And what you described, doing a load of adjustments in C1 to export to Photoshop and refine, is the exact process a ton of professionals use. So I have to ask, what data are you sourcing your conclusion from? Non destructive editing is crucial to workflow especially if you have a client who might want a revised edit. Making base, exposure balancing, and color correction adjustments and then exporting to Photoshop for cleaning and retouching is a very common practice.

You can then make color grading adjustments in photoshop or capture one. While it’s less common, you can color grade before retouching if color revisions are decided on ahead of time or for less particular client processes, like model portfolio work, portrait session, etc.

Nothing to add? Attack the person. I guess not. To be more precise in dodgung burning use two separate layers and add a luma range to your brushed mask. Then, only the light or dark areas are affected. Agree this is great if you’re only looking to affect luminosity values, and is how I tend to operate.

It is a bit more sophisticated than described but a good way. There is no quality loss in Photoshop if loading a raw file or even sending a lossless file from Capture One or Lightroom to it. This “article” needs to be removed for spreading such completely wrong information. I made the switch from Lightroom to CaptureOne because the Adobe subscription model is not for me. This after using LR for years.

All the discussion about technical nits misses the crux of this “how-to” article about CaptureOne. If Adobe products work for you, great.

Stick with them. If CaptureOne works for you, here’s a how-to article. Did you get a decent photo with your Nikon-Canon camera? Were you able to produce photo art with your Lightroom-CaptureOne software? Pick one. Perfect your art. The art of Debate? There are forums for that too. I guess with low settings and some practice you can avoid having to repeat yourself when dodging and burning in C1, but a HP would make life easier for a lot of editing in C1.

It seems every article I see on Capture One is usually only portrait photography and all about skin tones. That’s great, but would love to see something where it’s used for Astro photography or more Landscape photos. Since Sony had this as a free version essentials for use with their cameras, awhile back I paid to upgrade to the Sony Pro version 11 , and then later upgraded to version Forget it. I’m hoping it’s just the current exchange rate?

At least the Adobe bundle can do all kinds of stacking focus , pano stitching, HDR etc as well as editing and library management. Forgive me if I’m wrong but I’ve yet to see a demo video of Capture One doing anything other than retouching skin tones or shooting tethered. So I guess it’s a product ideally suited for portrait photography? There are so many articles about the tools in C1 but I found nobody telling us one very import thing: Batch editing in C1. Everyone tells it when doing 1 image but in practise I edit ‘s.

My final step is doing the dodging and burning. In LR I just pick my brush and set it up for dodging or just pick the preset I use. And then dodge. When done I go to the next photo and I don’t have to change a thing. I can just brush in the parts of the photo I want to lighten up. So every photo doesn’t take more then seconds. When I am in C1 and pick my brush and do the dodging and then go to the next photo, I still have the brush selected but I can’t start dodging right away.

This alone is a reason to stick to LR. Maybe I am just doing it all wrong :. Home Originals Lightroom. Log in or register to post comments. Thanks for this tutorial, It quickly presents the basics in an easily understood manner. Jay McConnell – January 16, “whereas with Photoshop, you are working on a lossy file that degrades as you work it” What? Author seems a bit clueless. This article is a joke. Kishore Sawh Jay McConnell – January 17, [Edited] Hi Jay and Hugh, I appreciate how the nuance here might be cause for discrepancy as it’s a common misunderstanding I’ve encountered in my years teaching both Photoshop and Lightroom, but to be clear, Photoshop is not a raw editor.

Mark Harris Jay McConnell – January 28, You are exactly right and this person shouldn’t be making ‘articles” with such terrible misinformation. Holly Roa Mark Harris – March 28, [Edited] Kish is correct, when you’re working in Photoshop you aren’t working with the raw file, so you have less latitude for highlight and shadow recovery.

Black Z Eddie. Kishore Sawh Black Z Eddie. Stick to photoshop. Jens Sieckmann – January 17, To be more precise in dodgung burning use two separate layers and add a luma range to your brushed mask. Kishore Sawh Jens Sieckmann – January 17, Agree this is great if you’re only looking to affect luminosity values, and is how I tend to operate. Mark Harris – January 28, [Edited] There is no quality loss in Photoshop if loading a raw file or even sending a lossless file from Capture One or Lightroom to it.

