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ITER initially the International Thermonuclear Experimental Reactor , iter meaning “the way” or “the path” in Latin [1] [2] [3] is an international nuclear fusion research and engineering megaproject aimed at creating energy by replicating, on Earth, the fusion processes of the Sun.

Upon completion of construction of the main reactor and first plasma, planned for late , [4] it will be the world’s largest magnetic confinement plasma physics experiment and the largest experimental tokamak nuclear fusion reactor. It is being built next to the Cadarache facility in southern France. The long-term goal of fusion research is to generate electricity. ITER’s stated purpose is scientific research, and technological demonstration of a large fusion reactor, without electricity generation.

ITER’s thermonuclear fusion reactor will use over MW of electrical power to cause the plasma to absorb 50 MW of thermal power, creating MW of heat from fusion for periods of to seconds. Construction of the ITER complex in France started in , [17] and assembly of the tokamak began in Fusion aims to replicate the process that takes place in stars where the intense heat at the core fuses together nuclei and produces massive amounts of energy in the form of heat and light. Harnessing fusion power in terrestrial conditions would provide sufficient energy to satisfy mounting demand, and to do so in a sustainable manner that has a relatively small impact on the environment.

One gram of deuterium-tritium fuel mixture in the process of nuclear fusion produces 90,kilowatt hours of energy, or the equivalent of 11 tonnes of coal. Nuclear fusion uses a different approach to traditional nuclear energy. Current nuclear power stations rely on nuclear fission with the nucleus of an atom being split to release energy.

Nuclear fusion takes multiple nuclei and uses intense heat to fuse them together, a process that also releases energy. Nuclear fusion has many potential attractions. The fuel is relatively abundant or can be produced in a fusion reactor. After preliminary tests with deuterium, ITER will use a mix of deuterium-tritium for its fusion because of the combination’s high energy potential.

The first isotope, deuterium , can be extracted from seawater , which means it is a nearly inexhaustible resource. On 21 November , the seven project partners formally agreed to fund the creation of a nuclear fusion reactor. The reactor was expected to take 10 years to build and ITER had planned to test its first plasma in and achieve full fusion by , however the schedule is now to test first plasma in and full fusion in The best result achieved in a tokamak is 0. For commercial fusion power stations, engineering gain factor is important.

Engineering gain factor is defined as the ratio of a plant electrical power output to electrical power input of all plant’s internal systems tokamak external heating systems, electromagnets, cryogenics plant, diagnostics and control systems, etc.

Some nuclear engineers consider a Q of is required for commercial fusion power stations to be viable. ITER will not produce electricity. Producing electricity from thermal sources is a well known process used in many power stations and ITER will not run with significant fusion power output continuously.

Adding electricity production to ITER would raise the cost of the project and bring no value for experiments on the tokamak. One of the primary ITER objectives is to achieve a state of ” burning plasma “. No fusion reactors had created a burning plasma until the competing NIF fusion project reached the milestone on 8 August The bigger a tokamak is, the more fusion reaction-produced energy is preserved for internal plasma heating and the less external heating is required , which also improves its Q-value.

This is how ITER plans for its tokamak reactor to scale. Preparations for the Gorbachev-Reagan summit showed that there were no tangible agreements in the works for the summit. However, the ITER project was gaining momentum in political circles due to the quiet work being done by two physicists, the American scientist Alvin Trivelpiece who served as Director of the Office of Energy Research in the s and the Russian scientist Evgeny Velikhov who would become head of the Kurchatov Institute for nuclear research.

The two scientists both supported a project to construct a demonstration fusion reactor. At the time, magnetic fusion research was ongoing in Japan, Europe, the Soviet Union and the US, but Trivelpiece and Velikhov believed that taking the next step in fusion research would be beyond the budget of any of the key nations and that collaboration would be useful internationally.

My response was ‘great idea’, but from my position, I have no capability of pushing that idea upward to the President. This push for cooperation on nuclear fusion is cited as a key moment of science diplomacy , but nonetheless a major bureaucratic fight erupted in the US government over the project. One argument against collaboration was that the Soviets would use it to steal US technology and expertise.

A second was symbolic and involved American criticism of how the Soviet physicist Andrei Sakharov was being treated. Sakharov was an early proponent of the peaceful use of nuclear technology and along with Igor Tamm he developed the idea for the tokamak that is at the heart of nuclear fusion research.

This led to nuclear fusion cooperation being discussed at the Geneva summit and release of a historic joint statement from Reagan and Gorbachev that emphasized, “the potential importance of the work aimed at utilizing controlled thermonuclear fusion for peaceful purposes and, in this connection, advocated the widest practicable development of international cooperation in obtaining this source of energy, which is essentially inexhaustible, for the benefit of all mankind.

