of the blue sky which gives a dramatic contrast to the dunes and the light tower, creating a much more interesting image. 

To enable the Black and White Tool Tab, simply right click on the Tool Tab bar.   That gives you the opportunity to select the “Black and White” Tool Tab in the “Add Tool Tab” menu.

The image above shows the layout of the Black and White Tool Tab. In the Black and White tool, the preset “Color – Landscape 1” has been selected. You can use the tool presets as inspiration for how you would like your image to appear. Scroll down the preset list, and you will immediately see the effect of each selected preset. Start by selecting the presets that gives you the overall look and finish that you want. Then, you can fine-tune the result using the other tools. For example, a Black and White image will often need much more contrast than a color version of the same image.

Stay tuned for more Black and White tips next week.

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Photography Travelogues by Peter Eastway – Antarctica 3/3

September 1, 2011 by 2 Comments

Skontorp Cove, Paradise Bay, Antarctica

When you visit a location called ‘Paradise Bay’, you have certain expectations. We were having a barbeque outdoors on the lower deck of our ship that evening (something I still think quite strange for an Antarctica voyage), so hopes were high for a clear sky and a wonderful sunset, but it wasn’t to be. As we steamed into Paradise Bay, we could only guess what lay behind the low cloud that shrouded the entire Peninsula.

One of the challenges of transient travel is making the most of the lighting conditions you’re given. We jumped into the zodiacs for a ‘cruise’ around the foreshores and motored slowly into Skontorp Cove, one of the most picturesque locations in Paradise Bay. So I am told! However, while the cloud prevented us from seeing the spectacular mountains surrounding us, it created a very moody and appropriate atmosphere. Sheer cliffs of ice would suddenly collapse into the waters, breaking the absolute quiet, and occasionally we’d see glimpses of ridge lines high above.

And the reflections were marvellous. Not mirror smooth which has a charm of its own, but slightly mottled, like good quality marble. Keeping the camera low on the edge of the zodiac, it was a matter of asking everyone to be as still as possible so as not to create too many ripples on the water. As everyone was sitting in awe of our location, this was a lot easier than you’d expect!


Sometimes with low contrast photographs like these, it’s good to move away from the easy to use Exposure sliders in Capture one and experiment with the Levels and Curves dialogs. In Levels, I grabbed the black and white points and dragged them inwards to the edge of the histogram, and then moved the middle gamma slider to adjust the overall brightness. This improved the image, giving it more contrast, but not quite enough.

Moving down to the Curves dialog, I selected the ‘Mid-tones Darker’ preset which increased the contrast and improved the image even more. Using the Curves presets, you can just drag your mouse over them and watch the effect on the preview, so it’s easy to experiment.

As with most landscape photography, the sky is the brightest area in the scene, so I set the background exposure with this in mind, and then I used the Local Adjustment brush to lighten up the foreground. I clicked on the Local Adjustments tab, clicked the ‘+’ button to add a layer and then pressed ‘B’ to select the Adjustment Brush. After setting its size and softness, I painted in the foreground (shown as the red area in the screen grab above). You can set the red mask to appear only when you’re painting it in, and then it disappears so you can see what your adjustments will do. I lightened the foreground using the Exposure and Contrast sliders.

One trick I have found with snow and ice, especially on overcast days, is to edit the file with local contrast. In Capture One, this is the Clarity control. I added in another Local Adjustment layer, brushed over the ice wall and its reflection, and then dragged the Clarity slider to a setting of 80. This is higher than I am normally comfortable with, but it shows that so often the adjustments we use are dependent on our subject matter. I also used the Exposure slider to lighten up the ice wall.

