Clipping paths
Just when you think you've got your head around the things you need to know the client throws in another question.
I shoot tethered. All post production is done in CO except maybe a bit of dusting that I can't sort with CO. When the image is ready I process from NEF to Jpegs or TIFF and send off to the client. A client has mentioned he would prefer it if I saved the clipping paths but I don't really know what they are. My assumption would be its a way of him undoing my alterations? I didn't know I was or was not saving them! How do I save the clipping paths.
On a similar note, when I take the image from CO to PS for dusting and then back into CO to process as Jpegs I can't then adjust any local adjustment layers. How come?
Thanks as always.
Jon
I shoot tethered. All post production is done in CO except maybe a bit of dusting that I can't sort with CO. When the image is ready I process from NEF to Jpegs or TIFF and send off to the client. A client has mentioned he would prefer it if I saved the clipping paths but I don't really know what they are. My assumption would be its a way of him undoing my alterations? I didn't know I was or was not saving them! How do I save the clipping paths.
On a similar note, when I take the image from CO to PS for dusting and then back into CO to process as Jpegs I can't then adjust any local adjustment layers. How come?
Thanks as always.
Jon
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"Clipping Paths" are Photoshop documents, not available in Capture One.
They can be used later for masks.
JPEG files are not supported for Local Adjustments, only RAW files.0 -
Thanks. So why would a client want them saved and what does he loose out on by me using CO as opposed to PS? If the client gets jpegs on either CO or PS they don't get clipping paths - what if they get TIFFs. Is there a CO alternative to clipping paths?
thanks0 -
Drew wrote:
"Clipping Paths" are Photoshop documents, not available in Capture One.
They can be used later for masks.
JPEG files are not supported for Local Adjustments, only RAW files.
Clipping Paths are not Photoshop documents.
Clipping paths can be in different types of documents. A jpeg can have a clipping path.
Photoshop documents can contain a clipping path as well as work paths, open paths and multiple paths either in one layer or several path layers. Clipping paths and paths can also be converted into rasterized masks and alpa channels.
The function of a clipping path is to cut out an area of an image so that parts of the image are not displayed.
Clipping paths however have hard edges and are good for cutting out objects and areas with a relatively simple outline.
They are vector information.
A path that is uses as a clipping path can also be exported by photoshop, but it is exported as an illustrator file.
Paths and clipping paths can also be exported via the clip board (copy and paste) to and from programs that support them.
In most publishing applications a photoshop with vector masks is generally exported as an EPS. Encapsulated Post Script.
This is an industry standard.
For example a clipping path in photoshop can be exported via the clip board to after effects and used as an animation path.
Going back to your client and their with to be able to make changes. A way to deliver work with adjustments that can be tweaked and changed in the future is to work with RAW smart objects. A RAW smart object brings RAW data into the Photoshop file. You can make a photoshop file with many RAW smart objects (even multiple images for a composite).
At a latter date a retoucher could open you Photoshop file with smart objects and make changes to the RAW data. Even if newer more powerful versions of Adobe Camera RAW come out old RAW setting or engine can be accessed. This is very useful for "smart undestructive" archival. Unlike Capture One you can go back to an older RAW engine in ACR.
Capture One just is not an industry standard tool as far as publishing, graphic design and post work goes. It is a RAW converter. IMO not particularly useful for NEF files, but quite essential for Leaf and Phase One MF files.
It does have a few useful tools and is useful as a side kick to Lightroom/Photoshop for DSLR photographers.
At the current "almost most of the time" special pricing it is worth buying. However it does not have the "swiss army knife" type of utility of Lightroom/Photoshop/InDesign and all the adobe team of applications.
That said the best RAW conversion of NEF files IMO is with Nikon Capture NX2. In the end the best thing is to have several RAW converters and use the one that fits the current project. However for professional work that will let you pass on more possibilities to the client or his/her graphics/retouching/advertising people your better off with Adobe. Even more so if you also work with motion images or are contributing stills to motion image projects.
