In this tutorial I guide you through the editing of two actual wedding images from start to finish with Capture One Pro. I make use of many of Capture One’s tools and features. This tutorial shows you real world editing using Capture One!
The styles and RAW images for this tutorial can be found here. You could use them to follow along or as reference material. You may even find the styles useful.
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in this video I demonstrate the editing of a couple of wedding images using capture one Pro these are real wedding images from a real wedding which I shot with my a7 3 and 1/8 6000 as a become the complete edits are achieved using only capture one probe which is an absolutely superb tool for this type of job if you would like to try or buy capture one Pro then please use the links in the video description please give this video a thumbs up and also please subscribe there's also a link in the video description to download the raw files and capture Wan styles used in this video you could use them to follow along we'll make a start with this nice image which was taken with the a6000 and just the kit lens I'll use the a6000 as become just for extra or incidental shots the first thing I will do with this raw file is to add my basic preset so here we go styles and presets user styles and wedding basic this style just sets up a few things forming a few basic settings to get me started on each image in the exposure panel it sets the contrast to minus-15 just to soften the contrast slightly also it adjusts a few colors so in the color editor it mutes the greens by reducing the saturation and the lightness it also adjust the hue slightly to push the Greens over towards the blues a little bit and it also alters the hue of the blue by shifting the color slightly towards cyan just a little bit in the skintone panel it selects a basic skin tone a default range and also does some skin color evening for me by setting the uniformity parameters like so not too much just a little bit the last thing that this style does is to adjust the clarity it just gives me a minus 15 on the clarity and this clarity adjustment in conjunction with the default contrast adjustment in the exposure tab gives me a nice slightly smooth and soft starting point I like soft and smooth for my wedding edits ok we've added our basic preset or style which will be included in the download along with the raw images so you can follow along if you want the next thing to do is to set the white balance and as this scene is mainly lit by the sunlight coming through the window over here and there are no significant lights on in the hallway just this tiny little wall lights the Sun is having the most effect so I'm going to choose daylight as a starting point you may have to tweet this but I know from experience that daylight is probably rights because it makes all the whites seem properly white so far so good the next thing we're going to do is to fix this horrible dingy orange a yellow color on the walls I don't like it so I'm going to lighten it up it's pretty horrible and I'm sure it didn't look like mercury when we were there let's go to the color editor and advanced grab our picker select a yellow in the scene now I just want to make sure that I'm only grabbing yellow and not actually affecting much of the rest of the image such as the skin so view the selected color range and we can see we do have skin selected here we will be affecting the skin and I really do only want to be affecting the walls so all we have to do with this is to bring down the smoothness to reduce the rump of the color and then I just move this around and then move the whole pie slice and so we just affect the wall we now have mostly wall are not much skin if any but we're losing a little too much wall here so another little tweak but we go you just have to play with this until you reach a good compromise that's good enough we're not quite covering the wall here and here but I'm pretty certain it'll be good enough for the effect where after just try a little tweak on this no no difference really okay so let's turn off the view selected color range and let's make the ball look nicer so we'll reduce the saturation a bit just bring it down bit by bit fiddle with it until it's where we want sit about there and then our lighting the walls up using the lightness slider I think about there and that's pretty nice and as you can see we basically softened and brightened the walls though I would like this to be a little lighter so I'll just try moving this around a tad more to see if it affects the skin very much good it hasn't affected the skin very much at all and we have nice light even tones on all of the walls next let's take a look at exposure the most important part really I'll just select my hand tool and ship down the unnecessary tabs and then I'll make sure I have the tabs I need open so exposure high dynamic range histogram and levels with these three tools open and my histogram so that I can see what I'm doing I'm ready to attack the exposure the first thing that I'll do with the exposure because this is a very sunny scene and I want to make the whites as white as they can be as white as possible is to set the highlights to 100 to protect the highlights and the whites as much as possible I should be able to push the rights and lights brighten up the scene as much as possible without clipping the whites all very little in any case I'll also just raise the shadows a tad just as a starter I think about there we'll do okay so next we'll just increase the brightness I want the seem to be nice and bright I think around there we'll be fine it looks a bit washed out at the moment but we will be using the levels tool to add contrast in fact we'll do that now so let's just bring in the blacks zoom around I think about 38 that looks pretty nice and bring down the whites I'm bringing down the whites to a point where they're very white very bright but without actually clipping the highlights too much just to the point where the dress or important parts of the scene are not