After watching all your videos (around 18 times ) I just realized you haven’t been on you tube for two years? And as you have become the love of my life how do I find you for education And when might you be spending any time in the New York area ? Your videos are are truly off the reservation awesome absolutely brilliant For the privilege of watching them I thank you
Hello! I learn something new every time I watch your videos. :) For a long time now, I have been a B & W person. But watching you effortlessly correct color, I am going to try this pretty soon!! Thanks for your effort and sharing your knowledge!!!
Another great tutorial, Kasia. I love it when you use the Adobe Color Wheel (be nice if C1 had something like this built in). You know, I usually compliment your emphasis on color grading and am beginning to understand why. I was a always a B&W photographer from way back, and well remember the days when color photography boiled down to a roll of Kodachrome, a prepaid processing mailer, spot-on exposure (within half a stop or the slide would end up in the waste bin), and being satisfied with a predetermined result. Digital photography has changed all that and is why I enjoy your videos so much. Manipulating color is a novelty for me and a new challenge. Indeed, I no longer regard B&W as a separate medium at all, but rather as only another particular, albeit somewhat extreme, color grade. Silly, I think, to wander about nowadays confining oneself to some monochrome simulation (or sensor) exclusively, as some do, imagining they can achieve quite the same magic without actually getting their hands wet. No digital editing software will ever replace that more mysterious, tactile and intimate process or produce quite the same results. Color, on the other hand, is just the reverse, because there never has been an effective, or at least practical, way to manipulate it in a darkroom (unless one went to the extreme of producing Cibachrome prints). Digital photography and editing software have opened many new doors for all of us. Now this is quite something for me to say, because when mama took my Kodachrome away (along with my Tri-X), I dried my hands, donated my darkroom to a local university, and abandoned serious photography, convinced that it had already run its course. You, and other young photographers like you, have proven to me that this was not the case and that I've already missed a lot for being so stubborn. Thank you.
I had exactly the same thought - it would be awesome if similar tool was built in C1. I'd love to have the ability of "extracting" color samples and seeing their arrangement on color wheel. I guess you are talking about the BW Leica here that produces BW images exclusively ;) Just read one photographer saying recently that for him photographing in BW and in color are two entirely different processes. he is coming from a film background, but now he was relating to digital process. I have a bit of experience myself in the traditional darkroom with B&W, none with color. But I understand that applying those initial principles of what makes a good BW image or what has potential for good color image, can work as strong filters during photographing. I like keeping the process open, enjoy the wind and sun when shooting outdoors, the temperature, the smells, and only after transferring images to my raw convertor I start experimenting with processing. Trying to say that what matters is the experience itself - and the joy it brings. Now we have such vast access to any information that the whole process gets "over-calculated" or "over-intellectualised ". Been reading a bit Nassim Taleb and that might be the reason for this digression. Experience and contact with reality is what matters, better to have no access to all the tutorials and articles and learn the hard way, rather than to have the knowledge but never actually create anything...
@@KasiaZmokla I didn't realize Leica was the only one to offer a monochrome sensor but that doesn't surprise me. I understand the advantage and watched a video once comparing results from the Leica M and a Fuji X-Pro using a monochrome simulation: the differences were not dramatic, to say the least, and hardly seemed to justify the astronomical price of the German camera. (Note: I chose an X-Pro 3 for the hidden LCD, by the way, and not for any likeness it might share with any 'Rich Man's Fuji', which it generally outperforms anyway. ;) I understand the two processes, from way back when I tried achieving both simultaneously with separate bodies. Never got decent results that way and rarely came away with any keepers, if any, during a single excursion; and most photographers who attempted this concurred. This is old news. You had to put on only one set of glasses before heading out, adapt your vision to them and no others. So I've also always maintained a sharp line between the two mediums. Even so, lately, I'm beginning to produce images that blur the line considerably, images that seem equally effective either way. So now I want to understand better why and so be able to produce more images like them. If I succeed, then that photographer, and I along with him, well, we were both wrong, and B&W then does indeed become simply another color grade option. QED P.S. Over-calcutating or over-intellectualizing, I think, are precisely why that title 'The Glass Bead Game' has always stuck in my head, as a perfect descriptive phrase, and quite apart from what the novel itself may have been about (because I forgot that a long time ago ;).
My color darkroom experience was rather limited and because of its very nature. The processing itself was so strict and mechanical (precise mixture, time, temperature) that you were better off owning an (expensive) color processor to handle all that reliably, as there was no room for variation (ditto for slide processing at home). Properly grading a color print from a negative upon enlargement to remove unwanted color casts was enough to make you pull your hair out (although you, Kasia, probably would've enjoyed it ;). You had to be a color pioneer and truly obsessed to pursue it seriously. Another alternative was to make Cibachrome prints from positive transparencies, which was somewhat costly. But exposures were long, which permitted dodging, and color was additive (simply add red, if you wanted more), plus once you achieved your color grade, everything, even exposure, remained uniform for the entire roll. The results could be spectacular, especially from something like Kodachrome 25. I'd always planned to try that one day, and even went so far as to purchase a second-hand Dual-Dichro color head for my Beseler enlarger, but by the time I got around to it Cibachrome, and other similar papers, had or were beginning to disappear, until finally it all became history --like me, a museum piece.
