Capture One 21 was launched a week ago as the latest iteration of my favourite RAW processing software.
So, lets get one thing out of the way immediately – are the new features worth upgrading from version 20? In reality, even though this remains my post processing software, I don’t think so. When a software gets an upgraded name I expect there will be many new features, and version 21 is a bit of a disappointment.
I understand why the need to produce a version 21, after all we are nearly at the end of 2020 ad it would look a little strange to continue with the 20 numbering as we enter the new year. However, that is a marketing situation, and the new features are, in my opinion, really version 20.1, not version 21.
So, that being said, what have we actually got for our money.
Speed editing allows you to use modifier keys and drag left or right and up and down to make adjustments. For example, to change the exposure value, hold down the Q key on your keyboard and an exposure tab will open under the image. You can adjust the exposure by mouse dragging left ad right.
OK, this does allow me to keep my eye on the image I am editing and not have to go looking for the adjustment sliders, and may be marginally quicker. Is it a huge new feature? Probably not for me, but may be for some users.
Q – adjusts exposure W- adjusts contrast E – adjust brightness R – adjust saturation
A – adjusts highlight S – adjusts shadow W- adjusts white E – adjust black
Z – adjusts clarity S – adjusts RGB shadow W- adjusts RGB midtone E – adjust RGB highlight
You should by now have realized these modifier keys are the first 4 keys on each line of the left end of a standard keyboard. As with almost everything else in Capture One, if you don’t like these modifiers you can change them to suit your own taste.
Adobe Lightroom has had a dehaze tool for a while. Capture One has now added this. Yes, it’s a useful edition, but it’s also true to say that you could always dehaze an image, and still can, with far greater control by using a mask on the layer to dehaze, and adjusting the clarity, contrast, brightness and the shadow point.
Pro standard profile
Version 21 has introduced new camera profiles with more to be added soon. The new profiles should provide a sightly more true to life rendering of RAW images. I have looked at images from my D850 in both the Generic D850 and D850 Prostandard and there is a small difference in the colours that should give a better starting point for colour grading.
Capture one now boasts a built-in range of help screens and videos to assist photographers in using the various tools. Helpful no doubt for a short while while learning the program but of limited use to seasoned users.
Faster asset management
Now we come to the feature that I have been most concerned about in previous versions, the speed of searches and browsing through catalogs. Search speed has for long been outstripped by Adobe Lightroom, and when you have huge catalogs as I do, that I regularly need to find a particular image within, it has often been a frustrating exercise. Well, this has been addressed in the latest version and searches zip along at about the same speed as in Lightroom. Score one for Capture One 21!
In addition importing new images has been much improved, now allowing import from multiple folders at the same time. High resolution previews are generated much quicker now allowing one to start work on images much sooner when ingesting a large folder of images as I often have to do – score two for Capture One 21!
Hopefully in the coming months there will be some additional features that will make me feel better about the upgrade price. However, as I have mentioned before, Capture One is still my RAW processing software choice and I believe will continue to be so.
If you have not tried Capture One then download a fully working 30 day trial coy here
In October 1998 I, along with my wife Jean, emigrated to Canada from our previous home in France, and settled in Calgary. In great part our decision to come to Calgary was pre-ordained as we had been attending one of the world’s major equestrian events, The Masters Showjumping, at Spruce Meadows, for many years before we decided to make Calgary our new home.
A lot has happened in the years between 1998 and today. We spent three years in Calgary before the yearning to have a bit more land took hold and we headed on to Courtenay in British Columbia. From there it was Florida USA, back to British Columbia, a couple of years in Toronto, again a return to BC, Lake Chapala Mexico, Nova Scotia and now, as I sit typing this from a hotel room in Banff, we are waiting to move into our new home back in Calgary.
When we drove back into Alberta, and particularly over the past few days revisiting some our old haunts in Banff National Park, (despite the restrictions caused by covid) it has felt like we have come home, full circle!
I will now have the opportunity to spend time in the mountains and prairies photographing wildlife and also get back into shooting some major sport. That’s assuming that covid 19 is ever mastered to the point of having a major sporting program.
This year has hit many sports photographers really hard. I myself should have just returned from working six weeks at the Tokyo Olympics and we all know how that turned out. Who knows if we will be in Tokyo in 2021? Without an effective vaccine it looks a slim possibility.
So, as soon as we are settled into our new home I will concentrate on the wildlife side of my work while I wait for the sports world to get back to some sort of normality. Look out for new daily images on Instagram, (my feed has been very quiet while we have been in the process of moving).