As a result, collaboration on an international fusion experiment began to move forward. This meeting marked the launch of the conceptual design studies for the experimental reactors as well as the start of negotiations for operational issues such as the legal foundations for the peaceful use of fusion technology, the organizational structure and staffing, and the eventual location for the project.

This meeting in Vienna was also where the project was baptized the International Thermonuclear Experimental Reactor, although it was quickly referred to by its abbreviation alone and its Latin meaning of ‘the way’. Conceptual and engineering design phases were carried out under the auspices of the IAEA. These issues were partly responsible for the United States temporarily exiting the project in before rejoining in There was a heated competition to host the ITER project with the candidates narrowed down to two possible sites: France and Japan.

In , Australia became the first non-member partner of the project. The ITER Council is responsible for the overall direction of the organization and decides such issues as the budget.

There have been three directors-general so far: [77]. ITER’s stated mission is to demonstrate the feasibility of fusion power as a large-scale, carbon-free source of energy. The objectives of the ITER project are not limited to creating the nuclear fusion device but are much broader, including building necessary technical, organizational, and logistical capabilities, skills, tools, supply chains, and culture enabling management of such megaprojects among participating countries, bootstrapping their local nuclear fusion industries.

From to the middle of the s, hundreds of fusion scientists and engineers in each participating country took part in a detailed assessment of the tokamak confinement system and the design possibilities for harnessing nuclear fusion energy. The ITER project was initiated in Ground was broken in [88] and construction of the ITER tokamak complex started in Machine assembly was launched on 28 July When deuterium and tritium fuse, two nuclei come together to form a helium nucleus an alpha particle , and a high-energy neutron.

While nearly all stable isotopes lighter on the periodic table than iron and nickel , which have the highest binding energy per nucleon , will fuse with some other isotope and release energy, deuterium and tritium are by far the most attractive for energy generation as they require the lowest activation energy thus lowest temperature to do so, while producing among the most energy per unit weight. All proto- and mid-life stars radiate enormous amounts of energy generated by fusion processes.

Activation energies in most fusion systems this is the temperature required to initiate the reaction for fusion reactions are generally high because the protons in each nucleus will tend to strongly repel one another, as they each have the same positive charge.

In ITER, this distance of approach is made possible by high temperatures and magnetic confinement. ITER uses cooling equipment like a cryopump to cool the magnets to close to absolute zero. Additional heating is applied using neutral beam injection which cross magnetic field lines without a net deflection and will not cause a large electromagnetic disruption and radio frequency RF or microwave heating. At such high temperatures, particles have a large kinetic energy , and hence velocity.

If unconfined, the particles will rapidly escape, taking the energy with them, cooling the plasma to the point where net energy is no longer produced. A successful reactor would need to contain the particles in a small enough volume for a long enough time for much of the plasma to fuse. A charged particle moving through a magnetic field experiences a force perpendicular to the direction of travel, resulting in centripetal acceleration , thereby confining it to move in a circle or helix around the lines of magnetic flux.

A solid confinement vessel is also needed, both to shield the magnets and other equipment from high temperatures and energetic photons and particles, and to maintain a near-vacuum for the plasma to populate. The material must be designed to endure this environment so that a power station would be economical. Once fusion has begun, high-energy neutrons will radiate from the reactive regions of the plasma, crossing magnetic field lines easily due to charge neutrality see neutron flux.

Since it is the neutrons that receive the majority of the energy, they will be ITER’s primary source of energy output. The inner wall of the containment vessel will have blanket modules that are designed to slow and absorb neutrons in a reliable and efficient manner and therefore protect the steel structure and the superconducting toroidal field magnets.

Energy absorbed from the fast neutrons is extracted and passed into the primary coolant. This heat energy would then be used to power an electricity-generating turbine in a real power station; in ITER this electricity generating system is not of scientific interest, so instead the heat will be extracted and disposed of.

The vacuum vessel is the central part of the ITER machine: a double-walled steel container in which the plasma is contained by means of magnetic fields.

The ITER vacuum vessel will be twice as large and 16 times as heavy as any previously manufactured fusion vessel: each of the nine torus -shaped sectors will weigh approximately tons for a total weight of tons. When all the shielding and port structures are included, this adds up to a total of 5, tonnes. Its external diameter will measure Once assembled, the whole structure will be The primary function of the vacuum vessel is to provide a hermetically sealed plasma container.

Its main components are the main vessel, the port structures and the supporting system. The main vessel is a double-walled structure with poloidal and toroidal stiffening ribs between millimetre-thick 2. These ribs also form the flow passages for the cooling water. The space between the double walls will be filled with shield structures made of stainless steel. The inner surfaces of the vessel will act as the interface with breeder modules containing the breeder blanket component.

These modules will provide shielding from the high-energy neutrons produced by the fusion reactions and some will also be used for tritium breeding concepts. The vacuum vessel has a total of 44 openings that are known as ports — 18 upper, 17 equatorial, and 9 lower ports — that will be used for remote handling operations, diagnostic systems, neutral beam injections and vacuum pumping.

