The first major update of Capture One 20 (13.1) is finally here!
Previously, developers unveiled some details of this release; now we have a full update features list:
- New Before/After Tool
- Reworked Heal and Clone tools
- Capture One for Nikon
- New Nikon Color Profiles
- Enhanced Lightroom importer
Plus, Capture One 20 now has a new logo and has added some other minor improvements.
Download Capture One 20 and let’s see how all the new features work in practice.
Capture One 20 (13.1.3) is compatible with the earlier 7.x, 8.x, 9.x, 10.x, 11.x, 12.x versions. It is recommended to migrate images from Capture One 4.x, 5.x., or 6.x to Capture One 8.x before opening them in Capture One 20 (13.1.3). It is generally recommended that you only install one version of Capture One on any single computer. Capture One Pro lets you edit files from all major camera brands. Or save with a Capture One version that's just for Fujifilm, Sony or Nikon cameras. Plus, get solutions for business and multi-user teams. Boost your photos with auto adjustments and instant looks – on us. Capture One Express is a free photo editing software for Nikon, Fujifilm or Sony cameras. As the industry leader in tethered capture, Capture One is the fastest and most reliable way to preview your shoots. Capture One 20 Pro 13.0.0.155 (x64) Multilingual + Crack Download Capture One 20 Pro 13.0.0.155 (x64) Multilingual.
The new Capture One 20 update brings the real Before/After tool, and it works just like it should.
You can now quickly compare your edit to the original image just by clicking a shortcut Y.
The new tool has two modes, and you can toggle them using Y+Shift shortcut.
Full View Mode
The first mode, Full View, fits perfectly the need to switch between edited and original images quickly.
Note that the original image, here, always includes composition adjustments, so as to make it easier to compare before/after shots.
If you add some new adjustments, Capture One auto-switches you to the edited variant.
Split View Slider
In the second mode, you see Before/After images on the same screen, divided by a moveable slider. The original image is located on the left and the adjusted variant on the right side.
Split View works excellently when you need to compare some particular parts of your edit. You can continue editing in the Split View mode; additional adjustments would still appear on the After variant.
Also, it’s really convenient to compare styles and presets now:
BTW, you can get some of these Capture One styles for free just by subscribing to my newsletter.
Both modes work well with multiple selected images:
The old Alt+Reset feature has been removed in the new Capture One, which makes total sense.
Ok, long-awaited Before/After tool looks great, now, what about updated retouch features?
Capture One developers did excellent work on enhancing Heal and Clone tools for this upgrade.
Heal tool now finds source points automatically, and the tool works way more intelligently than before.
What is even more important, now you can have unlimited heals on one layer. That’s a real game-changer for retouch workflow.
Previously, users have been limited to 16 layers and 100 spot removals. Now, you can do all the editing in Capture One, including complex retouching.
In the new Capture One, you have all control over the retouch areas.
If you need to set a source point manually, you can do this just as before. Hold down the Alt key to set a source point before masking or select an existing arrow to change its position.
Also, when an arrow is selected, the new masking will relate to this source point.
To delete selected area, simply press Backspace; The erasing of the mask removes the arrow as well.
BTW, you can easily hide arrows just by moving the cursor away from the viewer or by unchecking Display Arrow mark in the Heal Brush Settings.
Clone and Heal layers now have their own brushes with all the regular settings. For instance, the Flow setting allows you to increase retouching impact with each cursor movement. It works perfectly for portraits when you need to retouch skin carefully.
Plus, you can change the Heal or Clone layer opacity to tone down retouch on an image.
However, updated tools have inherited a critical restriction: Capture One still uses the original image as a source for retouching. Thus, you can’t retouch an area and build new retouch based on this correction.
Also, you can’t perform healing and cloning on Offline files, which is pretty understandable.
Apart from the new Before/After tool and enhanced retouching, this update also brings a bunch of new color profiles for Nikon cameras.
A nice surprise is awaiting Nikon photographers in the new update.
Capture One now offers a special version of the software for Nikon camera owners.
Capture One for Nikon has two versions: Express and Pro.
Nikon Express is a completely free version of Capture One with a basic set of image editing tools.
Nikon Pro offers all the professional features of Capture One and comes with a special, lower price tag.
Capture One developers have replicated Nikon Picture Control color profiles in Capture One. Thus, you can now get the same color for your RAW files as you have shooting JPG.
The difference between color profiles is quite noticeable, and for some images, I’ll surely prefer the new Nikon profiles.