Workshops and field trips
I will also soon be announcing my workshop series for 2021. This will include some software workshops concentrating on improving photographers workflow and processing images using Capture One. More details on these will be posted shortly. Capture One is now the only software I use for processing RAW files. Occasionally a file will get passed to Photoshop for some final work but this is a rarity.
I will also be organizing some field trips for photographers starting in Spring 2021. Out of Covid 19 necessity these will be locally based around Southern Alberta. Until the situation eases I will not be organizing any non-Canadian workshops.
As many will know my wife and I have spent the last 20 months living in Mexico but, for a variety of reasons, have now returned to Canada. I am now based in Nova Scotia and will be concentrating on the local wildlife scene and also getting back to running a series of workshops and field trips, more on that to follow soon.
Although currently in temporary accommodation on the North shore of Nova Scotia near Annapolis Royal, I am beginning to get out and doing a bit of shooting. Regular posts will once again start appearing on Instagram @peterllewellynphoto and you can also keep up to date with more images by regularly checking the Latest images gallery.
At the end of the May I will be moving to my new home on the South shore of Nova Scotia where there is a wealth of wildlife and nature opportunities, along with some amazing scenery, and UNESCO world heritage sites.
Generally my ‘how to’ articles have concentrated on obtaining the sharpest images possible. That’s great, up-to-a-point, as the majority of my published images need to fit exactly that criteria. But, after you have captured all the usual images of your subject showing it in all it’s pin sharp glory, it’s time to look beyond the norm and start getting more creative.
In a follow-on from my previous blog where I started to look at the similarities between sports and wildlife photography, the techniques used for movement blurs in both subjects are identical.
Movement blur is simply allowing your camera shutter to remain open long enough to allow movement of your subject (or of the camera) to register on the sensor.
Nikon D3s, 16mm f2.8 fisheye lens hand held, 1/6oth @ f8 ISO 640 Note that by keeping the nearest cyclist centred in frame he remains quite sharp while all the other competitors are blurred
Let’s look at some of the methods to induce that sense of movement into your still images.
Creative blurs using long exposure with subject moving
There are effectively two methods you can use with a long exposure technique, keeping the camera still while the subject moves, or moving the camera (panning) whilst keeping the subject centred in the frame – or you can combine the two.
Nikon D3 with 80-200mm f 2.8 lens @ 80mm hand held, 1/30th sec @ f22 ISO 200 – Here I have used both a slow shutter speed and a panning action. The slow shutter produced the movement in the subject, the panning the movement in the background
This is perhaps the most common technique to induce deliberate blur where the photographer choses a shutter speed sufficient to render a recognizable subject but, at the same time, the shutter is open long enough for movement to register on the image. The trick is in choosing what stutter speed to use and for this you need first to assess how quickly your subject is moving. Obviously a formula one race car move quicker than a galloping horse which in turn is quicker than grass stems being blown in the wind.
Nikon D3, 200-400mm f4 lens @ 360mm, 1/125th sec @ f16, ISO 200 In this image I have used a relatively fast shutter speed but the foreground blur imparts a great sense of movement. This was shot through a vehicle window whilst travelling at around 50 mph (80 kph)! The Pronghorn is renowned as the fastest land animal in the Americas.
If you are using a long shutter speed to capture movement, for example moving water, it is absolutely essential to lock the camera down on a solid tripod. The long exposure will exacerbate any camera movement. To ensure there is no camera shake it is best to either use a cable release or to lock the mirror up and use the camera’s self timer to trigger the shot.
Nikon D3, 20-35mm f2.8 @ 35mm, 1/15 sec @ f22 ISO 100. Gitzo carbon fibre tripod, Arca Swiss ball head
What shutter speed?
So, what shutter speed do you need to create motion blur – the answer is ‘it depends’. If the speed is too short you still end up freezing the subject or it has minimal blur which just doesn’t work well. If too long then the subject itself becomes too blurry to be recognizable for what it is. Other factors will also come into play such as the angle your subject is moving. Is it toward you , diagonal, away etc. each of which causes a different apparent speed of motion. Are you, the photographer standing still or are you moving i.e. in a vehicle?
Note that, the further away you are from your subject, the easier it is to pan and follow, keeping the subject in the same location in the viewfinder. The plain fact is you need to experiment a little for each subject you shoot – exactly what that little screen on the back of the camera is for!