Remote handling is made necessary by the radioactive interior of the reactor following a shutdown, which is caused by neutron bombardment during operation. Vacuum pumping will be done before the start of fusion reactions to create the necessary low density environment, which is about one million times lower than the density of air. ITER will use a deuterium-tritium fuel, and while deuterium is abundant in nature, tritium is much rarer because it is a hydrogen isotope with a half-life of just This component, located adjacent to the vacuum vessel, serves to produce tritium through reaction with neutrons from the plasma.

There are several reactions that produce tritium within the blanket. ITER is based on magnetic confinement fusion that uses magnetic fields to contain the fusion fuel in plasma form. The magnet system used in the ITER tokamak will be the largest superconducting magnet system ever built. The 18 toroidal field coils will also use niobium-tin. They are the most powerful superconductive magnets ever designed with a nominal peak field strength of There will be three types of external heating in ITER: [].

The ITER cryostat is a large 3,tonne stainless steel structure surrounding the vacuum vessel and the superconducting magnets, with the purpose of providing a super-cool vacuum environment. The divertor is a device within the tokamak that allows for removal of waste and impurities from the plasma while the reactor is operating.

At ITER, the divertor will extract heat and ash that are created by the fusion process, while also protecting the surrounding walls and reducing plasma contamination.



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Capture one pro 12 price uk free. Imaging Beyond Imagination


It’s famous for the quality of its raw processing, tethered shooting and editing tools, and it’s also available for a single ‘perpetual’ licence fee, unlike its arch-rival Lightroom. There is a subscription option too.

But Phase One also makes cheaper Sony and Fujifilm versions made specifically for these two camera brands, and it’s these that have had their prices chopped. So if you are a Sony or a Fujifilm user and you’re looking for the best possible image quality from your camera’s raw files, this seems like an unmissable opportunity. It’s especially good news for Fujifilm owners since most raw processing software tends to struggle with the Fujifilm X-Trans sensor’s unique colour filter array raw specialist DxO doesn’t support X-Trans sensors at all.

Lightroom doesn’t do a bad job, but Capture One Pro leads the field here, especially now that Phase One has added in dedicated Fujifilm Film Simulation profiles to replicate the look of Classic Velvia, Provia, Acros and other film types from raw files.

Capture works in a couple of different ways. Updating C1 PRO used to be significantly cheaper. Well that’s me finished with C1 now and I won’t be upgrading anymore. I don’t consider the software to be worth this price hike and there are other cheaper products that are just as good, if not better, for what I want to do with my images.

Generally when you factor in upgrades, this is where the subscription model perhaps is better especially if you find yourself upgrading every year or every other year.

However, captureONe does have some appealing editing tools that LR lacks, which is why I keep both around, but will probably switch from a subscription to a perpetual license. I’m not planning on upgrading my cameras for another few years anyways myself.

I think the higher cost can be attributed to the creepy high priced models used in the marketing photos. Man those shots creep me out! C1 is very good but so Alien Skin Exposure. There is not much difference between these two as far as creative photography is in regard. C1 Pro is a fantastic alternative to LR. It is a fully featured, robust and mature software system. It is more customizable and the color science is top notch.

That said, choosing between the two is a very personal decision. I use both depending on the camera. That takes some work though. I like a lot of C1, and use it professionally. But ‘robust’ is just about the last word I would use to describe it. The DAM functionality has been unbelievably poor for me, and for quite a lot of users I’ve spoken to on these forums – LR leaves it in the dust for reliability, stability and speed.

No RAW editor that lacks a ‘History’ functionality – whether one uses it or no – can really be described as ‘mature’, either! Granted, it does not crash, but there are a number of faulty behaviours to contend with, including image counts going to “-1”, if C1 gets confused about images it relocated itself.

This is on top of many workarounds one has to apply because Capture One stubbornly refuses to implement very sensible and non-contentious user requests, such as the ability to overwrite output files exported JPEGs, for instance.

Not as powerful as LR’s Library module. But in some respects, C1’s Smart Albums are actually “smarter” than Adobe’s Smart Collections which require too much work to make them worthwhile in my opinion, like to limit your Smart Collection to a certain set of photos — say in a particular collection and not the entire catalog–requires more conditions to be set, whereas C1’s Smart Albums work at the Project level, not the catalog level, but they can be configured to work at the Catalog level too, depending on where you place the Smart Album.

This is one area I wish Adobe would revamp I’d venture to say from a “maturity” standpiont, C1 and LR are about the same. Both still are buggy, and both can lag doing some tasks. I’d say though from a feature standpoint looking at the whole picture LR is probably slightly ahead: the library module has more features, the Develop module is probably on par with C1 now that they’ve added local color adjustments, however importing LR is very slow and C1 runs circles around LR in that regard.

