QPcard 201 x 2

QPcard 201 is a reference card with 27 different colors.

It is designed to be used with the software QPcolorsoft 501 that can be downloaded free on this site. The colors on the card are mixed separately from pigments and extremely fade resistant. Some of the colors are mixed to resemble the spectral response of colors in real life: Light skin (#18), Dark skin (#17), Sky blue (#25) and Forrest (#15). The seven neutral patches (#4?10) all have an almost straight spectral response. In practice this means the QPcard 201 can be used in almost any light condition with almost any camera, without suffering from metamerism.

The card is self-adhesive making it perfect to place on almost any surface in the subject. The size of the card is 142 x 40 mm (5.6 x 1.6 inch).

Redefine your raw processing with Capture One 4 PRO

Capture One 4 PRO software is now available for download! This is a landmark software release for Phase One and we are introducing many new changes.

Our R&D team have worked hard to develop a software architecture that can be quickly updated for new DSLR support and new features or functions. This new architecture is an engineering marvel that will allow us to keep up to rapid OS changes for both Mac and PC. I am also proud to note that both Mac and PC versions now look and operate in a similar manner.

The most important aspect of Capture One 4 PRO is that the functionality and workflow of version 3 is retained with all of the enhanced quality advantages of Capture One 4 PRO! The ColorEditor is now integrated, Styles are enhanced, and new creative tools have been added. Our breakthrough Lens tools prove that world class optical correction can be applied to almost any lens with spectacular results, regardless of camera platform.

If you have not had a chance to see Capture One 4 PRO in action, download a free 30 day trial and enjoy some new creative freedom!

We have a great story on the image for the new Capture One 4 PRO box by Tim Griffith. The architectural work of Tim Griffith is so focussed upon capture and with our own focus upon capture it seemed like the perfect opportunity to work with a creative icon. Look for the whole story on Tim's shoot in the next issue of RAWNEWS+.

The challenges of location photography

Compact lighting tools, enormous exposure latitude with our Phase One P+ backs, powerful laptops, accurate LCD monitors and portable generators have transformed shooting locations into full production studios. The Phase One 645 Camera platform has been designed with the growth of location work in mind. With our product announcements before and at Photokina, we will add to the travel and on-location photographer's arsenal of tools!



This month we feature an article about rethinking the location kit by Peter Eastway, a review of the Phase One 645, P 45+ camera solution from Digital Photographer magazine and an article featuring Jens Honoré and his location work in Africa with micro banking group MYC4.

More and more in our industry are starting to understand that the point of photography is the subject, not the equipment, software or post-production. For Phase One, focusing on capture has been a key to our success. Our tools are designed to enhance a photographer’s workflow so that the moment and look of an image stays as unique as possible.


Henrik Håkonsson, President and CEO, Phase One

Award-winning Photography

Featured photographer Drew Gardner, London, UK.

Drew Gardner's Alice series has been nominated for The AOP Photographers’ Awards one of the highest accolades within the professional photographic industry.

As a fashion photographer, he has chosen to make magic out of a wardrobe by evoking a very specific mood through fanciful places. He calls it,Epic Fashion photography- an approach that takes fashion to a cinematographic level. The vision is compelling.



I was yearning for greater quality than any DSLR is capable of delivering. So I went out and bought a Phase One P 25 digital back. At the time I wondered what I had done; how could I have just spent so much money? But, in fact, I’d opened the door to a whole new era of my career, one that I could never have touched before; I had come upon opportunities that couldn’t have existed before. It was an epiphany.

A key difference is that the digital back captures in16-bit, whereas a DSLR typically captures in 12-bit. This is what gives you incredible color depth. It renders more natural looking colors, and because it’s giving you so much more data to work with, you get greater dynamic range - more latitude in adjusting exposure afterwards in RAW, without losing image quality. You also get incredible resolution and no noise.



Image Processing

In the early days of shooting digital, I thought I didn’t have to worry about exposures, that I could fix it all later. After spending three days clearing up themess from one shoot, I knew I had to make digital work for me or go back to film. I knew I had to get it right – so I went back to the basics. I started to shoot as if I were shooting on transparencies. Once I did that, I turned the corner. Also, up until then, I had tried all kinds of ways to process my RAW photo images. Then I found Phase One Capture One PRO. I found that it delivers great colors, low noise, and is very intuitive to use. You can sit down and learn it pretty easily - you don’t need a big book.

The features I rely on the most are the Color Editor, the Overlay Utility and Styles.