Going back to clipping paths. They are very much an industry standard making it quite a significant missing function in Capture One as a Professional program. Clipping paths are such an industry standard that there are many clipping path services that do clipping path work for agencies and photographers. An assistant friend of mine does a lot of product catalog and sends his clipping path work to an outfit in sumatra of all places...
Here is an article about clipping paths that you should find intereting:
There are also a couple of links to clipping path services ager the article.0 -
Jonthepom wrote:
On a similar note, when I take the image from CO to PS for dusting and then back into CO to process as Jpegs I can't then adjust any local adjustment layers. How come?
Thanks as always.
Jon
Don't go back to Capture One to process your files to jpeg. It has quite limited jpeg output and limited previewing of jpegs.
Photoshop has better jpeg options using either the save for web dialog or save to jpeg. Just keep in mind that the save for web export dialog does not save clipping paths.
My guess is your client is asking for clipping paths so that he or she can use the files with or without the background.
Design software like InDesign can turn on or off clipping paths.
Clipping paths are also popular with image object stock images.
All of this is far beyond the scope and capability of capture one.
IF you are going into photoshop you really should not go back into Capture One.
For local adjustments photoshop is far more powerful. It allows for much better masking, selection and layer blending.
You can also do the very same type of non destructive work in photoshop using RAW smart objects where a layer is a RAW smart object where you can repeatedly make RAW conversion changes that are re calculated from the original raw file.
What is best about this is that you can mix non destructive and destructive layer in a photoshop file.
IF you ar using Capture One for your RAW conversions and then doing dusting spotting in photoshop the dusting and spotting should be your last step. This is because all dusting is not perfect. IF you make significant adjustments after spotting and dusting you may alter levels and colors sufficiently enough to reveal imperfections of dusting.0 -
Thanks for the replies. I understand most of what was said but would like to clarify.
I make all the RAW adjustments as required and the I mask off the bottle from the background and increase the background exposure to white out. So this masking ought really to be done in PS using something like the 'pen tool' or 'magic wand'? CO should only really be used to perfect the image (in this case a wine bottle) and all the masking to separate the background done in PS?
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Jonthepom wrote:
Thanks for the replies. I understand most of what was said but would like to clarify.
I make all the RAW adjustments as required and the I mask off the bottle from the background and increase the background exposure to white out. So this masking ought really to be done in PS using something like the 'pen tool' or 'magic wand'? CO should only really be used to perfect the image (in this case a wine bottle) and all the masking to separate the background done in PS?
Thanks
For still life with masking and cutout work I'd say you would be better off with Photoshop all the way.
In particular using Smart RAW objects in multiple layers in photoshop would give you far more control.
Best of all you can copy your masks, paths to different layers.
Also you can have a path as a cutout of your bottle and use a layer mask on top of that so that you can
get an even higher level of control.
CO7 is really not a program for retouching. I see it as more of a RAW converter for working with images that are
for the most part out of camera and that require processing.
There are ties when mixing CO with Photoshop is the way to go, but I'd say that is mainly with Phase Ones MF files.
In that case RAW conversion in CO then post/retouching in Photoshop and not go back to CO.
This is also good practice if your client wants industry standard elements from the process such as clipping paths.
Advertising agencies and graphic designers don't want to have anything to do with C0.
Advertising genies often like to get your post work with your layers, clipping paths, masks etc for various reasons.
They may want to change backgrounds, they may want to send off the files for retouching or some artsy fun and games.0 -
Thanks for the reply. I'd better get relearning! 0 -
Jonthepom wrote:
Thanks for the reply. I'd better get relearning!
The curve is steep, but there are a great deal of learning assets to pull from nowadays. Didn't used to be like it is now.0 -
You can't make a clipping path in RAW images in CO or PS. So if you can make a tiff or a jpeg, you can make the clipping path in Photoshop. Thanks!
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