But I’d say on the whole, they’re about equal. It’s more find which features matter to you the most, and go with that program. I have both programs BTW so this comes from my experience using both. I expect Capture One Express is going to be a much as most users need and the cost of that is free.

Besides, anyone who deals with Capture One knows they frequently have promotions. When I decided I wanted a full licence I have both Sony and Fujifilm cameras , I just waited for the discount to come along.

Well, part of me says that they can’t control taxes for a specific region in this case Canada. We pay that on top of US pricing. Very rarely does a company price products at the same numerical amount in local currency.

So what’s fair pricing in the US is not so fair elsewhere if local currency isn’t as strong. I know a couple of people who have while down in the US purchased US camera gear to avoid the taxes when possible. The American dollar is stronger than the Canadian dollar.

I tried CaptureOne for Nikon D with mixed experience — well, my DxO Photolab 4 is just fast, stable and reliable — for videos I use Openshot — that’s a healthy mix of professional software and open source solution.. I use nearly all top images editors on the market.

CaptureOne 20 has certainly some benefits over others. But as a whole it does not stand out. Its much self-applauded library system is still not even close to Lightroom. The layers options are no match for Affinity.

Its noise cancelling is lightyears apart from DXO. So what’s left for me as Fuji user? RAW conversion and in app sharpening. But the good old NIK sharpening options are still better. So for me nevcer ever an upgrade abd certainly not at 3x the price of any Affinity app. Sorry CaptureOne marketing kids – back to school! Affinity Photo is a competitor to Photoshop and not to a RAW Converter like Capture One or Lightroom, these two can’t fulfil each others task so it’s kind of pointless to compare them.

The other thing to consider when doing “build your own” types of workflows is program compatibility too. While I haven’t seen this be much of an issue, program compatibility between vendors isn’t always guaranteed.

The one instance where I found this to be a potential problem in my own workflow is when one program supports ProPhoto RGB but the other program does not only sRGB for example which can be a problem if color space is important to you. But with complete packages like Adobe and a few others, they are sold as a system so you know that what you do in Photoshop for example, will work in other Adobe applications without much of any if any fuss. And Adobe apps at least Photoshop and LR both seem to support the same color spaces so you can maintain color accuracy and rendering between programs all else remaining the same.

I have a perpetual license for C1 V20 that works fine and no need to upgrade. Likely they are losing major business due to Fujifilm’s GFX cameras. FujifilmXT3, if you think one of Fjuifilms Cameras can replace a PhaseOne Back you don’t need medium format at all because obviously you have no understanding of the topic and would probably do just as fine with a Nikon D The Fujifilms are basically classic cameras with a larger Sensor without offering any of the typical advantages that distinguished medium format to full frame until that point.

If alone the AD converter of an other medium Format system cost’s more than the whole Fuji camera you can guess that the Fujis hardware is not up to that level. FujifilmXT3 owning something doesn’t automatically equals knowing or using something to the full capabilities. Many Photographers used Medium Format only because they needed the resolution, when Full Frame Sensors delivered more and more resolution they switched to those much cheaper Systems.

The Leica S2 and Fuji try to get some of those users as of course a larger Sensor always is better but they are still only enlarged classic Full Frame Sensors without the benefits of the real medium format systems. So obviously you don’t need what real medium format has to offer, but just because you don’t need it doesn’t mean that the other systems can compete with them. I’ll upgrade when the time is right.

I was very pleased with the improvement in vers 20, Notice a lot of software companies are pushing to me to buy upgrades. There’s a serious economic struggle going on in the creative branches their struggling to keep afloat especially for more niche conpanies. Photography is hit hit hard the the lockdowns. I would accept the huge price increase if the latest update to v21 would have brought some real improvements, but that is absolutely not the case.

Capture One always argues that they fully focus on highest image quality and the professional market. But if so, I would minimally expect a state of the art sharpening no USM, something like deconvolution , a much better noise reduction, and finally exposure blending for 32 bit TIFFs as in LR.

Meanwhile I switched to DxO Photolab 4 and it definitely has also some limitations, but the image quality lens based sharpening, Denoise Prime is exceptional!

Denoise prime integrated with a full featured raw developer may be enough for me to switch. But that tech is definitely of interest given so much of my work is high ISO. Clunky and there are definitely limitations – but I’m getting good images out of it. Not going to upgrade! Price increase!!?? Public opinion is fickle indeed, I still prefer the license model since I can for instance easily choose not to upgrade from v20 to v21 and just catch the next one, but the sub model was never my biggest objection against LR anyway.

C1 users disappointed with the latest “upgrade” that does not fix any problem with the library, which is frankly sub-par compared to LR. At the same time, Adobe keeps updating their products in a regular, meaningful ways. For example, they now have what is maybe the best rendering of Fuji raw files thanks to the new enhanced resolution feature. I still like my C1 v20 very much and had the experience of much better IQ than what I could achieve with Adobes products.

