Capture One

8 stories

Capture OneSoftware2nd Gen Wireless Tethering: how we made wireless a choice, not a fallback Shooting without a cable has been possible in Capture One for years. What was missing was speed, and with it, the confidence to use wireless when the shoot depends on it.

09.16

Capture OneSoftwareA question, a gust, and a boat: New talent enters the scene No flash, no studio. Here’s how three Capture One RAW Talent winners made their work and shared something true to themselves. Three winning projects.

09.10

Capture OneSoftwareSelf Portraiture: the Lens of the Heart I’ve always had a strong sense of direction. That was the problem. What if after 7 long days trudging through the deep woods, you discovered the compass that had been guiding your every step was…

08.24

Capture OneSoftwareBehind the feature: Negative Film Conversion in Capture One If one thing is clear, film photography is not dead. We see it across genres, from commercial fashion photography to enthusiast communities.

03.20

Capture OneSoftwareWhy observation is a photographer’s greatest material Tom Barreto is a Brazilian photographer and director whose work balances technical precision with emotional sensitivity.

02.13

Capture OneSoftwareSeriously. AI is not the main character. AI needs no introduction. It’s wildly powerful. It ramped quickly and flooded every corner of our lives, and yes, a few big tech companies behaved like hooligans along the way, which naturally…

02.06

Capture OneSoftwareCombining Masks in Capture One Learn how combining masks unlocks more flexible editing in Capture One with almost infinite possibilities. It’s finally here.

01.22

Capture OneSoftwareHow Sarah Silver stays creative by being organized Fashion and beauty photographer Sarah Silver might be best known for her bold, playful, and colorful visuals, but behind every image lies a bulletproof workflow and process that make it all possible.

2025.12.01

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo