Join Richard Klein for an in-depth discussion in this video Raw conversion of the arches image in Capture One, part of Enhancing Exterior Architectural Photos.
I'm in Capture One and I've got this ZenArch_01 raw file up. And this image was shot directly into the sun, so we've got a little bit of lens flare. We've got a loss of contrast due to that. So, we're going to need to compensate for that in the adjustments that we make. So, first up will be the color tab. So, lets go to the color tab and change Product Five to Product Four. It's a more neutral profile. And overall our color looks pretty good to me, so we're going to leave that alone.
Next, we'll go to the Exposure tab and I'm noticing that we've got clip highlights, so we'll recover our highlights first. I'm going to drag down on the Exposure slider. Right there, til we just get those highlights back in. The image needs more contract because it was shot right into the sun. So let's go ahead and grab the Contrast slider. We'll pull that up into about that range and we're going to need a little more Saturation, as well. The image is a little dark at the moment so when we brighten it up I think this contrast and saturation adjustment will probably look pretty good.
I'm going to come down to the curve and brighten up the mids a bit. That's good and let's pull our highlights down just a touch. And we'll keep our shadows from getting too thin. There we go. Now, the image still feels a little heavy to me. It was shot in the morning. It should feel more bright and sunny and happy. So, I'm going to add shadow recovery from the High Dynamic Range slider. To right thing back up a bit. Great. Ok good. That's looking just fine. Now onto the Lens tab.
The image we shot with a 55. So we'll put that profile in. I'm going to Analyze for Chromatic Aberration. Anytime you're shooting into the sun especially we want to deal with Chromatic Aberration because that's when it really shows up. Next, we'll go to the Geometry tab and we'll take a look at the perspective overall. Even though it feels like it's leaning slightly to the right. I think what's going on is that it really is the way this front arch is standing. When I look at the arches in the background, they look fine.
So I'm going to go ahead and leave all of that the same. And then we'll go over to the Details tab. And we'll put in our production sharpening which would be to reduce the Amount to 100 and to pull our Radius back to 0.6. Very good. Cmd+Option+0 to zoom into 100%. Oh, there's our lens flare. We'll be looking at that in just a couple of minutes but right now let's just have a look at noise. And noise looks just fine, I don't see anything we need to do there. So let's on to the lens flare then.
Let's come back up where we can see it. We'll go into the Adjustment Layers. And as I look at this, what I'm really seeing is is that we've got magenta down in the bottom. Then we have blue and then cyan on top. So we'll make three separate layers. And we'll desaturate each color separately so we can have control over each. And then we'll probably have to come back and darken it down a little bit as well. So with that in mind, let's get started. First thing I'll do is make a new Adjustment Layer. And we'll call this one magenta.
Very good. I'll pick up the brush. And you'll notice as I click and hold that we're going to be drawing the mask and we're only going to see the mask while we're drawing. Which is the behavior that I'm looking for. So I'm going to use the right bracket key to reduce the size of our brush. And I'm just going to paint a mask in. And I'm just painting over the magenta area, very good. So now we'll go to the Color Editor. And please note that I'm in the Advanced Color Editor. If you've come to the basic default Editor jump over to the Advance Editor.
We'll pick up the eye dropper and go looking for that magenta color, which I found right there. You'll notice that it's been placed into the display for us. I'm going to increase the smoothness which means that we'll be gathering more colors beyond the color that I sample. And then we'll pull the saturation down. And you can see it does a good job of getting rid of that magenta. So next up we're going to go after the blues. So we'll make another layer, we'll call this one blue. And we'll draw our mask. I'll make my brush a little bigger using the right bracket key.
And we'll get a selection of our blues here. Very good. Back to our Color Editor. Go get an example of that blue. There we are. We'll increase the smoothness again and we'll pull our saturation down. And let's have a look at it. That actually is a little too much. I'm going to add a little set back in that blue. Because the tree has kind of a bluish green color too it and we may want that when we get back into Photoshop. All right, so not let's get after the cyans. So we'll add one more layer. We'll call this one cyan. And we'll use our brush to make our selection.
You know you could go into the Color Editor and do all of that work and then come back and paint it in and watch the change come in. I'm just working this way because it's the way I'm choosing to do today. So we have our mask drawn, so we'll jump over to the Color Editor and we'll go in with the eyedropper. We'll select that cyan color. It's kind of a cyan green. We'll open up the smoothness again to grab some more of it. We'll pull the saturation down and let's take a look. Okay, well that looks really good to my eye.
We do have a little bit, a few other things here to deal with, but I'm not going to do that in Capture One. We'll do that in Photoshop. This is all we really need to get done here. So the last thing were going to need to do now is we need to dark this area down just a bit. So, I'm going to go back up to the Local Adjustments. We'll add one more layer to it. I'm going to call this bright, because I'm going to adjust the brightness. And I'll grab the brush. I'll make it large. We'll get our selection. Very good. I'm going to go into the Exposure tab this time and I'm going to pull down on the brightness just a little bit.
And at the same time we're going to push the contrast up. Let's bring the brightness down just a smidge more. A little more contrast. Okay. The tonalities are not looking too bad. So I'm going to zoom out so we can have a look at it zoomed out. Sometimes it really helps to see the work. It's still showing up. We still have some problems up there but we'll take care of those in Photoshop. Let me show you what it looked like before and after. What I'm going to do is hold down the option key and click on this icon. And what that will do is take our changes out so you can see the before and after.
And I'm going to say that that's pretty good. It's a good first step. So, we'll go ahead and export this image. I'm going to come over to the Process tab. And we'll just double check to be sure that we're using our 16-bit process recipe. And in file, it's showing that Chapter Two is where we're going to put the file. So, what I'm going to do is click and we'll select Chapter Three. Very good. We'll take a look at our process summary, everything's looking good here. So, we'll click Process. Okay, so we've made the basic adjustments to the ZenArch file.
We've begun the repair for the sun flare up at the top. Our next step now would be to go into Photoshop and finish things off.
Want to see where it all started? Watch Richard shoot two beautiful homes, one Zen inspired and one midcentury modern, in Architectural Photography: Exteriors.
- Enhancing details in the raw image
- Sharpening in Photoshop
- Dust spotting
- Processing with the Soft Light blend mode
- Adjusting color and tone
- Removing elements from the final shot