To see more of Peter Eastway’s images on Antarctica, visit his website at http://www.petereastway.com/showpics.taf?portno=57&PortName=ROCKHOPPER%20EXHIBITION

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Photography Travelogues by Peter Eastway – Antarctica 2/3

August 5, 2011 by 10 Comments


Malcolm, Neko Harbour, Antarctica

It was steep. Really steep. Well, at least that is my memory of a mid-morning stroll that turned ugly. I was wandering up to the top of a headland for a view over the glacier that falls into Neko Harbour, Antarctica. It wasn’t a difficult walk, but you had to dig the edges of your shoes into the snow to stop yourself from slipping backwards. A good pair of snow shoes would have been helpful, but I was in the waterproof Wellington boots needed to make the wet landings. We’d leave the ship once or twice a day in inflatable zodiacs and usually you’d disembark into shallow but icy cold water on the beaches. The Wellington boots were perfect for that, but not ideal for snow mountaineering!

I found a great view of the glacier at the lookout, but within a few minutes, the weather deteriorated badly. Catabatic winds, produced by the micro climate over the now hidden glacier, played havoc with everyone. In fact, the winds were so strong many people decided to slide back down the hill, rather than risk being blown over the edge!


I had a little Panasonic Lumix GF1 tucked in my jacket, so I sacrificed it to the elements and took a few photos of what was an amazing scene. Looking out from inside my hood and jacket, with the wind at my back, it was easy to imagine I was in a cinema watching a movie, except my feet were a little cold!

I photographed Malcolm, one of the photographers with me on the expedition, walking up to the lookout. He was struggling against the winds and each step appeared laboured, as though he was walking in slow motion. Holding his camera and tripod over his shoulder, he reminded me of a mountain climber with a flag, about to claim a first ascent.


The Lumix GF1 shoots raw files and the file quality is great. However, as expected, the original capture was relatively flat. After all, this is exactly what the scene was like – flat and lightless – but a little bit of contrast fixed that. What I was most disappointed about was how sedate the hill appeared. It looked flat, nothing like the steep incline I remembered!

I must have tilted the camera awkwardly at the moment of exposure – at least that’s my story! And it’s a good thing Capture One has a few tools to correct such poor camera technique!

I selected the Straighten tool in the toolbox at the top of the Capture One screen. By holding down my mouse on this tool, a small drop menu opens and I selected Rotate Freehand. From here, I clicked in the preview window and dragged my mouse down and around – the image rotates and crops automatically. Most importantly, I was able to recreate the steepness of that mountainous trail that led up to the lookout.

Within the image was a marker and another climber, so I changed to the Crop tool and removed them from the photo. A few more adjustments were made in Capture One and then the image was exported to Photoshop for some final fine-tuning.

To see more of Peter Eastway’s images on Antarctica, visit his website at http://www.petereastway.com/showpics.taf?portno=57&PortName=ROCKHOPPER%20EXHIBITION

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Photography Travelogues by Peter Eastway – Antarctica 1/3

August 5, 2011 by 2 Comments


Leopard Seal, Foyn Harbour, Antarctica

Winter was holding on tightly in Antarctica, but a slight reprieve in the weather allowed us to venture out from our vessel and explore the snow covered foreshores within Foyn Harbour. The weather varied from heavy cloud to overcast with sporadic spots of sunlight, not ideal, but it hardly dampened my enthusiasm!

The radio cracked into life and our guide responded, turning the zodiac around and speeding off in between icebergs. One of the other zodiacs had found a leopard seal snoozing on an ice floe and we were off to investigate. A hundred or so metres away, our guide cut the engine and we slowly and silently drifted into position. It was a young leopard seal and while fully aware of our presence, was barely interested.

On an Antarctic expedition, everyone is a photographer and all ten of us had our cameras trained on our new friend. The guide moved the zodiac around, providing a variety of angles and giving everyone the opportunity for a clear angle.

Using a Canon EOS 1Ds Mark III and a 300mm f2.8 lens, I was able to shoot a series of images from full length to much closer, but there was very little time as you never knew when the leopard seal might decide to leave. Shutter speeds were kept high using 1/3200 second at f3.5 and ISO 100, plus I had image stabilization turned on. The image is sharp!

As the zodiac turned around, I kept my camera focused on the leopard seal, firing quickly. Just when the leopard seal lifted his head, the zodiac turned a little further and one of the guests in front of me obscured my angle. There was hardly any time to notice and I just kept shooting. It was only later when reviewing the images in Capture One that I noticed the best shot of the leopard seal also had the red suit of the guest in the foreground.

