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Image 5 - Black and White

Lesson 45 from: Get The Most Out of Your Photos With Capture One Pro 12

David Grover

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Lesson Info

45. Image 5 - Black and White

Continue building your editing strategy and workflow and work with a black and white conversion. Customize the look of a black and white conversion and make monochrome-specific edits.
Next Lesson: Image 6 - Landscape


Class Trailer

Interface Overview


Customizing Your Workspace and Keyboard Shortcuts


Making Your First Catalog


Importing Your First Images


Virtual Organization


Basic Tool Behavior


Starting Approach to Editing


Next Level Editing


Color Tools Overview


Basic Copy Paste Workflow


Basic Export


Getting Started on an Edit


Adding Layers to Your Toolkit


Radial and Linear Gradients


Luminosity Masking


More Advanced Layers


Removing Simple Objects and Local Adjustments


Advanced Color Edits


Using the Color Range to Select Just What You Need


Editing Colors in General


Editing Skin Tones


Combining Color Selections with Layers


Creating Masks From the Color Editor


Color Grading with the Color Balance Tool


Intro to Second Day


Session Overview


Tethered Basics


Setting Up Simple Sessions and Setting Naming Conventions


Controlling the Camera


Handling Next Capture Adjustments


Using Live View Focusing and Overlay


Selecting Images and Using Smart Albums


Saving a Session Template


Overview of Process Recipes


Tokens Overview


A Simple Round Trip


Sharpening Workflow


Creating a Recipe for Web Output


Selecting with a File Name List


Using Plugins and Sharing to Clients with PRODIBI


Image Review 1 - Sometimes Simple Works!


Image 2 - Radial or Gradient Masks, Object Removal


Image 3 - Keystone Tool and Aspect Ratio


Image 4 - Using Styles in Capture One


Image 5 - Black and White


Image 6 - Landscape


Image 7 - Portrait


Image 8 - Action in Lowlight


Lesson Info

Image 5 - Black and White

Let's take this image from Cuba. And first of all again, I'm gonna begin boy during a crop because I find it a little bit hard to visualize. I'm going to get rid of this guy over on the left hand side. Think he's a bit distracting, and also the TV don't need to see the football. But what is funny is that someone is sneaking in the window over here, which is is great. There we go. I'm going to do a black and white, but it might sound strange, but before I go to black and white, let's just fix the white balance, just in case I might change my mind later. So I think it's worth fixing the white balance. So then, if I do decide it, black and white didn't work, then at least we've got a good color original to go back to. So if we want to do black and white, that's kind of ironically, in the color tool tab. Let's bring out the black and white till dead simple to use, and you have these color sensitivity sliders. So to make a black and white, we first have to turn this on instantly. the image ...