However here are some starting points:
Birds in flight to create some wing blur – 1/125 sec
Panned action for cars, cyclists, and animals at full gallop – 1/30 sec
Sports action featuring people, basketball, athletes etc. 1/60 sec
Remember that these are just indicators, you will still need to experiment for yourself.
I am not including star trails etc as this is a whole other subject. Similarly I am not going into rear curtain flash – I will again write about this in a separate article.
Long exposure while moving the camera
The second common method of creating movement blur is when the subject is still (or relatively so) but you deliberately move the camera during the exposure.
Nikon D3, 105mm f2.8 Micro lens, 1/8sec @ f32, ISO 100. Here I have used a twisting motion to rotate the camera and lens whilst taking the photo. Note how the fish near the centre are rendered relatively still whilst the further you look to the outside of the frame there is increased blur.
There is a huge range of movement you can introduce, rotation, up and down , side-to-side each of which will introduce a different blur effect. Also experiment with the same movement and different shutter speeds to find which works best.
As creative blurs require longer exposures than normal you need to take care with not to overexpose your photos. In general keep the ISO settings as low as possible and use small aperture to allow for longer shutter speeds without over-exposing. On bright sunny days even then you may not be able to set a long enough shutter speed to achieve the desired effect. This is where the use of a neutral density filter comes into it’s own. Neutral density filters cut the amount of light coming through the lens without altering the colours. These are available in a range of density settings but I recommend owning having one of the darkest, perhaps a -6 stop. This way you can always open the aperture or raise the ISO if you need a slightly faster shutter speed. If you don’t have a dark enough ND filter you have fewer options to slow the shutter down.
Nikon D3s, 20-35mm f2.8 lens @20mm hand held, 1/30 sec @ f4, ISO 200. Here due to the light levels it was not necessary to use a small aperture to achieve the desired slow shutter speed.
Here, a word of warning. Your sensor must be scrupulously clean when taking long exposures. Almost invariably you will be using small apertures which have the effect of sharply focussing every tiny scrap of dust on the sensor. If I know I am going to be taking long exposure shots I will always clean ny camera sensors before going out.
To see more creative blurs search the online archive by entering keywords in the search box below.
Several times I have been asked how it is that my long-time career as a sports photographer gels with the wildlife and nature work I now mostly shoot. The fact is that there are a great many similarities.
First let’s look at the equipment… Pretty much identical, rapid-focus cameras using large telephoto lenses.
Second… similar techniques, long periods of waiting around with not much happening while trying to maintain a high level of concentration so you don’t miss the decisive moment!
Nikon D2x, 600mm f4 lens, mounted on a Gitzo tripod with Wimberley head, 1/3200th sec ISO 200 @ f5.6. You can certainly shoot low slowly flying birds from a tripod but it’s much harder to acquire focus and stay locked on than with hand holding. Here, as I was still shooting with a D2 series camera that does not handle high ISO settings as well as more modern cameras, I have opted for a larger aperture than I would choose today.
One area of wildlife photography where all the above is particularly true is in capturing images of birds in flight. Often fast moving, unpredictable, with difficult lighting, much the same as with so many sports events.
My preferred lens for in-flight photography is the Nikon 500mm f4, either with or without the TC-14 1.4x converter, and occasionally the 200-400 f4, more often than not hand held with image stabilization turned on, depending on the size of bird I am working with and the distances involved. I never use the converter on the 200-400, which slows down autofocus to an unacceptable level. This technique results in more ‘keepers’ than using the 600mm f4 on a tripod with a gimbal head. The 600mm is just way too heavy to hand hold, at least for me, not being a muscle-bound body builder!
Just like photographing high-speed sport it’s essential to set your camera effectively to freeze the action (unless of course you are going for intentional blur, but that’s a whole other subject – coming soon!) I never let my shutter speed drop below 1/2000th sec, adjusting my ISO settings to ensure that I stay at this speed or above. Remember, birds can be very high-speed subjects, often cruising at 30 mph, and can reach enormous speeds of 60 mph or more when diving or hunting. I will generally stop my lens down to around f8 to give a good depth of field and also because this is the ‘sweet spot’ on my 500mm producing the sharpest corner to corner images. Unlike sport and ground-based wildlife subjects – where I will often use my telephotos wide open (largest aperture) to limit depth of field and isolate my subject from the background – this is rarely necessary with in-flight photography as, in the majority of cases, your subject is against the sky or is already distanced from any discernible background.
