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Review Images in Capture One

Lesson 19 from: Environmental Portrait Photography

Dan Brouillette

Review Images in Capture One

Lesson 19 from: Environmental Portrait Photography

Dan Brouillette

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Lesson Info

19. Review Images in Capture One

Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.
Next Lesson: Raw Processing


Class Trailer

Class Introduction


Introduction to The Environmental Portrait


Environmental Portrait Purpose


Personal Work


Find Your Process




Purpose For Action Editorial


Prepare for Shoot


Lesson Info

Review Images in Capture One

So what I want to do next is I want to kind of go through some of these shots. And I don't necessarily want to, let me get back to my notes, make sure we did everything. So I had white cover image, white close up, gray dramatic lit, hard-light, directional or flat from close-up, and a soft light. So we pretty much did everything plus a few other additions. And then from the shot earlier when we had the studio, or the environmental; different angles, stand up sit down, for me, do two light, do three light, get movement - dribbling, long lens/cinematic. Remember horizontal and vertical. Action - Dribble, sit down, I didn't do that cause I didn't want to move the light too much. So just some things that keep me, oh and then I have jacket on, jacket off. So, just to make sure we get everything. I think we did plus a few things. So I feel good about that. We took, you know, 263 tethered shots. Who know how many are on the card because it came unplugged. Probably just a few, it didn't come u...