That being said, I found these strange ads urging to update now to v21 without even knowing what features where supposed to be new alienating. Also, C1 used to be a good deal and I accepted that it sometimes crashed when it ran out of memory on my 16G PC. Hiking up the costs without actual benefits is something that stopped me from updating as I did previously every year.

I will rather spend some time exploring the features v20 has to the fullest where I am still far from complete C1 seems to be maybe in the hands of some hedge fond squeezing out the cash and dropping it later on. I agree about the strange way they offered the update to V Asking you to buy it without telling you what was in it! When it did arrive I think the vast majority of people would agree it didn’t live up to the hype and was underwhelming.

When I had a photography business, processing software was a business expense – tax deductible. Honestly, the results are as good or better than before, though not necessarily quite as quick. If the investment isn’t earning money for you, why pay it? I use Adobe Indesign daily for my business and it is worth every penny I pay for it.. Truely, each has it’s pluses and minuses If you are a dabbler who just needs software to edit their photos C1, Lightroom, etc are a bit overkill in many ways.

A client fashion photographer who often rents my studio, bought the V21 upgrade only to have it fail on shoot. Many tries later and correspondence with tech support had them refund the purchase, they couldn’t find the problem. He is happy that Lightroom with it’s latest versions doing error free tethered capture.

Many users in my circles are stopping at V20 and rightly so. Quit calling updates upgrades C1! Oh why do C1 fans keep saying far better much better etc compared to LR? Both are good, some things are very good, and some things unique in their own way. Learn them both use the one that fits best. C1 continues to push the price up thus will become more exclusive.

Lightroom will continue to serve too many uses, yet remain extremely affordable. While using it, bam, just as you said, it crashed on me. I was upset they used their choice to raise prices. But then, I used my choice to not buy it so I guess it all equals out. Seriously though, you do not need the upgrade ever year. There is very little new useful stuff in the program each year.

The architecture upgrade I have asked them for, they have not done, so until they do, I don’t upgrade. The only time you might need to upgrade is if there is a camera that you just bought that is not supported in the software you have already licensed. If you do spend a couple grand on a camera, then paying for a one-time license to use the software for the life of the camera is not a bad deal.

You can’t do much without good software. Older C1 versions do not receive updates anymore and C1 always has some bugs, so if a particular bug is hurting you and hasn’t been addressed in the version you own, there is no alternative to paying the upgrade price. Handsome90 As an example, if you want a correctly working keystone tool, you won’t get it with V This tool is not able to simultaneously correct two dimensions simultaneously.

V10 had an issue with redoing edits on curve points. This only got fixed in V I’m sure there are more example that I’m not aware of. The support team was responsive and competent.

C1 had some issues but user requests where responded to and C1 had a great trajectory. With the split from Phase One, the product management direction, quality control, and technical support all got significantly worse. Another example is a library system that scans each and every raw file instead of querying its database when searching all pictures for a keyword.

That on top of taking forever to open a library with 40K pictures. Agreeing with you again – I really think these points need to be hammered home! C1 as you starts to squeal horrifically with an order of magnitude fewer.

I once timed how long it took to open a folder with a library of , images I shoot a lot images for my job and I like to have a single hierarchy where I can find everything and keep it organised; sue me ;. This was never a prob with LR! C1 has never convincingly moved on from, as you say, a sessions based workflow, shoot by shoot.

That’s fine so far as it goes, but it annoys me that they market it as offering different functionality, where practically speaking it effectively doesn’t. Funny once I saw the lack of support for stitching images in the update I moved over to On1 and am actually liking it.

What I really think this proves is how important we do not depend on any software for our Long term archive. If I needed to grab a file from years ago I would almost certainly need to reprocess it from scratch.

I appreciate due to the simple reality of inflation prices rise. It’s a pity the C1 marketing team didn’t trust it’s users to take a price rise on the chin so to speak and just announce a simple price rise rather than come out with the most ridiculous and patronising email I have seen in a long time attempting to justify it.

As to the new prices I don’t understand the comments from some posters saying its pro software so that justifies the price. I think pricing higher than Adobe is risky. The import is counter intuitive and there is no map module for example. A new camera is possibly on the cards for me in and it may not be a Sony. I can’t justify the price of the full version if it isn’t. If bugs determine whether a software is PRO or amateur, then I have learned something new today. Photoshop and Indesign are full of bugs – does that make them not Pro?

That is the most ridiculous thing I have heard in recent memory. Many Pros use C1. I don’t think Photoshop’s “Undo” is not working correctly or that every image touched up with a healing brush cannot be properly exported. I use both Photoshop and Capture One and there is no comparison how many more bugs, partly affecting fundamental functionality, there are in Capture One. I don’t care how many “pros” use Capture One, the software does not pass any reasonable threshold of “pro quality”.