A history palette in C1 would render PS almost redundant for me. Many thanks. To accomplish this, we will make adjustments to both the RGB curve and the Luma curve.

Upon creating a new corrective dodge strong layer, proceed to the RGB curve and adjust the Input and Output values to and respectively, and the Luma curve Input and Output values to and For the contouring pair of layers, the settings are the same as the standard dodge and burn layers outlined above but with a slight twist.

To round things off, we need to create the helper layer. The adjustments to be made here are not set in stone as we just need to achieve two things. We want to reduce the luminosity of our image and take color out of the equation. This will allow us to better see the areas within the subject that need our attention.

To get started, let’s create the Helper layer itself and fill the mask from the […] icon in the top right of the layers pane with the “Fill Mask” option. If we skip the fill step, the effect will not be visible. Given that black and white tools can’t be applied to layers, we will remove color by adjusting the Saturation value to Next we set the Exposure to To further refine the helper, in the High Dynamic Range section, increase the Shadow value to 15 and the Clarity value to 5. This will prevent the blacks from going completely dark as a result of our exposure and curves adjustment and clarity will further amplify mid tone contrast.

Now that are layers are all set up and ready for us to paint, the last thing we have to do is set up our brush. First let’s turn on the helper layer to reveal the areas that need work, then select the desired dodge or burn layer. Next proceed to select the brush tool as shown below and right click anywhere on your image. At this point you are ready to begin painting and will do so in much the same way as you did in Photoshop. At first it’s wise to see how much you’ve painted and verify that your brush size and flow rate are good by toggling the mask on and off as you go.

To do this, use the ‘m’ key once to turn the mask on, then once again to hide it. Our focus in this article was to guide you through the setup process for dodging and burning. The actual technique itself is more difficult to explain in words and for that I recommend watching our video below which makes this more clear. If you’d like to skip over the healing explanation you can forward to the 7 minute mark. The above video was recorded just before the release of Capture One 20 The overall steps for dodging and burning remain the same however.

Close search. Just added to your cart. Continue shopping. Accelerate your Workflow No doubt that by now you are thinking about how you can simplify or automate this process given that creating 7 layers manually is quite tedious.

Corrective Dodge and Burn The first thing you will do is create a layer named corrective dodge and on the RGB curve, set your Input value to and your Output value to as shown below. Corrective Dodge and Burn Strong The strong layers are much like the above, but as the name suggests, much stronger in their effect. Contouring Dodge and Burn For the contouring pair of layers, the settings are the same as the standard dodge and burn layers outlined above but with a slight twist.

The Helper Layer To round things off, we need to create the helper layer.

 
 

Capture One 21 Review: Dehaze, Speed Edit, and More

 

This functionality is pointless. No serious editor is going to do a load of adjustments in capture one then export to another format degrading image quality and start again. This article is really misleading and does a disservice to people who are looking for proper editing solutions.

What an ignorant and baseless comment. It’s not uncommon to use one software then, continue editing on another. The fact you said, “and start again” suggests you don’t know what you’re talking about. Your troll rant is misleading and does a disservice to people by making them think Photoshop is the only way. It’s not. And then there’s me, using Capture One as a library and an editor with no issue for the last two years.

And what you described, doing a load of adjustments in C1 to export to Photoshop and refine, is the exact process a ton of professionals use. So I have to ask, what data are you sourcing your conclusion from? Non destructive editing is crucial to workflow especially if you have a client who might want a revised edit.

Making base, exposure balancing, and color correction adjustments and then exporting to Photoshop for cleaning and retouching is a very common practice. You can then make color grading adjustments in photoshop or capture one. While it’s less common, you can color grade before retouching if color revisions are decided on ahead of time or for less particular client processes, like model portfolio work, portrait session, etc. Nothing to add? Attack the person. I guess not. To be more precise in dodgung burning use two separate layers and add a luma range to your brushed mask.

Then, only the light or dark areas are affected. Agree this is great if you’re only looking to affect luminosity values, and is how I tend to operate. It is a bit more sophisticated than described but a good way. There is no quality loss in Photoshop if loading a raw file or even sending a lossless file from Capture One or Lightroom to it. This “article” needs to be removed for spreading such completely wrong information.