At the moment, the new profiles are available for these camera models: D6, D5, D850, D810/D810A, D800, D780, D750, D610, Z7, Z6, D500, D7500, D5600, D5500, D3500, D3400, D3300, Z50.
Also, in the update, you’ll find some improvements to Lightroom catalogs import.
Capture One 13.1.2
Firstly, the import process is more transparent now; you can see what will happen after the import.
Secondly, you can now import Smart Previews (or Offline images in terms of Capture One). Once the original files become available, Capture One syncs them automatically.
New Logo
Capture One developers haven’t changed the logo when jumping from 12 to 20 versions. Now they suddenly introduced it in Capture One 13.1 (technically it’s 13.1, not 20.1).
However, the new logo looks pretty nice! After having it for several years, I’m missing an old white one a bit; it’s always tough to get used to a new design.
Capture One (for Sony) and Capture One Fujifilm have new logos as well:
New onboarding flow
For new users, developers have added a new onboarding screen to get familiar with Capture One features. Here you can customize your interface lightly and even get sample images for your very first editing.
Note that you’ll not see this screen, if you already have a previous version of Capture One installed.
Workspace changes
In the update, the default workspace has been modified a bit; now, some of the tools are collapsed. Also, developers have merged three “Simplified” workspaces into one, and the Black & White editing
workspace had been removed.
New cameras and lenses
Apart from new features, the update brings some new camera and lens profiles.
New Cameras Support
• Canon 250D
• Canon PowerShot G5X Mark II
• Canon PowerShot G7X Mark III
• Nikon P950
• Leica M10 Monochrom
• Olympus OM-D E-M1 Mark III
• Zeiss ZX1
New Lens Profiles
• Phase One XT -Rodenstock HR Digaron-W 50mm f/4
• Tamron 28-75mm F2.8 Di III RXD
• Fujifilm Fujinon XF16-55mmF2.8 R LM WR
• Ricoh GR III (GR Lens 18.3mm f2.8)
• Canon PowerShot G5 X Mark II
• Sony FE 20mm F1.8 G
Introducing Q-13 Stepchart
Q-13 Stepchart analyzes the tonal response, noise, and dynamic range of digital cameras and scanners using
- reflection step charts such as the Kodak Q-13 and Q-14 Gray Scales, the Jessops Colour & Mono Separation Guide (UK), and several charts from Danes-Picta (Czech republic), or
- transmission step charts from Stouffer and Kodak, and Danes-Picta. Transmission charts are required for measuring dynamic range.
Q-13 Stepchart produces more detailed results than Colorcheck.
The Kodak Q-13 Gray Scale is an 8 inch long chart consisting of 20 zones, labeled 0-19, which have optical densities from 0.05 to 1.95 in steps of 0.1 (reflectances from 0.891 to 0.011). The chart is printed on a (semigloss) surface. The Jessops chart, from the UK, is similar to the Q-13, except that it has only 18 zones.
| This image of the Q-13 Gray Scale was photographed slightly out of focus to minimize noise. |
The Q-13 has finer steps and a higher maximum density than the GretagMacbeth ColorChecker (Dmax = 1.95 vs. 1.5), mostly because of its glossier surface. It considerably less expensive. Kodak also makes a 14 inch long Q-14, which is identical with the Q-13 except for its length. It can be used in exactly the same way. It's well suited for photographing next to slanted-edge SFR test targets.
Iliah Borg has analyzed the Q-13 Gray Scale. He says, 'I'm pretty sure it's screen-printed, most likely with automotive enamel. The spectral response is flat from 420 to 730nm, similar to titanium dioxide mixed with carbon in different proportions to achieve different reflectivities. The layer is pretty thick, to isolate from the substrate.'
Q-13 Stepchart also analyzes transmission (i.e., film) charts, which have higher maximum densities than reflective charts, making them valuable for measuring the dynamic range of digital cameras and scanners, as discussed below, in the section on Dynamic range.
Photographing the chart and running Q-13 Stepchart
- Photograph the chart. Be sure the light is even. As little as possible should come from behind the camera— it can cause glare and flatten image tones. An angle of incidence of about 30 degrees is ideal for lighting. The light should not emphasize the texture of the chart, which would cause an error in the noise measurement. At least two lamps are recommended. If possible, the surroundings of the Step chart should be dark gray or black to minimize flare light. Tips on lighting can be found here.
- The chart may be photographed slightly out of focus to minimize noise measurement errors due to texture in the patches. I emphasize slightly— the boundaries between the patches must remain distinct.