Been use C1 Pro for many years The biggest issue for me with C1 is speed on export and the inability to overwrite these exported images WHY can’t I overwrite an exported image if I make a tweak?!??! I believe you about your frustration but I don’t have any crashes with C1.

Perhaps my Mac just works better. That doesn’t mean I don’t have frustration with it. The software is excellent and helps me with thousands upon thousands of sellable photos per year. I think it’s just fine. The fact that the keystone tool does not perform the correct distortion it produces parallelograms instead of rectangles, if you correct in two dimensions simultaneously , that “undo” is currently not working for some users, that healing layers can cause artefacts both during previewing and on export, etc.

C1 works fine for me but as a pro, I would not rely on a tool that cannot re-locate images from one folder location to another without dropping some and getting its image counts mixed up. I’ve had folders with “-1” negative one! As another example, there is a “Known Issue” about importing a catalog may mean that the last image is not imported.

This may be acceptable for amateur-level consumers but pros should be expecting more. FWIW, I don’t care how bad other software is. I had those issues moving images too. Metadata, including edits, quite often gets left behind too. I used to recommend C1 to others but no longer do so. Customer requests are being ignored and V21 is therefore still full of unnecessary limitations. Worse, it also features many old and new bugs.

I don’t mind paying a premium price for a premium product but C1 is just way too buggy to command the prices they started asking for it. V21 has issues with undo, exporting images with heal layers , the keystone tool is still broken, etc. The complete list of issues remaining with the software is embarrassingly long.

I won’t upgrade to V21 and at this rate it seems very unlikely I’ll ever upgrade again. Too bad, there was so much potential in C1. I had bought the version 20 for Nikon and now I should pay almost the complete amount again. In addition, you only get one license instead of two as before. Nice try. I suspect Adrenochrom has been fooled by the fact that you have to go into the website and clear no longer used activations to get back your full set.

That said, I must agree about the raise in upgrade prices, the prices themselves, and the paucity of features and fixes they eke out a little each year. Capture One 20 was a decent upgrade adding in two I think prior years. At the appearance and pricing of 21, it will be a while before i would consider doing it again. Subscription makes sense only for businesses, and if they update cameras or lenses.

Danes know about respect; they also know sometimes they don’t like to give it, children onwards. This grab for money is kind of the way of a certain personality of child. Knowing software, besides culture, I’d like to be sympathetic, but it’s difficult, feeling the presence of arrogance, and self-belief in a hard nose. Ok, I own the Nikon version of CapturOne20, until last week I was shown on their website that CaptureOne21 Nikon can only be installed on one computer instead of two, this week it’s back to 2 seats.

Anyway, CaptureONe Pro was 3 seats and is now only for 2 seats whatever. At least they seem to be trying to listen to their customers, because the limitation of the number of seats has been mentioned and criticized in various places and was so puplished on their website.

I’d checked the website for my C1 20 and found 3 license uses still available, but that is keeping legacy, not apparently what they do on some, or is it all? I guess they must be concerned that some customers may be blurring the line to let several workers use the same license.. It’s hard to know their real situation with subsidies now from larger brands, rather than the expensive backs.

It occurs to me that what can look like arrogance may rather be indication of struggle, and in software, not to say keeping up with professional lens profiles, there are many challenges.

I currently run C1 Ver. Since the added features in Ver. Therefore I will have to factor in the C1 update price when looking for a new camera. Sadly, they 1 dropped the ability to replace layers in target images; now only adding is possible. Give with one hand, take away with the other. A fix only addressed half of the problems; usability is now still worse than it was in V Users see artefacts on their screens and get corrupt exports, when healing layers are used.

So, so disappointed with this. Had intended to purchase C1 last evening, and the first I knew of the price increase was when I went to the website. I’m a hobbyist photographer, and whilst I understand that C1 is professional software, that does not mean it doesn’t have appeal to an amateur, especially as there is an option for a perpetual license. I would imagine that most pros would want the full version, and perhaps the brand specific version was supposed to appeal to people like me?

People here seem to forget that most paid perpetual software licenses just mean that you get a certain version that you can use as long as you want. There are people who paid for Photoshop CS6 and they can still use CS6 as long as they want, even though it’s totally out of date now and not really updated. It was the same way with Windows, where the expectation up through Windows 8 was that you had to pay to upgrade to the next version.

Capture One makes a new release every year, so it should be no surprise when that happens, and you can always choose to wait a few years before upgrading. Tbh the bottom line is that if you’re making a one-time payment for software, you should be happy with the software’s current set of features, as-is.

Making a software purchase in the hope that it’ll get free updates that include the features you want is a good way to be disappointed.

Anyone who has purchased early-access video games would know this. And I try my best not to get suckered into any kind of subscriptions. It is just wrong to buy software on subscription as you loose access when the timer runs out. Yes, you summed it up pretty well there! The only exception to this practice seems to be the Affinity suite of softwares that they keep on updating, year after year without asking for more money. For quite a period of time and even today, somewhat the business model of paying a single time and then getting unlimited updates for the rest of your life was certainly an exception to the rule.