blowing out it's just blowing out here so I'm just going to bring down the exposure a little bit like so there we go and now we can see that we have a really nice bright scene the whites are very bright and on the dress at least the whites are not actually blowing out they're just under now I don't use the exposure warning for this I do it by eye the exposure warnings work fine but I find that the human being is a little bit more forgiving a human can understand the scene now over here it's completely blown out but as it is blown out in the raw file all I can do is try to make it look a bit better I can try to reduce it a bit just to make it so it doesn't look so harsh okay so let's have an attempt at doing something with these highlights so let's first add another layer so layers and plus then press B to bring up the brush then I'll right click make the brush a little smaller move the high dynamic range up to 100 and paint over the highlights just paint away in fact I think I'll paint over the whole of this section it'll look more even it'll look better I think and now we've neutralized as many of the blown out highlights as we can we'll never rescue at all such as this bit here now I'll just bring down the opacity of this layer until I'm satisfied with the amount of high light recovery I think that's about yep that'll do so I've recovered highlights without it becoming too dark which is pretty good and now it is time to smooth the skin we're going to add a nice bit of skin smoothing all we have to do is select our base layer our background layer select the color editor and select the skin tone tab we have the skin tone selected and the uniformity set for the tone range and if I've used selected color range you can see we've mainly got the skin a little bit of the carpet and the wall but I'm not worried about that as I won't be changing the color and select a few selected color range now I'm going to create a layer especially for the skin select the three dots here on the color editor with the skin tone panel active then select create masked layer from selection it takes a second if we go up to our layers we now have a new layer and we'll press M to view our mask we can see our selection with this new layer selected I go to stars and presets and as you can see I've got the styles and presets tool on my exposure tap it just allows me to wizard and down the tools without having to change tabs it just makes things quicker and easier now I'll right click on my smooth skin style and select apply to selected layer and as soon as I hit that let's take a look it's smooth the skin if I turn the layer off there we go and if you look at the skin and I turn it back on it's given us a little bit of skin smoothing and all that does all that preset does or the style does it sets the clarity to minus 50 and because lowering the clarity especially that much will make the skin seem just a bit on the soft side it also adds a little sharpening just to add back some definition as you can see here so my skin style or juices clarity adds a little bit of sharpening and combination is what I use as my default skin smoothing and it works quite well back to the exposure tap that's looking pretty good and the next little job is to add a slight vignette just to even out the scene on the layers tool press + then press T on the keyboard which will start up the radial gradient mask tool then just drag out the gradient mask like Sur and Center it and then once that's done over to the exposure and bring down the brightness just a little bit just until I think the scene the image is balanced I think about there that looks pretty nice that's just dim the outside a little bit it's a really subtle thing but it does make a difference and it helps to focus the eye just a bit into the center of the screen next a tiny bit of cleanup using the spots all but first a notes about the skin layer masking let's quickly go back to this skin layer the skin smoothing layer and view the mask by pressing M at the moment it's applying the skin preset to everywhere where the mask is red but you don't actually notice the skin smoothing effect on the carpets and the walls but if you wanted to you could press e on your keyboard bring up the eraser and just erase it from the areas that you don't want to be smooth but people don't notice it the bride notices that her skin looks nice and smooth or at least she doesn't see horrible skin anyway I don't usually get rid of it I'd leave it as is alright so the last thing to do is a bit of cleanup I know for a fact because she told me that this little mark on her arm here is a burn and she asked me earlier if I could get rid of that burn in the photographs and of course I said yes it's easy all we do is sue grab a spot tool or press o on your keyboard then left square bracket to make it smaller in this case like so and then one click and it's gone let's just zoom out to take a look okay so let's take a look around the scene and see if we can see anything else that needs removing and no it looks pretty clean is there anything on him no no a little bits of fluff or lint absolutely fine spotless let's have a quick look at our work before and after and before and after great this is a real fun image but as we can see it has a few problems it's got an assistant photographer barging into my shot and it's got a groom on the Left who looks like he's doing a great big burp but the biggest thing is that it's underexposed as far as the car and the people are concerned sometimes you can't avoid exposure problems you do your best I did have my a7 3 set 2 spot metering on the face and this is how it came out so the first thing to do is to apply the basics not deal with the exposure in a minute but for now we'll just get right in and add my wedding basic style there we go wedding basic style applied next into the white balance and I'm not going to use shot the a7 threes auto white balance is not that great so I'll set it to daylight and that will give me a good starting point for my white balance I may not even need to change it for the first job we'll do some