- The distance at which the target is photographed is not critical. The noise analysis will work well if the total cropped chart length is at least 1000 pixels (about 50 pixels per zone), about 1/3 the width of the image in a 6 megapixel digital SLR. Increasing the size improves the accuracy of the noise measurement.
- Save the image as a RAW file or maximum quality JPEG, then load it on your computer. If you are using a RAW converter, convert to JPEG (maximum quality), TIFF (without LZW compression, which is not supported), or PNG. If you are using film, develop and scan it.
- Click on the Q-13 Stepchart button in the Imatest main window.
- Open the input file using the dialog box. Imatest remembers the directory name of the last input file opened (for each module, individually).
- Crop the image to minimize edge effects. A typical crop is shown below. Click outside the image for no crop. The orientation does not need to be correct; Imatest will rotate the image to the correct orientation.
- Make any needed changes to the Q-13 Stepchart input dialog box. A reflective target with density steps of 0.10 (the Kodak Q13/Q14) is selected by default. If you are using a transmission target, be sure to choose the correct target type. (See Dynamic range, below.) Click OK to continue.
Output
The example was photographed with the Canon EOS-10D at ISO 100 and converted from RAW format using Capture One with default settings (no curves applied).
The results include tonal response and noise. Colorcheck produces a similar result, but with less tonal detail. Two figures are produced.
First Figure The upper plot shows the average density of the Q-13 grayscale patches (black curve) and first and second order density fits (dashed blue and green curves). The horizontal axis is the distance along the target. A portion of the patches themselves are shown just above the plot. The equations for the density fits are given in the Algorithm section, below. The second order fit closely matches the patches. The light cyan spikes are the differentiated and smoothed steps used to find the boundaries between zones. The lower plot shows the RMS noise for each patch: R, G, B, and Y (luminance), expressed as the percentage of the range of pixel levels corresponding to a target density range of 1.5: the same as the white - black patches on the ColorChecker. The high levels of Red and Blue noise in zones 1-6 may be due to imperfections in the target. These imperfections are completely swamped by the noise at ISO 1600, below. Noise is largest in the dark areas because of gamma distortion: In the conversion from the sensor's linear output to the color space (sRGB, here) intended for viewing at gamma = 2.2, the dark areas are amplified more than the light areas, hence their noise appears to be greater. |
The second Figure contains the most important of the results: the response curve (displayed on a log scale, similar to film response curves), the noise expressed in two different ways (most meaningful as a fraction of an f-stop or EV), and the dynamic range (for transmission step charts). The horizontal axis for the three plots on the left is Log Exposure, which equals (minus) the nominal target density (0.05 - 1.95 for the Q-13).
| The upper left plot shows the density response (gray squares), as well as the first and second order fits (dashed blue and green lines). It resembles a traditional film density response curve. Dynamic range is grayed out because the reflective Q-13 target has too small a dynamic range to measure a camera's total dynamic range. See Dynamic range, below. | The upper right box contains dynamic range results: total dynamic range and range for several quality levels, based on luminance (Y) noise. It is shown in gray when a reflective target is selected. |
| Second figure |
| The middle left plot shows noise in f-stops (or EV) , i.e., noise scaled to (divided by) the difference in pixel levels between f-stops, which decreases as brightness decreases. The darkest levels have the highest noise. This measurement corresponds to the workings of the eye and has important consequences for the calculation of practical dynamic range. The vertical axis is logarithmic to display low noise levels clearly. Dynamic range information is displayed when the range for a specific quality level (defined by maximum noise) is within the range of the plot. | EXIF data is shown in the middle right region. |
| The bottom left plot shows the noise scaled to the difference in pixel levels between the maximum density level and the patch corresponding to a density of 1.5— the same density range as the GretagMacbeth Colorchecker. It may be less visually meaningful then the middle plot. | The lower right plot shows the noise spectrum. Digital camera images with excessive noise reduction will have an unusually rapid falloff of the noise spectrum. |
Here are the results for ISO 1600. Tonal response is similar to ISO 100, but the noise is greatly increased— enough to swamp out any imperfections in the target. The noise is highly visible. It wouldn't be suitable for portraits and other high quality work, but it would be acceptable when a grainy 'Tri-X' or 'available light' look is desired. Neat image can do an excellent job of reducing it. The middle-left plot displays dynamic range for several quality levels, specified by the maximum noise within the range. The dynamic range for low quality (L; blue) has a maximum noise of 1 f-stop; the dynamic range for high quality (H; yellow) has a maximum noise of 0.1 f-stop.
