Interface The interface of the program is highly flexible and allows users to customize menus and layout to their own preferences and to suit the tools they most often use. In the default editing mode the active image sits in the main window, with the catalog in film strip thumbnails below and the menus to the left. Those with two screens can display the active image in a separate window on that screen, using the first screen for a grid view of thumbnails — but all sorts of arrangements are possible.
At the head of the menu are twelve icons that indicate the type of operations you might expect to find when you select that column, but should you wish to add any of the tools to any of the menus you can. The Lens menu deals with four distortions tools for example, but if you wanted to add color control to that menu you can — while still keeping color control under the color menu as well. The system is highly flexible, and while it takes a while to understand how to navigate it and where to find things, in time I found the adaptability very useful.
You don’t have to keep the tools in the menu panel either, as all can be broken away to become floating dialogues that can be positioned wherever you like.
Most operations are via a slider, and effects are displayed in real time as they are applied. A double click of any slider returns it to the Normal position, and numbers relating to each slider help with repeatability. Where sliders make larger changes, such as in the rotate dialogue, smaller than whole degree rotations can be achieved using the left and right keys.
Layers have ‘modes’ and you can choose whether the layer will be for making adjustments using the collection of tools exposure, clarity, HDR, sharpening, etc in the menu below the layer dialogue, or whether it will be for cloning or healing. The area to be worked on is selected via a mask that you paint on to the image layer. As you would expect there are sliders for selecting the size, hardness and opacity of the brush, and tick boxes for automatic assistance for finding edges.
I found the auto assistance quite useful, and so long as the edge of the area was kept within the outer circle of the brush the software made a pretty neat job. You are still faced with the eternal issue of using a round tool when trying to fill a square corner at the intersection of two lines, but by making the brush smaller, and correcting with the erasing brush, also with auto assist on, I was able to manage the job with no more aggravation then is usually required for this sort of task.
The mask can be used to treat the area selected, or you can choose the invert mode to treat the areas of the frame not selected — and the mask can be used in a gradient mode should you need to vary the introduced effect across the selection.
The masking layers can also be used to alter color in localized areas, with general hue adjustments possible as well as alterations to quite specific colors only. The amount of the image adjusted depends of course on how much is selected, so you can shift the shade of a whole sky or just warm up a person’s face if you want.
Before mask exposure adjustment After mask exposure adjustment In a similar way, the masks can be used as dodge and burn tools, although you don’t have the option to work on specific tonal regions and darkening and lightening must be done on separate layers.
This is useful as it can make multi-area adjustments quick, easy and balanced. The use of adjustment layers in Capture One Pro isn’t new, but now users can apply up to 16 of them to their images – which should, I’d think, be enough for most occasions. Users are on borrowed time, which is a pity because Aperture is an excellent product and has a mature and dedicated support structure. Apple identified its Photos app, which appeared with The majority of users of the latter, though, saw the inadequacies of Photos as soon as it became available.
Although the array of editing features in the newer Photos is greater than that in iPhoto, the feature set and almost all aspects of Asset Management, workflow, tagging, organization and publishing in Photos fall short of the requirements as an official replacement for Aperture. Only the most casual of non-specialist users are likely to find Photos in this release satisfactory. Many have begun to look for alternatives. This review both evaluates Capture One Pro v.
But it is a recognized leader in open-platform based medium format camera systems — bespoke, high-end hardware. Now at version 8, Capture One Pro has a growing reputation as a Digital Asset Management and image-manipulation suite. Professionals who need a wider array of photo editing tools will almost certainly gravitate towards PhotoShop, anyway; even then they will lack an integrated DAM system.
Aperture struck such a balance well. Capture One Pro 8 does just as well — in some respects better. Activating The download is over MB; but was found to be quick. The software is also available on Amazon. Be sure to get the correct version, though:
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