I made the switch from Lightroom to CaptureOne because the Adobe subscription model is not for me. This after using LR for years. All the discussion about technical nits misses the crux of this “how-to” article about CaptureOne. If Adobe products work for you, great. Stick with them. If CaptureOne works for you, here’s a how-to article. Did you get a decent photo with your Nikon-Canon camera?

Were you able to produce photo art with your Lightroom-CaptureOne software? Pick one. Perfect your art. The art of Debate? There are forums for that too. I guess with low settings and some practice you can avoid having to repeat yourself when dodging and burning in C1, but a HP would make life easier for a lot of editing in C1. It seems every article I see on Capture One is usually only portrait photography and all about skin tones.

That’s great, but would love to see something where it’s used for Astro photography or more Landscape photos. Since Sony had this as a free version essentials for use with their cameras, awhile back I paid to upgrade to the Sony Pro version 11 , and then later upgraded to version Forget it. I’m hoping it’s just the current exchange rate? At least the Adobe bundle can do all kinds of stacking focus , pano stitching, HDR etc as well as editing and library management.

The adjustments to be made here are not set in stone as we just need to achieve two things. We want to reduce the luminosity of our image and take color out of the equation.

This will allow us to better see the areas within the subject that need our attention. To get started, let’s create the Helper layer itself and fill the mask from the […] icon in the top right of the layers pane with the “Fill Mask” option. If we skip the fill step, the effect will not be visible. Given that black and white tools can’t be applied to layers, we will remove color by adjusting the Saturation value to Next we set the Exposure to To further refine the helper, in the High Dynamic Range section, increase the Shadow value to 15 and the Clarity value to 5.

This will prevent the blacks from going completely dark as a result of our exposure and curves adjustment and clarity will further amplify mid tone contrast. Now that are layers are all set up and ready for us to paint, the last thing we have to do is set up our brush.

First let’s turn on the helper layer to reveal the areas that need work, then select the desired dodge or burn layer. Next proceed to select the brush tool as shown below and right click anywhere on your image. At this point you are ready to begin painting and will do so in much the same way as you did in Photoshop. At first it’s wise to see how much you’ve painted and verify that your brush size and flow rate are good by toggling the mask on and off as you go.

To do this, use the ‘m’ key once to turn the mask on, then once again to hide it. Our focus in this article was to guide you through the setup process for dodging and burning. The actual technique itself is more difficult to explain in words and for that I recommend watching our video below which makes this more clear.

If you’d like to skip over the healing explanation you can forward to the 7 minute mark. The above video was recorded just before the release of Capture One 20 The overall steps for dodging and burning remain the same however. Close search. Right-click on the layer in the layers panel, and select Refine Mask. The Refine Mask dialog will appear. The Refine Mask dialog cleans up the edge of the mask for us. Drag the slider until it looks done. In the example photo, we’ve gone with a value of Then click Apply.

If you’re happy with the mask, press M to hide it so we can see the photo. Now we’re ready for the next stage, which is to add our dodge and burn layers. This will copy the mask we created from the Brightness layer to the Burn layer.

 

Dodging and Burning in Capture One How to Do It and Why It’s Great | Fstoppers – What Is ‘Dodging & Burning’?

 

No serious editor is going to do a load of adjustments in capture one then export to another format degrading image quality and start again. This article is really misleading and does a disservice to people who are looking for proper editing solutions. What an ignorant and baseless comment. It’s not uncommon to use one software then, continue editing on another. The fact you said, “and start again” suggests you don’t know what you’re talking about.

Your troll rant is misleading and does a disservice to people by making them think Photoshop is the only way. It’s not. And then there’s me, using Capture One as a library and an editor with no issue for the last two years.

And what you described, doing a load of adjustments in C1 to export to Photoshop and refine, is the exact process a ton of professionals use.

So I have to ask, what data are you sourcing your conclusion from? Non destructive editing is crucial to workflow especially if you have a client who might want a revised edit. Making base, exposure balancing, and color correction adjustments and then exporting to Photoshop for cleaning and retouching is a very common practice.

You can then make color grading adjustments in photoshop or capture one. While it’s less common, you can color grade before retouching if color revisions are decided on ahead of time or for less particular client processes, like model portfolio work, portrait session, etc. Nothing to add? Attack the person. I guess not. To be more precise in dodgung burning use two separate layers and add a luma range to your brushed mask. Then, only the light or dark areas are affected.