However, there was a solution.

Here’s the full frame. You can see the problem easily.

Cropping the image helps by limiting the problem, but it is still there. I have also tweaked the file a little in Capture One, adjusting exposure and brightness, and ramping up the saturation to increase the colour in the background.

The solution can be found by using the Advanced Colour Editor. I chose to add a Local Adjustment layer first and used the Draw Local Adjustment brush to cover up the unwanted red colour in the image.

With the selection made, I used the Pick Colour Correction tool to select the reds and then dragged the Saturation slider back to -100, removing all colour in this area. Since the background is already white, the effect is pretty good and to a casual observer, you’d never know there was a problem.

By selecting other colours, further refinements can be made. In theory, I didn’t need a separate adjustment layer to achieve this result as there are no reds anywhere else in the scene. However, the combination of a local adjustment layer mask and what is effectively ‘colour masking’ can be very powerful.

To complete the image, two more local adjustment layers were added, one to increase the clarity around the leopard seal, and a second to add some highlights to the subject’s eyes.

The image was enlarged and using a small brush, the eyes were masked. Then it was simply a matter of adjusting the exposure and contrast sliders to produce an effect that was natural – well, at least it is natural to my non-technical eyes.

While I might not be able to adjust the light like this for scientific applications or even a book on wildlife, as an improvement for an album or audio visual on my trip to Antarctica, it seems to give the leopard seal a little more zest.

To see more of Peter Eastway’s images on Antarctica, visit his website at http://www.petereastway.com/showpics.taf?portno=57&PortName=ROCKHOPPER%20EXHIBITION

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Applying Adjustments during import

July 1, 2011 by Leave a comment

With Capture One Pro 6, it is possible to apply Presets and Styles during image import.

By doing this, your images will have the desired look, as soon as they show up in the thumbnail browser in Capture One.

For instance, if you are out shooting for Black and White, you can have all your imported images shown in Black and White according to your chosen Black and White Preset or Style

After Import, all images show up according to the selected Black and White Style applied by the Importer.

When inserting a CF card into you card reader, the Capture One Importer will launch automatically. If additional image application has been installed on your PC/Mac, you may have to choose the Capture One Importer among the different importer choices.  

In the Importer, you find the Adjustments tool. Here you can apply Adjustments to your images during import.  Your adjustments just need to be saved into a Preset or a Style.  Presets and Styles are the same – a Preset just comes from a single tool in Capture One while a Style can hold any number of Presets from different tools.

In this case, I chose to apply my Black and White style named “B&W style 1”.  When hovering over the Style, a yellow info field pops up showing the tools involved in the Style. Note that the images in the importer are always displayed by default rendering and not with the style applied.  This first happens during the actual import.

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Photography Travelogues by Peter Eastway – Karijini National Park 3/3

June 8, 2011 by Leave a comment

 

Living Dangerously In The Pilbara 

One wonders how it happens, or perhaps why it happens. As I walked over to the lookout above Circular Pool at Dales Gorge in Karijini, the first thing that struck me was the sheer red cliff face stretched across the horizon, backed by a rich green canopy of wet season foliage. The sun had set and there remained a hint of pink in the blue sky. Everything was bathed in a soft, delicate light. And then I noticed the equally delicate position of a large gum tree, hanging on precariously to the edge of the precipice. How long would it last on such a narrow perch?

Although situated in the remote Pilbara region of Western Australia, the tree reminded me of another tree similarly perched on the edge of a ravine at Epupa Falls in Namibia. I’m not sure if the baobab is still there, or if the falls I visited 30 years ago have succumbed to a planned dam, but I remember spending hours in the darkroom refining the black and white print and using a brush with Farmers Reducer to bleach back the tree.

However, there’s no need to bleach back the white gums in the Pilbara. In fact, the trick when photographing them is to retain detail in the tree trunks so they don’t reproduce as ugly white blotches. To process this file in Capture One Pro 6, I began with a base exposure that retained full detail in the tree trunk.