cropping get rid of these people there at the edge of the photograph crop tool and I want to have this central area as a main image right-click to make sure I'm on original ratio then start by dragging the left corner down to get the head near the top a little tweak then grab the bottom right hand corner and bring that up I don't want to cut off her feet okay that's a good start but I think I'd like to just bring it down a bit trying to balance centering the bride with showing more of the driver he was great left deterred and trying to use the rule of thirds roughly putting the rules of third lines vertical lines on both of them gives some symmetry and makes the image look quite balanced okay so that's the crop that's great I like that we've got no photographer no husband they're about the right size nice one after the crop the first thing we'll attack is the exposure and because I want nice bright whites and lights on bring the highlights all the way to 100 and I'm going to bring up the shadows we really need to recover the shadows but only to about 54 now I may change it later it will depend on the rest of our exposure adjustments okay let's open up the tools we need to adjust the exposure exposure levels and histogram shut down the high dynamic range for now I'll just use these and obviously the histogram we need that to see what we're doing or it helps anyway I think I'll start this time with the highlights and bring them down until I think the whites are just clipping which is I can probably go quite a bit further than that let's have a look I'll leave it about there for now then we'll try to bring up the blacks we may not need to add more contrast it's a socket and see thing I'll leave it there for now okay next have a little tweet with the exposure sure I bringing it up a bit no I don't really think I need to do that but I definitely need to add brightness to the scene so bring up the mid-tones with the brightness slider there we go that's very bright and summery and light but the dress is too overexposed so we'll bring this back just a tad I think about there that looks really nice next color I want to adjust the color in the foliage and make the sky more blue the sky looks a little washed out so down to the color editor and advanced first of all select the greens and I think I'll bring the lightness of the greens down a little bit just to give them a little more contrast against the bride in the car this is really a consequence of the image being underexposed to start with let's first increase the saturation to make them a little more colorful then I'll make the foliage darker bring down the lightness and keep looking a moving slider until it's about right that'll do that's great they're more substantial and not washed out at all the greens look nice in the bouquet too now let's take a look at the blues for the sky and the hue is fine it's slightly cyan which is what I like not too far I definitely want to increase the saturation a bit so up with the saturation and I think about there and then darken the Blues down to darken the blues in the sky I don't want to go too dark maybe a bit lighter and I think about there got a nice blue sky and green foliage behind the car very nice I just want to adjust the hue of the car just a little bit to make it a little more magenta on the advanced tab of the color editor select the color picker and select a nice red in the car a quick view of the selected color range that's fine then I'll just move the hue left towards magenta and there we are that's about right yep – 10 a nice round number and it looks fine next just darken that magenta a little bit make it a lot more rich that's really nice and I think that's much nicer it's looking very pretty indeed and next I'm going to add my vignette select layers press T for the radial gradient tool and as soon as I start drawing with the radial mass tool it will add a layer for me add a mask layer then just stretch out my radial mask and like so check it's in position and that looks absolutely fine over to the exposure tool and bring down my brightness just a little bit until I think scene is about balanced and then for even finer control adjust the layer opacity and it's a really nice way of checking it – using the opacity gives me very very fine control oh like a sub control after the brightness control it's just what I do you're getting to habits when you've been editing for a long time and I think that's really nice yep very good that evens out the scene very nicely that's the vignette done so the next stage is to smooth the skin so here we go down to the color editor Colette deter make sure our background layer is selected and then go to the color editor not color balance that's the color balance go to the color editor and make sure we're on skin tone and we'll just have a quick look at the color range that's okay you won't notice the effect on the car so I won't wipe it away I'll leave it as is then select the three dots like so and create master layer from selection and now we have a separate layer for the skin which is already selected like so there's the mask well the skin is selected etc then down to styles and presets right click on smooth skin and apply to selected layer let's take a look off and on and if we do it again lay it off later on now you can see we've smooth the skin and you don't notice it in the car maybe because the car is pretty smooth anyway or something right then let's have a little look around to see if we can see anything that needs fixing there's nothing on our arms I don't touch things like moles or birthmarks unless I'm specifically asked to because that's who you are really isn't it of course I will get rid of a big sit that appears on the end of your nose on the day or a bird or a bruise or something like that if I'm asked to or if it really needs it let's just check to see the skies clear yep it's fine all the skins fine brick clean and we're done we've cropped out the people and fix the under exposure and it looks great let's take a look before and after and before and after lovely [Applause] [Applause]