nplugged too much. But I really like these shots here. As far as having a little attitude and personality. So the next thing I would do, let me look at one thing real quick to make sure we got it. And these are why I keep these notebooks I go through these things like crazy. So I want to make our selects. So what I do for making selects is I just order them all by how they came in, filename. How they're in the computer already. I start with at the top and I go through each image setup. And in capture one, you can see underneath these thumbnails you have these dots. The image I have selected, if I hit one it makes one star, if I hit five it make five stars. So if you hit zero it gets zero stars. So what I want to do is quickly scroll through and I have a shot in my head. As a photographer I know there's certain technical details I'm looking for, there's certain mood, there's certain things I know we were striving for on the actual shoot. So if I feel like it is good enough to make the next round I'll just give it a one. So I'm just going to quickly go through and things like that reflection in the window, oh hey. I know people have commented on previous classes. If I'm ever selling lenses on the internet do not buy them. Cause I can't guarantee function. But anyways I'm not going to deal with things like that reflection on my first edit. Because this shots not strong enough to go on and Photoshop that window. You know, this one on the other hand might be there. I really like that, I'm loving this haze we got from the, from the light that was up high. It kind of looks like there's some sort of dust or it's the sun or something, I'm loving that. So again, these are just instinctual. I'm not going to go back and look at these again. I'm just going back I'm going through. I'm being, you know, pretty liberal with my approach because I'm going to go through them again and add more. So I'm just looking for like, that silver thing I did not want to go through his face went through his face but I still like this shot. It's not an impossible fix by any means, its just annoying. So I'm just looking for the shots that have a a good feel for me as a photographer. And that I feel represent kind of what we were going for in this shoot, and feel authentic like it was an actual moment. So again, I go through them pretty quick. People will give me grief, they'll say oh you shot 800 images on a two hour shoot, or whatever. They're digital they're all going to get We're not paying for film here so why not if there's moments be captured I'd rather have them then worrying about getting a new external hard drive. And that's why I shoot a lot because you never know when the eye contact or whatever is going to be just right. That you get that shot you want. Yeah, and there's that one without that grid. And again even these, I'm not going to use any of these in black and white. I'm going to take them back to color. But I know what I'm looking for. And I know the lighting is all properly exposed because its the same metering done throughout this entire process. So I'm just looking for moments that feel like flattering to both Brock and the lighting, everything kind of lined up. And that they're sharp. So we're just going to go through those. I'm giving all these one star. I'll show you how we transition to giving some- making our final selects here shortly. Alright now we're onto the white so I know these first ones were Tess. There we go that's pretty sharp. That's different fill lights so you can see how we went from no fill, to light fill, to full fill, to going back down because it was to much. Just making- if this were for a magazine I'd be picking out my favorite ones from each section. So they'd get a variety of poses but I get rid of the garbage shots first because if you give them the garbage shots for some reason they always pick the ones that you hate the most and I never know why. So I try and give good variety of shots that cover everything but get rid of the obvious ones that if they end up published I'll cringe or not want to share. So I try and give as much as I can without giving away the things that I don't care for. And again you can see how we work from far away to close. And again you can crop if you want but I'd rather have resolution and shot it up front. On to the next lighting setup. Yeah, these were, there's some potential in here. This soft light setup actually worked pretty slick. And then the most recent setup. We'll get rid of that one now. There we go. I like that moment there. Some attitude. I like that, a little bit of eye contact. Some action, that's good. That's good. I'm pretty good with that so now what were going to do is we're going to sort them. We have 262 images, we're going to sort by rating. Scroll back up to the top. All of our one stars have now moved up the ladder. And we went from 262 to 34 images. So that's a pretty good cut. We got rid of a bunch of stuff. I'm actually okay with that, I'm going to two star just a couple of them that I want to edit later. I like that one a lot. I like that one a lot. I like a lot of these quite a bit. But I can't do them all. I'm going to reset this one back to color. And then I'm going to apply these settings to that shot so it kind of fits in and matches all those. Same thing here, we're resetting it and pasting. Same thing here, just takes two seconds it's worth doing. I like that one. Alright so now we've got, we've went from our 34 selects down to what I think will be the final cut. These ones would get processed to high-res jpegs. We have nine images out 262. One outfit, a couple different setups. Its not often you're going to look at a magazine that has nine different images of one person in it. So, you know if I can go through a whole shot. If I could get two images from this side and two images from this side that are stellar. I would be pumped because that's enough to make a new section of my website or a new you know a new submission that has new content. And it's enough to throw in an email promo and say hey I just did a shoot of basketball player and here's some new stuff. So, its just kind of how you want to work it and how you want to think of it. A lot of photographers get mad if, you know. You're not shooting, you know, a wedding, you don't need 400 good shots for a bride to go through. That's why weddings are really tough because you need so much good stuff in a high pressure environment. With these type of situations I just need a few good shots. In a controlled environment, if something goes wrong I can just have them do it again. So, these would be the ones I would process. So that's basically how I'd go through, make my selects. And then we'll get into the whole exporting and processing thing in the next chapter. But that's pretty much all I got there so if we want to have any questions or anything like that I'd love to hear. I know we went over a lot from all the different lighting setups and now making select so there could be a little overwhelming amount of info. But hopefully it's enough