One little trick I discovered by accident when processing my files, was to begin with one of Phase One’s ICC Profile presets under the Base Characteristics tool. Normally for landscape work, I’d use the Outdoor Daylight profile, but I found selecting the Portrait setting added in a lovely warmth. (Of course, the availability of this feature depends on the camera you’re using as not all models have a range of settings to choose from.)

To refine the image, I used the Exposure, High Dynamic Range, Clarity and Vignetting tools which I have collected together under my Quick tool tab.

The main issue with this photograph was the difference in exposure between the sky and the cliff. They required different exposures, but this is easily fixed using Capture One Pro 6’s new Local Adjustment tool. I chose to set the exposure for the cliff face correctly with my background layer, and then add in local adjustments to darken down the sky and increase the colour saturation of the green trees.

I also named the local adjustment layers, but I confess only because I was posting this blog, but it is a useful feature as instead of ‘Layer 1’, you can call it ‘Sky – First Pass’ etcetera.

Whether using layers in Capture One or Photoshop, I’ve found it is better to build up an image with two or three small adjustments, rather than one strong adjustment. I also prepare separate, slightly different masks for each local adjustment, the idea being I want my adjustments to be ‘invisible’ when finished.

To darken the sky, I used the Local Adjustment brush to paint in the sky. I find making a precise mask problematic, especially where the sky meets the earth, so instead I use a large brush with a soft edge (setting 0) which feathers the transition nicely. With the selection made, I then used the Exposure and Contrast sliders to darken the sky.

The next local adjustment selected both the sky and green foliage, again using a large brush with a soft edge. This time, I increased the contrast slightly, but I also used the Advanced Colour Editor to select the greens of the trees and increase their saturation.

After reviewing the file, I felt the sky was still a little light, so I repeated the process for the first local adjustment, but with a different mask and slightly different settings for Exposure and Contrast.

From here, the file is ready for processing for web, slide show or printer, straight out of Capture One Pro 6.

To see more of Peter Eastway’s photography techniques, including his Landscape Photography MasterClass, please visit http://www.betterphotography.com/.

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Photography Travelogues by Peter Eastway – Karijini National Park 1/3

June 6, 2011 by 5 Comments

 

In the coming weeks, landscape photographer Peter Eastway will share his passion and knowledge about photography with the readers of the Image Quality Professor’s blog. Peter will take us with him through his recent photographic experiences in Karijini National Park. He will write about his preparations, what gear he uses and finally how he uses Capture One to get the best out of this photos.

Karijini National Park is one of Australia’s largest national parks, and arguably one of the most spectacular. The park is famous for its sheer gorges, waterfalls, cool swimming holes and amazing photographic opportunities.

Hancock Gorge, Karijini, Western Australia

Some places are simply difficult to get to, but the effort is worth it.

Carved out of the iron-rich stone of the Pilbara region in Western Australia, Hancock Gorge lies hidden in Karijini National Park. Leaving the dry heat of the surrounding desert, the trail to this tapering cascade starts with a steep descent down a rough bush track, followed by a rickety steel ladder. This brings you to the bottom of the gorge and from here it’s a further kilometre of rock-hopping, scrambling and swimming to get into position. The most difficult section is a crab-walk along a 200 metre rock wall, its near vertical sides punctuated by narrow, uneven ledges. It would be quite fun without 20 kilograms of camera gear on your back, a large tripod and just one spare hand.

Shoes are off for the last stretch down the narrow Spiders Trail, the cool water rushing around your feet, your legs pushed out to the sides of the cutting for balance, before opening up into a beautiful swimming pool and the cascade at the far end.

Of course, for many people, getting down into Hancock Gorge is a stroll in the park. If you’re fit and active, it’s not a problem, but you need to be careful. Every year there seem to be a few walkers who are seriously hurt or even killed because they didn’t watch their steps carefully enough.

Each time I visit Hancock’s Gorge, it’s different. The time of day and cloud cover affect the way the light bounces off the gorge’s walls, creating different colours and reflections. And rain followed by flash-floods re-arrange the large rocks and boulders strewn along the gorge’s floor.