Agree this is great if you’re only looking to affect luminosity values, and is how I tend to operate. It is a bit more sophisticated than described but a good way. There is no quality loss in Photoshop if loading a raw file or even sending a lossless file from Capture One or Lightroom to it.

This “article” needs to be removed for spreading such completely wrong information. I made the switch from Lightroom to CaptureOne because the Adobe subscription model is not for me. This after using LR for years. All the discussion about technical nits misses the crux of this “how-to” article about CaptureOne. If Adobe products work for you, great. Stick with them. If CaptureOne works for you, here’s a how-to article.

Did you get a decent photo with your Nikon-Canon camera? Were you able to produce photo art with your Lightroom-CaptureOne software? Pick one. However, many people still do not understand these two tools. Dodging and Burning is an experimental retouching technique that allows us to dodge lighten or burn darken specific areas of the image.

It helps smooth transitions and makes skin, background, product or hair look even and flawless, while preserving texture and detail. Error detection and disc burning have been possible in Capture One Pro for more than three years now, since the introduction of layers in version But the capabilities of these layers have been significantly improved according to time.

Layer masking performance has been improved, allowing you to visualize your changes faster, the number of possible layers has increased. Capture One 20 has a lot of advantages, mainly focusing on three factors: flexibility, quality and portability.

Raw-level editing, which allows you to make changes to all parts of the image at any time, as long as no changes are made and the adjustments of each layer adapt to all. Additionally, help maintain maximum quality by working with raw feed information, not flattening it through the grading process. However, there is a slight downside, is that the number of tools is still more than in Photoshop.

If your edits are too broad, such as a nice image, then you should use Photoshop. However, if you are working on a portrait, you may find that the advantages of staying in Capture One far outweigh the toolkit have diminished. So how can one dodge and burn a raw file in Capture One Pro? So we have to use the traditional mask and curve approach. They are equally simple, but require two classes; One to dodge and one to burn. Creating your layer stack is the biggest difference for those switching from Photoshop, as there are some slight differences in the typical adjustments made.

Depending on how you normally dodge and burn your, you will need 3 to 7 layers as outlined below. Three minimal layers including corrective avoidance lighten , corrective dodge and corrective burn layer to help us visualize areas of attention, by eliminating color distractions.

When needing to brighten or darken impressively, I recommend adding a pair of strong correction recording layers and a strong correction write layer to your stack. However, if you are working on a portrait, you may find that the advantages of staying in Capture One far outweigh the toolkit have diminished.

So how can one dodge and burn a raw file in Capture One Pro? So we have to use the traditional mask and curve approach. They are equally simple, but require two classes; One to dodge and one to burn. Creating your layer stack is the biggest difference for those switching from Photoshop, as there are some slight differences in the typical adjustments made.

Depending on how you normally dodge and burn your, you will need 3 to 7 layers as outlined below. Three minimal layers including corrective avoidance lighten , corrective dodge and corrective burn layer to help us visualize areas of attention, by eliminating color distractions. When needing to brighten or darken impressively, I recommend adding a pair of strong correction recording layers and a strong correction write layer to your stack. After editing, if you want to give your image more depth and dimension through the contouring process, you can do this through another pair of layers we call line dodging.

Now, you might think that manually creating up to 7 layers and applying adjustments to each layer is pretty tedious. After adding your new layer label it as repair dodge and proceed to adjust the curves as shown here. Like its counterpart, we will create a fix log layer and make adjustments to the opposing curves in the RGB curve by setting Input to and Export to For strong adjustment layers, we will make adjustments to both the RGB curve and the Luma curve to make the effect much more dramatic.

For our strong write class, we will make significant adjustments in the other direction. For the dodge and contour write layers, the settings are actually the same as those of dodge and write-fix.

The reason is because unlike in adjustment layers, in creating lines, we are stylizing the image rather than fixing something, so we want the flexibility to amplify or decrease the effect. Reducing the brightness of the image and removing color, will help you detect imperfections that need fixing. The first thing we have to do is create the Help layer and fill the mask from the […] icon at the top right of the Layers pane.

Unlike other layers, this one must be fully filled in to be able to see the effect. Learn how to add a picture frame in this tutorial. Introduction to AI Powered Tools This tutorial provides an overview of the new tools powered by artificial intelligence and machine learning technology in PaintShop Pro.

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