to digest and we can kind of take that moving forward into the next chapter. Well I agree with Nicole's comment who says, "Wow, nice narrowing speed. I take way too long, so." (laughs) Yeah, and you can't let your emotions get into it and have this picture in your head. It's either a yes or a no. And usually your instinct is right. And if you're not good at editing yourself or culling through, have someone who is. I know a lot of times if I get a connection to a set of images, one of my good friends Victoria Wells, she's a great editor. I'll send the whole lot to her, I'll make a web gallery and I'll say star your favorites through a site like ShootProof or something. It's like, pick four and you don't need to say why. I just will go with those four because you know. Sometimes you get a little connection to your work. Weather its the subject, location, the circumstances. And that's another great, another great thought off of that is sometimes in your portfolio. And we'll get to this later on. You know, you'll have that weak link image that you don't understand why it's weak but everybody else is like oh this has no impact, but its that emotional connection. And there might have been something great from that shoot within the entire take but you get a connection to these images, so. Yeah, I take all emotion out of it and I look at it from the stand point of what has the most impact visually. And what hit the shot for me that I have an instant connection, star it, and move on. That's great advice. Question? Yeah. As far as building out lighting equipment and setups, and what not. We've seen a fair amount of stuff today. I'm wondering if you ever recommendation as far as us here and those at home who may be starting to build their own lighting setups? Maybe something used most often, most versatile, light modifier? Yeah, yeah. Kind of a first direction for us here and those who are watching to move towards? No that's a great question and I think as far as actual hardware goes for the lights themselves, that's up to your budget and what you can afford. I have had every type of lights from a full set of AlienBees, to Hensel lighting equipment, to Norman ighting equipment, to now Profotos. Had I bought, I couldn't afford Profotos in the start. But had I bought Profotos earlier I wouldn't have had all this other equipment that I've definitely spent more money on. And one of the things that I love about these is the fact, this is just not a sales pitch by any means. But, the fact that the flash tubes are flat. When I had the AlienBees and the Hensel Lights. I broke so many flash tubes that the amount I saved in money buying those could have been made up for in flash tubes. So just things like that. But as far as modifiers go, where to start. You guys all saw what I shot today. So if there was a quality of light at you liked if you go back and watch you might say oh I really liked how that beauty dish looked. You know, it's more so how you use it. But for me, it's that soft lighter umbrella. That 46 inch, I think that things great because you can move it around, you can also take the baffle off and you have a silver umbrella so it's kind of a 2-in-1. I also really like the beauty dish because it has you know it's qualities, plus with that grid you can really, you know, really make the light do what you want to do. So again, I think earlier I said if I had to have three I'd have that Photec, which it under $100 bucks. I'd have the Beauty Dish with the grid. And then I'd have one of these harsher light reflectors weather its a seven inch or a magnum. And I'd kinda just go from there. And the rest you can modify by using V-flats or reflectors to kind of massage the light to make it do what you want it to do. Thanks. Yep Great. Great question. Any other questions? We did have a quick question from a photo maker online who said "does it matter if the umbrella has the silver or just the white interior finish for the impact on the lighting emitted." And that is when you had that sock over it so I don't know. Yeah, so, the question was what? Oh, Was what's the difference between the white interior and the silver interior. So the silver interior is just going to reflect more light so it's going to have more specular highlights. If you have the sock on it and you put the silver next to the white and you were to meter, the silver one would actually meter brighter than the white because the white one is absorbing more light and reflecting it softly. Where there's more specularity from the silver one. Once you put the sock on, it definitely knocks off that edge so there's not a lot of difference. The Photecs, I don't have it open right now. But that's actually like a really soft satin-silver interior. It's kind of similar between the Profoto silver and the white. So it's kind of a good in between. But once you put that sock on there it knocks off a lot of that specular edge. Great. Thank you. Did you have a question Carlos? When you work in editorial shoots how many photos do you deliver for the client to pick from? Yeah, that's a great question. I mean it really depends on the shoot and their shot list. Because a lot of times they will provide a shot list up front. You know, for that turkey call maker. They had a shot list that said we need how to construct- We need to know how to construct a turkey call out of a turtle shell and something else. We need to know how to construct another- So, they had a shot list where it was at least ten steps for each one so all of a sudden my deliverables were like 200 images. Where if it's a portrait, I did a shot for Time Magazine a couple years ago, of a woman for like the 100 most influential people. And I only had 15 minutes to do the shoot. And it was seamless in in this, it was kind of like a zoo type area where she was holding a baby monkey. And for one, this baby, it was a Bonobo. Only had a you know, patience for about five minutes worth of shooting. So then it was like how many shots can I get. I gave them maybe three dozen images. And its like one setup, three dozen images here's everything I shot, I don't know. You take what works because the limitations on each shoot are different. So I try and give the most variety that's technically solid, and let them pick what works for the layout or for whatever they had in mind. But again like I said if there is something that obviously bad I delete that because I don't really want anyone to see it. So, yeah, so it just really depends on the job.

Ratings and Reviews

Julie V

I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!

a Creativelive Student

I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.

a Creativelive Student

Dan is an excellent instructor! He's completely transparent with his thought processes, from technical to creative. He doesn't waste time horsing around or getting off topic, but is structured and sticks to his outline. Every minute watched is on topic, and is understandable. He's sincere and likable. The course is great for anyone interested in this genre!

Student Work