Usually you might expect feature updates for a brief period of time, followed by security updates or no updates at all. If the users aren’t putting more money into new versions of the software, the developers would have to either continuously grow the user base, or they would have to find some other revenue source. Anyway, the point is, if you buy a perpetual license for software and then you find that it’s not getting updated with new features, I don’t think anyone should be surprised or even disappointed by that outcome.

No matter what, “house always wins”. Great, I bought Capture One 21 not that long ago and I’m not eligible for the free upgrade. Doesn’t quite seem fair to be honest. To be honest, HDR merging and panorama stitching are features I can live without so I question whether the upgrade in December will be beneficial to me at all.

I love the interface. Created for Windows, with the Windows familiar menus and interface. No half-ars frustrating Apple interface conversion to Windows. The more I tried C1 since version 11, now on 21, for Sony , the more I hated its interface. As for benefits and pricing policies, etc. If you’re only going to use it for a couple of months to try it out, choose monthly fee. If you’re always updating everything to the latest version, get the yearly fee. If you’re not planning to upgrade until you upgrade your camera, and you do that every 3 or 4 years, get the perpetual licence.

Just don’t get the perpetual licence expecting it to be updated, or the yearly and complain it wasn’t updated enough I agree. I bought C1 not that long ago and don’t qualify for the free upgrade, boo!

As it is, C1 21 does more than I need it to, which is to add my own simple colour style to my images. I doubt the newer version adds anything critical for me so could easily wait a good number of years before upgrading. I was always skipping one version before updating, but with current price policy of Phase One, that doesn’t seem possible anymore. C1 has the worst licensing models. I bought it because of its perpetual promise which falls flat the moment you get a new camera but want to be using the same limited functions in the version you bought.

What they did with the Pentax z unsupported BS is also cringe worthy, nobody is asking them to support z, they purposely block it even though its the same sensor for fuji , hassy, phase one. If it was a small payment for existing users, it would be fine but C1 charges a whole new program price for minor upgrades.

As many mentioned below, every year the updrading just renders the “life-time” meaning less. The actual benefit of upgrading is questionable, but obviously it tries to force you to pay the “annual fee”, even you chose a “life time license”. Another good example is that as a subscriber, the upgrading is free! It tries to be better than Adobe, but anyone with a proper brain would realize that these is no difference.

I am still using my lightroom 6 and adobe creative cs5. All I have to do is convert to dng. If they added features that i really care about maybe I will upgrade, I am not a digital artist. I think i got capture 1 pro 12 on sale for half off still using it. All that money i saved all those years haha. It just seems like they’re not even trying anymore, and I’m not sure they even have software developers working on certain programs I guess, at least if you buy it outright, not only do you own a copy of the software, you are not forced into upgrading and can run the version you own for as long as you like and as long as you don’t need any newer features.

Subscriptions keep you paying money as if you would automatically upgrade to every new version and you loose the software the moment you stop paying. The C1 styles are the single worst thing I have ever wasted my money on.

Cost a fortune, all are a pretty poor. Do what I do and make your own styles. It really isn’t that hard. I would never purchase styles when I have bought the software that makes it possible for me to create my own. Most style packs come with maybe only one or two styles you would actually use anyway. Their styles are a complete waste of money for me. The fact they went down this road to try to improve revenue weakens the product because you can not use standard LUTs to colour grade.

I don’t expect any company to sell software and update it perpetually for a one-time fee. That’s not a recipe for survival. But I do expect upgrading to be optional, based on the benefits offered. No bang, no buck. Stitching and decent HDR would be something worth paying for. The ability to open files from 5 new cameras I don’t own would not be worth anything, yet I pay Adobe every month, regardless.

The lifetime licence means the software won’t time-out after a while. It doesn’t get you updates past the first year They hope users to upgrade, like every other software manufacturer. But you don’t have to, contrary to a subscription model. It’s easy to create your own styles, based on your own liking and taste. I don’t pay a subscription fee as, like you say, I don’t want to pay for features I wont use.

Also subscriptions only have two or three different versions of the software and after a while they drop the oldest version so you’d be forced to upgrade if you find a particular version you like. I prefer the ‘one off’ cost, then I can upgrade to a newer version several years down the line, therefore saving money in the long run.

We should be able to have a one off purchase on software and free camera compatibility upgrades. To me this would be the main reason to getting C1. They still have to spend time and effort supporting the R3, presumably they would have to charge you more for 21 in order to cover those costs Well it isn’t like they charge you extra money to support your new camera profile.

Instead they also charge you money to support ALL the other cameras included in an upgrade. So you are in essence paying for a support library far greater than your needs.