Saving the results
Capture One 13
When the Q-13 Stepchart calculations are complete, the Save results? dialog box appears, which allows you to choose where to save them. The default is subdirectory Results in the data file directory. After you click on Yes or No, the Imatest main window reappears. |
Dynamic range of cameras and scanners
Dynamic range is the range of tones over which a camera responds. It is usually measured in f-stops, or equivalently, zones or EV. It can be specified in two ways:
- The total range. Q-13 Stepchart is extremely sensitive at detecting a camera's total dynamic range, even when dark areas are extremely noisy.
- A range of tones over which the RMS noise, measured in f-stops, has a maximum specified value. The lower the maximum noise value, the better the image quality, but the smaller the dynamic range. Noise tends to be worst in the darkest regions. Imatest calculates the dynamic range for several maximum noise levels, from RMS noise = 0.1 f-stop (high image quality) to 1 f-stop (rather poor quality). Noise, expressed as a fraction of the pixel spacing between f-stops, decreases with brightness because pixel spacing increases with brightness.
A camera's (or scanner's) dynamic range can be accurately measured using a transmission step chart. A reflection step chart, such as the Kodak Q-13 or Q-14 is inadequate because its density range of 1.9 is equivalent to 1.9 * 3.32 = 6.3 f-stops, well below that of most digital cameras. The table below lists several transmission step charts, all of which have a density range of at least 3 (10 f-stops). Kodak Photographic Step Tablets can be purchased calibrated or uncalibrated. Conelrad radio playlist. Uncalibrated is usually sufficient. The Stouffer charts are attractively priced. |
| Product | Steps | Density increment | Dmax | Size |
| Kodak Photographic Step Tablet No. 2 or 3 | 21 | 0.15 (1/2 f-stop) | 3.05 | 1x5.5' (#2) larger (#3) |
| Stouffer Transmission Step Wedge T2115 | 21 | 0.15 (1/2 f-stop) | 3.05 | 0.5x5' |
| Stouffer Transmission Step Wedge T3110 | 31 | 0.1 (1/3 f-stop) | 3.05 | 3/4x8' |
| Stouffer Transmission Step Wedge T4110 | 41 | 0.1 (1/3 f-stop) | 4.05 | 1x9' |
To measure dynamic range,
- Prepare a fixture for mounting the the step chart. It should be large enough to keep stray light, which can reduce the measured dynamic range, out of the camera. I made one out of scrap mat board held together with Scotch magic tape and Elmer's glue. (That old mainstay, duct tape, wasn't quite right for the job.)
- Place the fixture and step chart on top of a light box— or any other source of uniform diffuse light. Standard light boxes work fine.
- Photograph the chartin a darkened room. An example is shown above. The density difference between the darker zones is not very visible, but it shows up clearly in the measurements. I used a Kodak step wedge (density steps of 0.15) that I purchased in 1969!
- Use your camera's histogram to determine the minimum exposure that saturates the lightest region of the chart. Overexposure (or underexposure) reduces the number of useful zones.
- For flatbed scanners, you can simply lay the step chart down on the glass. Stray light shouldn't be an issue, though there is no harm in keeping it to a minimum. 35mm film scanners may be difficult to test since they can only scan 36mm segments. (Most transmission targets are longer.) For scanners specified as having Dmax greater than 3, the chart of choice is the Stouffer Transmission Step Wedge T4110, which is too large to be tested easily with 35mm film scanners.
- Follow the remainder of instructions in Photographing the chart and running Q-13 Stepchart, above. Be sure to select the correct chart type from the Q-13 Stepchart input dialog box (right).
The Imatest algorithm for finding dynamic range is remarkably accurate. Imatest detects chart zones using the smallest density step that results in uniformly spaced detected zones (see Algorithm). For smaller steps, noise can be mistaken for zone boundaries. For larger steps, fewer zones are detected.
The dynamic range is the difference in density between the zone where the pixel level is 98% of its maximum value (250 for 24-bit color, where the maximum is 255), estimated by interpolation, and the darkest zone that meets the measurement criterion. The repeatability of this measurement is better than 1/4 f-stop.
Here is a result for the Canon EOS-10D at ISO 400, converted from RAW format with Capture One LE.
The total dynamic range of the Canon EOS-10D is 8.6 f-stops. Total dynamic range improves slightly for 48-bit TIFF conversion but very little for ISO 100. But the lower noise in 48-bit TIFF conversion and ISO 100 results in improved dynamic ranges for given quality levels.
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Capture One 13 Download