Capture One Unveils Nikon Version, Adds Key Features in Free Update

Capture One has two major announcements up its sleeve this morning. First, they’ve released the much-anticipated free update to Capture One 20 that they teased two weeks ago; and second, they’ve officially unveiled Capture One for Nikon. Capture One 20 Free Update In a livestream on May 5th, Capture One Product Manager Alexander Flemming and […]

Capture One Unveils Nikon Version, Adds Key Features in Free Update

Capture One has two major announcements up its sleeve this morning. First, they’ve released the much-anticipated free update to Capture One 20 that they teased two weeks ago; and second, they’ve officially unveiled Capture One for Nikon.

Capture One 20 Free Update

In a livestream on May 5th, Capture One Product Manager Alexander Flemming and Business Development Manager David Grover demoed what was to come in a free update to Capture One Pro later in May. Well, today is “later.”

The major additions include the new Clone and Heal Tools demoed on the 5th, more details about the new Before & After Tool demoed in that same video, and the addition of one previously un-teased feature: an improved Lightroom Catalog Importer.

The new dedicated Heal and Clone brushes automatically create a new layer when you use them, allowing you a limitless number of “heal-zones” per layer, movable source points, and intelligent source-point generation (for the Heal tool).

The Before & After tool gives you several options: pressing Y will toggle before/after on and off, and you can select either Full View to see the full before image and full after image with each press, or Split View to bring up a Before & After slider that you can drag back and forth across your image.

Finally, the Lightroom Catalog Import tool now allows for the import of “offline files” that are located on disconnected drives, automatically importing the files later once you hook up the drive. It also caries over basic image adjustments and “catalog structure,” and generates a “report” after your import that tells you about any unsupported files that were carried over.

All of this is available as a free update to anyone who already owns Capture One 20.

Capture One for Nikon

The other major update was the announcement of Capture One for Nikon, which joins Capture One for Sony and Capture One for Fujifilm as a more affordable version of Capture One Pro for photographers who don’t need support for multiple brands.

As with all the other versions of Capture One, each supported camera’s RAW profile is “uniquely developed” based on extensive lab testing in Copenhagen, in order to “deliver a truly tailored profile, which ultimately provides the best post-processing experience.”

Of course, this also applies to Capture One 20, but if you only use Nikon cameras you can save $170 on the perpetual license, or cut your monthly payment in half if you opt for a subscription.

Price and Availability

Both the update to Capture One 20 and Capture One for Nikon are available starting today.

As mentioned above, the update is free for all current Capture One 20 owners, but if you’re starting fresh you can pick up a perpetual license of Capture One 20 for $300, upgrade from a previous version starting at $160, or opt for the subscription model for as little as $20 per month. Capture One for Nikon will cost the same as Capture One for Sony and Capture One for Fujifilm: $130 for a perpetual license or $10 per month as a subscription plan.

To find out more about the newest update, Capture One for Nikon, or pick up any of the above, head over to the Capture One website. And if you want to give it a shot beofre you dive in, you can download a full-featured, 30-day free trial at this link.

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20+ Stunning images with complementary colors

Fads within the photography industry might come and go, but a good complementary color scene will always make a photo “pop” off the page (or screen). The post 20+ Stunning images with complementary colors appeared first on 500px.

20+  Stunning images with complementary colors

In 1961s, Fred Herzog photographed a woman on the street, with just her green skirt and red stockings visible in the frame. In 1972, Helen Levitt photographed kids in New York City, dressed in various shades of yellow and purple. In the 1980s, Martin Parr photographed an ice cream shop in an English beach suburb, right down to the bluish scoops and the many orange cones populating the scene.

Each of these three historic photographs is iconic in its own right—created by different artists in different decades and with different color palettes—but they do have something in common: complementary colors. Fads within the industry might come and go, but a good complementary color scene will always make a photo “pop” off the page (or screen).

Yellow and purple

Let’s examine how and why these color combinations work, while taking a look at some inspiring images from the 500px community.

Street. Aihole India by Marji Lang on 500px.com

Blue and orange

On a traditional RYB color wheel, where red, yellow, and blue are your primaries, you’ll find three pairs of complementary colors, directly opposite each other: red and green, blue and orange, and yellow and purple. Simply put, complementary color pairs consist of one primary plus the secondary color you get when you mix the other two primaries.

Al Natural by Angela Perez on 500px.com

Yellow and purple

Try this: stare for several moments at a block or pattern of solid color, and then redirect your eyes to a white wall. On that white wall, you’re likely to see an afterimage of the complement of the color you’ve just observed. Red will produce a green block on the wall; blue will produce an orange one, and so on.

In photography, as we’ve discussed in our introduction to color theory, complementary colors look good together because they “boost” each other’s intensity. The painter Josef Albers was a master when it came to using color; because color is relative, he regularly instructed his students to use colored paper to explore how different hues interacted with—and changed—each other.

