Masking is a term that you may not think applies to Capture One Pro 7, but as you have seen in my previous blog posts it is certainly possible to selectively edit areas with Local Adjustments.
So indeed this is a kind of masking, but are there other ways we can selectively adjust images? Take a look at the image above. It has quite a prominent blue sky, but it didn’t look as rich as this in the unedited photo.
Often the Color Editor gets overlooked as a way to change the appearance of a color and not just the hue. Also in the above image the red flag was picked as well, to richen the red a little. Again, no need for any local adjustment. So think about if an area of your image needs adjusting, or if it can be dealt with using one or a few color edits as opposed to needing to draw a mask.
When to use Auto Masking?
During workshops and seminars I often see people instantly going to the Auto Mask feature and then spend more time than necessary trying to mask around complex objects, when all it could take is either a simple edit like above or a quick combination of a Local Adjustment Mask and a color edit. Normally for the last option the mask need only be ‘rough’ one, so it is extremely fast to do! We will look at that technique at the end.
However, the Auto Mask can certainly be a really useful feature and I do use it on occasion when the above-mentioned techniques don’t work.
How the Auto Mask works
The image below may well benefit from an Auto Mask, if I want to separate the background from the flower a little. Auto Mask works by detecting differences in color and contrast in an image file to find the edge of a subject, and this is a good example.
Here is the image with some basic corrections but I wouldn’t mind darkening the background a little. As the background is made of multiple tones it doesn’t work so well to use the Color Editor as in the above example.
So instead I will use the Auto Mask function of the local adjustments brush. Normally, Local Adjustment masks are simply brushed on with varying size and opacity. If you want to know more about using Local adjustments then there are plenty on the blog you can read up on. To check them out, try searching for ‘Local Adjustments’ in the upper right corner on the blog.
To activate the Auto Mask, right-click on the image with the Brush selected and check the Auto Mask box.
The Brush icon now has three concentric circles with a smaller one in the centre. This centre circle is now the sample area. So during brushing the mask will stop, or find the edge, when the content inside the sample zone differs compared to the outermost circle.
Now all I need to do is draw along the edge of the petal, keeping the sample zone on the petal itself and the outer circle on the background. If you have opted to see the mask as you draw, it will look like the edge has not been detected, but the calculation is actually made when you release the mouse or pen.
Finally, a really useful technique is to use a Local Adjustment in combination with a color edit. I use this image below a lot, captured by my friend Malcom Bryan in Beijing, as it illustrates this point perfectly.
Here it is with some basic adjustments:
What I want to do is edit the color of the red ballon a little in the background, but there is a problem! If I select it in the Color Editor and make an adjustment, it also effects the balloon seller’s skin tone. We can see this by turning on the View selected color range option in the Color Editor. This turns any part of the image, that will not be affected by the edit, to monochrome. I have adjusted the range and smoothness carefully to just include the balloon, but it still effects the skin tone as well!
So, that’s three different ways you can select areas for localized adjustments. All with different uses but all equally useful!