goes to black and white. Then it's a case of pulling each of these sliders on. That changes the density of the color. So, for example, if you remember, the wall at the back here is red orangey red. So if we grab this slider, we can make that darker or lighter. So I'm gonna pull that down quite a bit yellow. I imagine there's a bit in that wall as well, and also the surroundings. I'm going dark in that, too. I doubt there's much green going on. Uh, what color was her top? So we've probably got some science blue going on in a top, so it's dark and that too much magenta wise, not a lot growing on going on. So these sliders, to some extent you can control the contrast of the image and by pulling around those different tones now it's maybe getting a bit dark down here, so this will be a job for high dynamic range. So if I open up the shadows a little bit actual fact, I want to keep the wall dark at the back. But I just want to lift these a little bit. So once again This is something we can attack locally. So I'm going to make a new layer and we call this shadow lift like so I didn't feel the layer because I forgot. But no matter, If you right click, you can say Phil Mosque. So that would just be a short cut to fill the mask over the whole image. So I'm looking down in this corner and thinking, OK, I want to brighten this up to something like that. So now I'm gonna clear the mosque once again. And remember all these actions like clear Mask film asking vert mask. You can do that on a short cut. So which is exactly what I would do it home. So it's much, much quicker. But obviously it's difficult for you guys to follow. So let's say clear mask grabbed my brush nice and big, low flows, or always and then we just lighten up this area a tiny bit like so. But I quite like the fact that the wall is also stained dark. So if we turn this layer off Dan, that's just opened up that corner a bit, maybe a bit more. And also maybe let's look at his face might be sort of bleeding into the wall a little bit, so I might be out to get away with using the same adjustment. So let's try. If I make my brush smaller and let's just open up ever so slightly to see what it's doing, let's turn that layer off so just a little bit, it's just open it up A touch might have to do a different adjustment on the own. Probably enough. Yeah, So just to get some separation of it from the background, it was almost the same tone. So it's kind of bleeding in there a bit. So how are we doing for highlights? Let's turn on our exposure warnings. So a little bit out the window. But that's kind of expected because it's bright outside, so your eyes or your brain expects it to be somewhat blown out out the windows, so that doesn't really bother me too much. The only thing I might think is that his suit is perhaps a little bit too bright. So if I go to my background layer and we just bring the highlights down ever so slightly, clarity still works. Great on, um, black and white images, so it's not something which is just for color. So I bring up the clarity down here at the bottom, to some extent as well, like so. But maybe it doesn't need it. It's all experimental, quite like what it's doing at the wall at the back, but not so much what it's doing on anyone else. So we just do a little tiny bit once again. Vignette ng, I think, will work great on this show. I don't think we need to go through the more detailed application of a radio mask, so we just dropped the vignette ing down a little bit. It's not losing our nosy person over here in the corner, so I think that's pretty good for that at it. So again, hold our option key down and see before and after, like so, so looking at that. Still, maybe his face is still a bit too dog, so let's do a new field layer and this time would be a bit more aggressive and we use a curve. So let's do something like that. So big Big curve, right click, clear that mask. I'm gonna call this face, so I think it's just getting a bit lost. Zoom in and let's just brighten that up and her teeny bit more as well. Let's turn that layer off so we could see so before and after. There we go, that's better. So now we can see what's going on. And as I said, I mean, all of this course I've been doing with a pen and tablet. It's not a requirement. The main reason why I started using a pennies, that I had a retouching job a long time ago, which used this really stupid apple hockey puck mouse. It was like a circular shape, so as you were using it throughout the day, it would gradually turn and you'd have this kind of horrible claw hand. By the end of it, it was just the awful, awful design. So for that reason, I switched to using a pen on the tablet, and I use it for everything. I use it for general work for video editing for working in capture one. I just find it a lot more comfortable, especially for doing things like local adjustments. You can make those shapes on arcs, and you can draw much faster by using a pen than the mouse. Um, As I said, it's not requirement. And if you do go down the path of picking a tablet in the pen, probably for the 1st 24 hours, it will drive you completely crazy. But I think once you get past the difference of moving a pen around a tablet, it's much, much more comfortable than using a mouse. You don't have to spend a whole bunch of money on the most expensive tablet out there. Just even the very basic models like this one is, Ah, Wycombe into us. So it's a higher level model. To be honest, it's overkill for what I do. Uh, there, you know, cheapest or most economical models will be brilliant for capture. One capture one isn't really aware off pressure sensitivity. It can, to some extent work with the brush size, but I'm not skilled enough if you like, in my dexterity to press the pen down and moderate the size, I just find it faster to right. Click and change it here, for example. But if you do go down that route, I promise you I think it makes image editing a lot faster and a lot more fun. Okay, So slight digression there. Let's do option before and after. Yeah, because now his face looks much, much better. So if we turn this off So that was before and after Just lightning that up and with shadow lift there as well. Subtle. But I think it's good. Uh, remember how this started. If we do a new variant so that where we started and that's where we've finished off, like so.

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Ratings and Reviews


This is a superb course. David is an excellent teacher. I'm coming to the end of it and have learnt so much. I've been using the software for a year, self-learning as I went along. I had watched the odd David Grover video on YouTube, but never got much further in my understanding of the software. Capture One is brilliant software and to do it justice you need to learn it properly from an expert. Highly recommend this course if you want to produce professional results.


Excellent course and a very engaging speaker. If you are starting with Capture One 12, this is the best class to take. The lessons are presented and explained in an organized way that it shortens the learning curve. Thank you, David. Cheers!

Jino Lee

One of the best course I've purchased. Very helpful and I learned so much more with this course and in a short period of time, than all the official Capture One You Tube videos put together! Anyways David Grover is the same guy who does the Phase One C1 official YouTube videos, so there's no better person to conduct this course than him! Truly excellent and if you think you know all about C1 Pro 12 interface, wait till you watch this course.

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