Dusk Dreaming by Lizzy Gadd on 500px.com

Blue and orange

Here’s another exercise you can try with colored paper or on your computer: place a square of orange next to its complement (blue), and it will take on a different appearance than it would when placed next to, say, another shade of orange. By doing this exercise—developed by Albers—you’ll notice that it’s possible to make just three colors look like four, and that’s a testament to the power of complementary colors.

Amorphous III by Inna Mosina on 500px.com

Red and green

You can also practice by taking a simple object and setting it against a seamless background with a complementary hue.

If you’ve chosen a red apple, try placing it against a green backdrop. If you don’t have a roll of seamless paper, some construction paper or fabric should do the trick. You can also paint the objects themselves to complement whatever background you have. Limit yourself to just a few colors so you can home in on their relationships.

Red.Green.Apple by Dominic Schroeyers on 500px.com

Red and green

Once you’re done, you can experiment with changing your hues in post-processing; a simple slider can transform yellow to green or red to orange, etc. Having a good monitor (or calibration tool) is crucial when it comes to color, as the photographer and educator Pedro Quintela points out in this article on his best photography secrets.

right where we are by Taya Iv on 500px.com

Blue and orange

she by Marta Syrko on 500px.com

Red and green

The saturation of your hues, discussed in-depth in our second article on color theory, will also have an effect on your composition. Saturation measures the intensity of a color—paint that comes straight out of the can, for example, is usually fully saturated, but by mixing it with white or gray, you can tone it down and make the effect more subtle.

. by Da Miane on 500px.com

Blue and orange

Fati by DextDee Livingstone on 500px.com

Red and green

In applications like Photoshop and Lightroom, you can easily change the saturation of a particular hue by using the saturation slider. If you’ve used complementary colors, you might want to bump up the saturation of one of your hues to indicate the most important part of the image.

Christina series by Karen Khachaturov on 500px.com

Yellow and purple

Waiting by Maria Svarbova on 500px.com

Red and green

In the photo above by Maria Svarbova, the reds of the waiting room interior are more intense than the greens, reinforcing the fact that the main subject of the picture is the woman in red; the walls are there to compliment her, but they don’t steal focus.

DS251 - Difference is beautiful by Dariane Sanche on 500px.com

Yellow and purple

You might notice that most of the images featured here include one “key” color and another “accent” color. In other words, one color takes up the majority of the frame or is more intense than the other. Alternatively, both colors are used as subtle accents.

Lonely tree by Pascal Krumm on 500px.com

Red and green

Happy holidays from Patagonia friends by Oscar Nilsson on 500px.com

Blue and orange

Complementary colors are all about vibrance and contrast, and that’s a good thing, but it can easily overwhelm the eye if there are too many elements competing for our attention. For that reason, these photographers have chosen to use at least one color sparingly. They’ve told us where we’re supposed to look, without distracting us from the meaning and significance of the picture overall.

Tropical flatlay with vegan popsicle with various fruits and flowers around on blue by Nataly Lavrenkova on 500px.com

Yellow and purple

Ana by Valeria schettino on 500px.com

Red and green

When discussing color schemes, you might also hear photographers refer to “split complementary” colors. These sets of colors are similar to regular complementary sets, but they’re less intense; to use a split-complementary scene, identify your key color, and then pair it with the colors on either side of its complement. For example, if you’ve chosen purple as your key color, perhaps you choose yellow-green and yellow-orange instead of pure yellow for a softer vibe.

love by Jennifer Kapala on 500px.com

Purple, yellow-green, and yellow-orange

When working with color, it’s also important to recognize that hues are both timeless and trendy. As Pantone’s hugely popular Color of the Year can attest, color trends extend from the world of interior design, through paintings in art galleries, and into photographs published in magazines around the world.

Catalina´s World by raquel chicheri on 500px.com

Yellow and purple

Summertime Pinwheel by Dina Belenko on 500px.com

Blue and orange

Our suggestion? Occasionally pull photos you love from 500px and social media, and then go over them once you’ve gathered a substantial collection. You might notice that certain colors are in vogue and then decide to include them—and their complements—in your compositions.

Care by Pranab Basak on 500px.com

Blue and orange

klaudia by Michal Zahornacky on 500px.com

Yellow and purple

Some of this year’s biggest colors include classic blues (paired well with oranges or corals), earthy or minty greens (paired well with reds and pinks), and muted lavender (paired well with yellows and golds).

1 by Amel Herzi on 500px.com

Yellow and purple

... and his face looked relaxed by Josip Predovan on 500px.com

Blue and orange

Your colors might also change based on the lighting, time of day, or color cast created by ambient light. Colors don’t exist in a vacuum; instead, they’re influenced by what’s around them. Use them as a chance to experiment with new things and push yourself outside your comfort zone; after all, there are no hard-and-fast rules for using color in photography—just suggestions for further exploration.

late summer by Renat Renee-Ell on 500px.com

Red and green

Not on 500px yet? Sign up here to explore more impactful photography.

The post 20+ Stunning images with complementary colors appeared first on 500px.

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