@@KasiaZmokla Anecdote: I read somewhere in some book about the individual darkroom techniques of several famous photographers. I think it was W. Eugene Smith, although someone can correct me, if I've confused him with some other. Whoever he was, he had a 55 gallon fish tank in his darkroom, filled with D-76, and only replenished it very occasionally by adding a little more, whenever the level dropped slightly from evaporation. He would wind his film onto a reel and simply drop it into the tank, before he moved on to something else. He was reputed to be a painstaking perfectionist while printing, but rarely even looked at his watch before dropping his film into the soup. 'Oh, well, it should be done by now!' You couldn't do that with Kodachrome (or ever expect some latter-day simulation to achieve quite the same result ;)
@@randall8496 I'm not sure if Leica is the only brand that offers monochrome sensor, could be. If that makes people happy - why not? If there was no market for such a product it simply would not exist.
Hello Kasia i am learning a lot from your videos ! Thx a lot. One Idea for some future videos. Why dont you do a live session where you live edit some pictures from your viewers ? Some kind of fast edits. 2nd idea i really would like to see some videos how you use capture one on user raws to achieve some instagram looks. This would be really nice. Maybe some matte film styles or warm brown tones (boho) or like the cool orange teal styles. Kind Regards from Germany. Pozdrawiam.
Can you go over the style brushes again for the eyes ( is that applied on in this case just to the layer)? Is this one I could create? How are they different than the just the standard styles for global color grading?
After watching all your videos (around 18 times ) I just realized you haven’t been on you tube for two years?
And as you have become the love of my life how do I find you for education
And when might you be spending any time in the New York area ?
Your videos are are truly off the reservation awesome absolutely brilliant
For the privilege of watching them I thank you
Your videos are the best!!! So happy to see you working on C1!
Kasia, you are a fantastic educator!
Another great tutorial, Kasia. I love the information about the Adobe Color Wheel
You are a phenomenal teacher. I am really really enjoying learning from you. Subscribed
thank you Kasia. The best Capture One tutorials on UA-cam, bar none.
You are welcome Nigel :)
Hello! I learn something new every time I watch your videos. :) For a long time now, I have been a B & W person. But watching you effortlessly correct color, I am going to try this pretty soon!! Thanks for your effort and sharing your knowledge!!!
Great to hear this Anish! Color is an entirely different story, equally fulfilling :)
Thank you for your great videos Kasia ! I keep learning Color Grading thanks to you !
Awesome! Thank you Nicholas!
Another excellent video. I can't believe I've used Adobe Color a few times and never realized you can upload a photo to it fur analysis. Thanks!
You are so welcome Bob :)
Thanks again for your excellent tutorial. Dealing with colors is a challenge for me, but you've cleared many of my doubts.
Awesome, thank you Luv! :)
I was waiting for this edit!!
😀
Another great tutorial, Kasia. I love it when you use the Adobe Color Wheel (be nice if C1 had something like this built in). You know, I usually compliment your emphasis on color grading and am beginning to understand why.
I was a always a B&W photographer from way back, and well remember the days when color photography boiled down to a roll of Kodachrome, a prepaid processing mailer, spot-on exposure (within half a stop or the slide would end up in the waste bin), and being satisfied with a predetermined result. Digital photography has changed all that and is why I enjoy your videos so much. Manipulating color is a novelty for me and a new challenge. Indeed, I no longer regard B&W as a separate medium at all, but rather as only another particular, albeit somewhat extreme, color grade.
Silly, I think, to wander about nowadays confining oneself to some monochrome simulation (or sensor) exclusively, as some do, imagining they can achieve quite the same magic without actually getting their hands wet. No digital editing software will ever replace that more mysterious, tactile and intimate process or produce quite the same results. Color, on the other hand, is just the reverse, because there never has been an effective, or at least practical, way to manipulate it in a darkroom (unless one went to the extreme of producing Cibachrome prints). Digital photography and editing software have opened many new doors for all of us.
Now this is quite something for me to say, because when mama took my Kodachrome away (along with my Tri-X), I dried my hands, donated my darkroom to a local university, and abandoned serious photography, convinced that it had already run its course. You, and other young photographers like you, have proven to me that this was not the case and that I've already missed a lot for being so stubborn. Thank you.
I had exactly the same thought - it would be awesome if similar tool was built in C1. I'd love to have the ability of "extracting" color samples and seeing their arrangement on color wheel.