However, one thing that remains the same is the sense of tranquillity I have as I set up my camera. There’s no need to rush as the light won’t change too quickly. Tripod legs can be spread across the watercourse and the camera pointed down. Generally speaking, a wide-angle is useful for tight locations like this, but maybe not as wide as you think.

As you can see by referring to the original image above, I ended up cropping this photo, choosing a square format so I could centre the water cascading over the stone steps. I also tilted the frame so the image looks level. I actually think the camera was perfectly level when I took the frame, but when I cropped the image, it looked too angled, so I used the Rotate Freehand tool to make it look visually correct. This left a sliver of image missing in the bottom right corner, but this would be easily fixed after processing out the raw file using Photoshop’s Content Aware Fill feature.

After cropping, I have used my Quick tab in Capture One Pro 6 to set the exposure, contrast and colour saturation accurately for the entire image, except the bright flowing water in the centre. When you’re sitting in this position, you’re keenly aware of the colours in the rock, but they don’t always translate onto the sensor because of the cool, blue skylight illuminating the scene. Capture One Pro 6’s Advanced Colour editor let me select the yellows and blues in the rock and give them a little extra saturation.

I also remember seeing the pools down the bottom of the gorge as being iridescent green – they certainly are when the sun is striking them directly in the middle of the day, so I decided this needed to be corrected as well. This meant I had two areas in the image – the flowing water and the distant pools – which needed local adjustments. This is where Capture One Pro 6 really shines!

I add a Local Adjustment layer and worked on the flowing water first. When you use the Local Adjustment brush, you can control the area you want to change by adjusting the size of the brush and the edge of the brush (whether it is ‘hard’ or ‘soft’). This means you can be as accurate as you need to be, but I’m a bit lazy and prefer when I can to use larger brushes with a soft edge. This lets me feather the local adjustments into the image, so you can’t easily see where the adjustment begins and ends. I like to think of this as ‘invisible editing’ – you know I’ve done something, but you can’t really tell where!

To control the water which was overexposed, I found that darkening it made the image look a bit muddy, so I also increased the contrast setting. This rescued some of the detail in the rocks below the running water, while maintaining some white highlights and sparkle.

For the distant pools, I added a second Local Adjustment layer and using a small brush with a hard edge (around setting 80), I carefully selected the two small pools. I then used the Advance Colour Editor to change the golden yellow colour to a more ‘accurate’ green.

Hancock Gorge is a place you never tire of and I can still see some angles I have yet to try.

To see more of Peter Eastway’s photography techniques, including his Landscape Photography MasterClass, please visit http://www.betterphotography.com/.

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Color Editor – Selecting the right color range

May 26, 2011 by 2 Comments

In the Color Editor in Capture One Pro 6 under the Advanced Tab, it is possible to do selective color adjustments.

With the Color Picker, you can pick a color in the image to select the color range you want to work on.

Use the “View selected color range” check box to check that you have actually selected the color range you expected.

Adjust the color range to match exactly the color you want to work on or try to do a new color pick.

On the image to the right, the “View selected color range” check box has been turned on to verify that I have selected all the greens. Once I am satisfied with the selected color range, I turn of the check mark and make my color corrections.

Adjusting the color range for the selected color:

Before starting to adjust a color in the Advanced Color Editor, it is highly advisable to make sure that you have actually selected the right colors.

With the check box “View selected color range” turned on, I use the Color Picker to pick the green stalk of the strawberry in order to select the green colors.

Immediately, I see that I indeed got the color of the stalk but not the color of the leaves.  The color of the stalk is too bluish green, compared to the color of the leaves to be included in the color range of the pick.

Now, I can adjust the color range by dragging on the round handles around the selected color.

In this case, I dragged the handle on the color circle’s periphery. This handle allows me to change the hue of the color range. Here, I made the color selection more yellowish green to include the green hue of the leaves.

I also adjusted the Smoothness slider a bit to allow a wider color selection. The Smoothness slider determines how far into the adjacent colors, the color selections reach.

Be careful when using very low values of smoothness in combination with dramatic color changes as this may lead to sudden unnatural color shifts.

Once satisfied with the color range, turn off the “view selected color range” and do the color corrections.

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