It is one thing I liked about adobe. After all profile support should in fact not cost extra. At least not hundreds of euros. It is work they need to do anyways after all. I’m on v20 right now but an upgrade will end up running me as much as a full license when it goes on sale, so unless they don’t run as many sales in the future or also put the upgrades on sale they’ve really devalued their upgrade pricing. Please stop parroting marketing BS.

This is not a lifetime license. But five years down the line, when you are forced to purchase a newer version compatible with your OS and or current camera RAW files, think of the money you saved not having to pay the subscription fee for five years. In this way they will continue taking your money indefinitely. At the end of the day, there is no difference to Adobe model. If you are on MacOS, then yes the program will only be good for max 5 years before an os upgrade will break it.

But on windows, well i still use Photoshop CS2 and I can’t see any reason to upgrade it. And I still use Visual Basic 6 which is about 30 years old now and runs on windows If it’s any good, it’ll save me a round trip or two to other dedicated products. Just keep in mind that if you buy the manufacturer-specific version, all your RAW files from other manufacturers aren’t supported. That used to be a really good deal. They usually do that about May each year if I remember correctly.

And with the updates to Lightroom and the R5 profiles, I’m pretty sure I’m going to save money and go with Adobe now. But I’ll keep CaptureOne around as long s it’s viable for those special color adjustments. To be honest that’s a pretty good deal, as you get to use C1 V21 now and then get another years use of C1 Seems ok to me, but I am on a subscription model for Nikon only.

The biggest thing that forces you to upgrade is camera support, since older versions don’t support new cameras. If you buy new camera bodies as they come out, you’ll probably need the latest version of Capture One. Even more reason not to upgrade your camera or software so often and make use of the perfectly good equipment you already have.

I’m generalising of course as everyone’s needs differ but I’d say for a lot of dedicated enthusiasts, this is probably true. I wish there was a subscription based version that lets you only edit maybe photos per months but costs only 10 bucks per month. I figure I’ll probably keep getting every other version I remember how much 5, images a year would have cost to develop and print in the days of film and your comment just seems out of touch and even a bit ludicrous. SilvanBromide, umm, criticizing another poster of being “out of touch” and then relating to the costs of the film days at the same time In any case, I also think that 5k images isn’t actually that bad.

I don’t have that many that I keep and still I find a software such as C1 very helpful. And that a few cents per image over the span of a year or two isn’t unreasonable compared to most of the alternatives digital OR film. So you can pay for the next version now and get it later.. Yes I have the current C1 and have upgraded for some time, but its still, by a mile, the most expensive raw development software, with the worst noise reduction of them all – but of you want to just throw images into it and get results with a nice pop it isn’t bad Exactly my thought.

The next versione is just around the corner so this buy one and get one free scheme is quite a stretch. Perhaps this is a move away from enticing punters with discounts to buy sight unseen versions like last time.

I don’t think this offer is aimed at people like you who already have the current version, but it can be enticing for those who don’t already have C1 or are on an older version. If you don’t know how to use NR properly, then you really shouldn’t comment. I agree with those who are feeling burned by the increased cost of upgrading with very limited return, but to say that C1 is inferior at NR or pretty much any other major image alteration element simply is not in tune with reality. The full license and subscription pricing isn’t an issue for those who want the best possible RAW processing – and have done the proper comparisons with the offerings that have so clearly fallen behind.

I personally think it is great software that allows me to edit images in a very efficient way thanks to, for instance, the configurable keyboard shortcuts. However, it does have its peculiarities. Halos at the edges of darkened areas e. These can be corrected to some extent with negative structure. I’ve done a lot of work on NR and I’m very comfortable saying C! Alas we can’t post sample images here. In C1P I found it still has a ton of artefacts after you lose the obvious noise I could get the people looking quite good, but everything else was nasty.

Plus annoyingly there will always be a deal along to make you feel bad if you paid the full price I’ll wait and see if they improved the database speed. I can open my image collection in Media Pro and search through it in 1 minute.

In Capture One it takes 1 hour. So I’ll stay on version 20 for now. And fixed all the various catalog related bugs and instabilities, at least on the Windows platform.

There is always special when a company is “asking” for more money. The bait will attract the sheep for sure! As a long time LR user, subscription model, who bought C1 20 with the concept of perpetual license, no more subscription.

Seeming like the benefits to perpetual license are more an illusion of control than an actual functional benefit. So far, I take photos commercially and it is not a problem for me to buy the latest version of CO I still skip one version. However, after I finish a commercial photo shoot, or something forces me to quit or, for example, a new version of CO does not bring me anything like 20 vs 21 nothing forces me to buy a new version. What will I get when I stop paying Adobe subscriptions. It’s not that difficult.

I mean I’ve been using the same C1 version since early , with no intent to upgrade until major new features like HDR land. Choosing when and for how much I decided to upgrade is still somewhat more flexible than the sub model IMO, but there’s also a ton of value in Adobe’s CC sub.

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