I guess you are talking about the BW Leica here that produces BW images exclusively ;) Just read one photographer saying recently that for him photographing in BW and in color are two entirely different processes. he is coming from a film background, but now he was relating to digital process. I have a bit of experience myself in the traditional darkroom with B&W, none with color. But I understand that applying those initial principles of what makes a good BW image or what has potential for good color image, can work as strong filters during photographing. I like keeping the process open, enjoy the wind and sun when shooting outdoors, the temperature, the smells, and only after transferring images to my raw convertor I start experimenting with processing.
Trying to say that what matters is the experience itself - and the joy it brings. Now we have such vast access to any information that the whole process gets "over-calculated" or "over-intellectualised ". Been reading a bit Nassim Taleb and that might be the reason for this digression.
Experience and contact with reality is what matters, better to have no access to all the tutorials and articles and learn the hard way, rather than to have the knowledge but never actually create anything...
@@KasiaZmokla I didn't realize Leica was the only one to offer a monochrome sensor but that doesn't surprise me. I understand the advantage and watched a video once comparing results from the Leica M and a Fuji X-Pro using a monochrome simulation: the differences were not dramatic, to say the least, and hardly seemed to justify the astronomical price of the German camera. (Note: I chose an X-Pro 3 for the hidden LCD, by the way, and not for any likeness it might share with any 'Rich Man's Fuji', which it generally outperforms anyway. ;)
I understand the two processes, from way back when I tried achieving both simultaneously with separate bodies. Never got decent results that way and rarely came away with any keepers, if any, during a single excursion; and most photographers who attempted this concurred. This is old news. You had to put on only one set of glasses before heading out, adapt your vision to them and no others. So I've also always maintained a sharp line between the two mediums. Even so, lately, I'm beginning to produce images that blur the line considerably, images that seem equally effective either way. So now I want to understand better why and so be able to produce more images like them. If I succeed, then that photographer, and I along with him, well, we were both wrong, and B&W then does indeed become simply another color grade option. QED
P.S. Over-calcutating or over-intellectualizing, I think, are precisely why that title 'The Glass Bead Game' has always stuck in my head, as a perfect descriptive phrase, and quite apart from what the novel itself may have been about (because I forgot that a long time ago ;).
My color darkroom experience was rather limited and because of its very nature. The processing itself was so strict and mechanical (precise mixture, time, temperature) that you were better off owning an (expensive) color processor to handle all that reliably, as there was no room for variation (ditto for slide processing at home). Properly grading a color print from a negative upon enlargement to remove unwanted color casts was enough to make you pull your hair out (although you, Kasia, probably would've enjoyed it ;). You had to be a color pioneer and truly obsessed to pursue it seriously. Another alternative was to make Cibachrome prints from positive transparencies, which was somewhat costly. But exposures were long, which permitted dodging, and color was additive (simply add red, if you wanted more), plus once you achieved your color grade, everything, even exposure, remained uniform for the entire roll. The results could be spectacular, especially from something like Kodachrome 25. I'd always planned to try that one day, and even went so far as to purchase a second-hand Dual-Dichro color head for my Beseler enlarger, but by the time I got around to it Cibachrome, and other similar papers, had or were beginning to disappear, until finally it all became history --like me, a museum piece.
@@KasiaZmokla Anecdote: I read somewhere in some book about the individual darkroom techniques of several famous photographers. I think it was W. Eugene Smith, although someone can correct me, if I've confused him with some other. Whoever he was, he had a 55 gallon fish tank in his darkroom, filled with D-76, and only replenished it very occasionally by adding a little more, whenever the level dropped slightly from evaporation. He would wind his film onto a reel and simply drop it into the tank, before he moved on to something else. He was reputed to be a painstaking perfectionist while printing, but rarely even looked at his watch before dropping his film into the soup. 'Oh, well, it should be done by now!'
You couldn't do that with Kodachrome (or ever expect some latter-day simulation to achieve quite the same result ;)
@@randall8496 I'm not sure if Leica is the only brand that offers monochrome sensor, could be. If that makes people happy - why not? If there was no market for such a product it simply would not exist.
Great edit!
Thank you Dan! Cheers!
Thanks a lot for your excelent videos.
You are welcome Carlos!
Hello Kasia i am learning a lot from your videos ! Thx a lot. One Idea for some future videos. Why dont you do a live session where you live edit some pictures from your viewers ? Some kind of fast edits. 2nd idea i really would like to see some videos how you use capture one on user raws to achieve some instagram looks. This would be really nice. Maybe some matte film styles or warm brown tones (boho) or like the cool orange teal styles. Kind Regards from Germany. Pozdrawiam.
Can you go over the style brushes again for the eyes ( is that applied on in this case just to the layer)? Is this one I could create? How are they different than the just the standard styles for global color grading?
Here you are Mark: ua-cam.com/video/JALBV7aDunw/v-deo.html
*FREE MASTERCLASS* courses.daclasses.com/15-min-edit-masterclass
Nice!
Thanks Filippo!
Your videos on Capture One are as always detailed and helpful. Thank you. Why not show your own face while you talk?
Thank you Asle! Maybe one day... ;)