Nikon D3s, 500mm f4 lens hand held, 1/2500th @ f8, ISO 800. Look for the unusual bit of action such as when this bird dips his toes into the lake..
With my Nikon bodies I use continuous autofocus, AF/C (AI Servo on Canon) and select 9-point autofocus when photographing single birds, or 51-point 3D-tracking when shooting more than a single bird. I always use the highest frame-per-second rate possible and, like capturing sporting action, will often shoot in short bursts.
Shooting birds in flight I almost always use manual exposure, unlike sport where my preferred method is aperture priority. Primarily, in sport, I generally aim to keep my subject isolated from the backgrounds which, most of the time, are fairly constantly lit. With in-flight photography, backgrounds can constantly change as you continue to shoot; i.e. the birds move from blue sky to white cloud, or from a dark vegetation background to a more open area, and it’s really important that the exposure is based on the bird and not on the background. To set my exposure I get in position and shoot a few test shots ensuring my minimum 1/2000th sec is achieved, checking my histogram, and adjusting my shutter speed and ISO to move the histogram to the right without it actually touching the right-hand edge and blowing out highlights. It is essential to keep detail in the brightest, often white, part of your subjects.
For white balance I invariably just leave the setting at auto. As I shoot 100% in RAW format, I can always change the white balance in post production, if I need to – which is rarely. I find it all too easy when manually setting a white balance to forget I’ve done so and end up with extra work on a whole bunch of photos.
Technique for birds in flight
Even though my Nikon lenses autofocus extremely rapidly, you often have little time to acquire sharp focus as a subject might suddenly appear. To ensure the most rapid focus I will, if at all possible, find a subject that is at approximately the same distance as I predict my subjects might appear and pre-focus on that. This means that when a bird appears in the right zone my lenses have little work to do in locking on to the bird and I find I am shooting sharp images way earlier. I always use the rear focus button on the camera and not the half-depressed shutter button, as I like to decide when the cameras actually focus on the subject… Another throwback to how I shoot sport.
If you can, keep your selected autofocus points on the eye of the bird, which is easier with large birds than with rapidly moving, smaller subjects. When photographing more than one in-flight bird, ensure that your focus points are on the leading bird, because if the leader is ‘soft’ and the following bird(s) is sharp, it produces a very strange look.
Nikon D3s, 500mm f4 lens handheld, 1/2000th @f8, ISO 320. When shooting more than one bird ensure you focus on the leading subject. Also remember that many birds have large areas of white colour so it is essential that you don’t blow out your highlights.
Just like shooting sports, with birds in flight it is essential to develop good panning technique. You MUST keep the lens moving, locking your subject in the same position in the viewfinder as far as you can, and keep shooting. A common error is to shoot every image with the bird dead centre in the frame. I often shift my focus selection points slightly to one side of the frame or the other depending on the flight direction, to allow space for the bird to move into. This generally gives a much more pleasing composition. The best bird images, particularly with larger species, tend to be when the wing is at the highest or lowest position during the flapping motion, aim to hit this spot consistently.
Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/2000th sec @ f8, ISO 1200. Try and time your shots so the wings are either fully elevated or fully down, relatively easy with soaring birds like this vulture
Perhaps more-so than with other forms of wildlife photography, it is practically essential to shoot with the sun at your back with a useable arc of around 30°. Backlit and sidelit subjects rarely work well as you will invariably end up with very harsh shadows. The angle of the sun is also a huge factor. Photographers talk about the golden hours, around two-and-a-half hours after sunrise and two hours before sunset, when the light has a soft even feel and has a golden glow that lends itself well to all wildlife subjects. A further advantage of a low sun angle is that it will often result in a great catchlight in a subject’s eye. In general, high sun angles during the middle part of the day are not workable if the sun is out, but you can extend the shooting day with more overcast conditions.
Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/2500th sec @ f8, ISO 800. Give a little more space on the side of the image that your subject is facing to allow room for it to ‘move into’
Another weather condition to keep in mind is wind direction. Birds, like aircraft, will tend to take-off and land into the wind. Absolutely the best conditions for in-flight bird photography is when both the sun and the wind are at your back.
Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/1600th sec @ f8, ISO 800. Birds take-off and land into the wind, try and have both sun and wind at your back
Remember, like all photography, the foregoing suggestions are guidelines and not set-in-stone rules! I still experiment with different shutter speeds, camera movement, lighting angles etc. but, my experience has been, that using the above guidelines will generally produce the most pleasing images.