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About smadell

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  1. 1) Duplicate the layer. 2) Rasterize to Mask.
  2. If you want the fastest performance while you are working on a document, (i) allow dithering; (ii) set View Quality to Nearest Neighbor (I am assuming it says "fastest" for good reason); and (iii) let the rendering go to Automatic. All of this should improve the speed you experience while you are working, and I sincerely doubt that it has any actual impact on the quality of the document itself. Obviously, any increased viewing quality (whether it's rendering, not dithering gradients, etc.) takes its toll in processor time. Eventually, and maybe quickly, you will sense this as a lag while you are working. Note that I'm not talking about the actual resolution of the document - only the quality of the screen drawing.
  3. To add to my post above, my Performance Preference is set to "OpenGL" (as I am using 10.11). I changed this to "Software" and restarted the program. I created a new document and did NOTHING other than use a simple brush to draw a single stroke. There was a noticeable, and awful, lag. Using OpenGL in the Performance Preference dialog made this lag disappear.
  4. blackxacto... Try setting the "Display" pop-up menu to either Metal (if you're using 10.12 or higher) or OpenGL. You might see an immediate improvement. This (below) is from the AP Help file:
  5. By the way, choose Curves, make your adjustment, and click the Merge button. This will bake the adjustment into the layer without creating a new layer. But... this is destructive, so no going back to edit later.
  6. The curves adjustment layer needs to be a child of the layer you want to affect. Drag the curves layer over the chosen layer, and it should nest itself into that layer. It should position itself below that layer, and slightly indented. The curves adjustment will. ow only affect that layer. ps Alfred.. you beat me to the punch by seconds!
  7. There was a recent post that suggested a separate Studio menu to make selection of studio panels more straightforward. I'd like to propose a more comprehensive answer. Just as we have a Guide Manager, Snapping Manager, etc. I'd like to see a "Workspace Manager." Make this an all-in-one dialog box for settings related to the workspace. I've drawn a suggestion below (although, as must be obvious, User Interface Design is not my forté). Importantly, please note that there's a button on the bottom of the dialog box marked "Save Workspace..." so as to create a "workspace file" that can be saved separately. Although I didn't think of it soon enough, there should probably also be "Load Workspace..." "Delete Workspace..." and so forth incorporated into the design.
  8. If you use Red River papers (I do, and I love them) you can download Printer ICC Profiles that match a specific printer to a specific paper. So, for instance, I use a Canon Pixma Pro-100 for photo printing, and ususally print using Red River Ultra Gloss II. I have download an ICC profile called "RR Ultra Pro Gloss CanPRO-100.icc" which ties together the paper and the printer. When I print, I set my printer dialog (be warned: I'm using a Mac) like so: and then like so: This gets me pretty good color fildelity, especially when I'm careful about calibrating my monitor too. PS - I've since switched to a SpyderPrint setup, which lets me create my own printer icc profiles - matched to MY printer and to MY paper. It is noticeably better than the generic version I got directly from Red River. But, the Red River version was light years ahead of anything less specific. PPS - I know that all this can be done on Windows, but you'll have to get a Windows geek to chime in about exactly which hoops to jump through for this one. Good luck!
  9. I think this has been suggested before, but I'd love to see something like this:
  10. Happy to help!
  11. Easy...
  12. Here's the thing: Walt is right. Your image file can only have a single color profile. But the phrase "color profile" is used in a few different settings, and is quite confusing. Remember that each pixel in your image is really only described by a series of 3 numbers ranging from 0 to 255. Color profiles determine the actual color that those numbers describe. Some color profiles (like sRGB, Adobe RGB, and ProPhoto) are also described as color "spaces." They describe the breadth of colors available to an image. So, a pixel in sRGB with a numerical triplet of, say, 255,0,0 will be displayed as the most intense red that sRGB has available. But that same pixel (255,0,0) in an image using the ProPhoto color profile/space will describe an even more intense red, since ProPhoto is a wider gamut. "Assigning" a different color profile means that you are keeping the numerical triplets the same, but are letting the new color profile set the colors. So, starting with a ProPhoto image and assigning the sRGB profile to it will always wash out the most intense colors. On the other hand, "converting" to a new profile will try to keep your colors the same, but will allow the numerical triplets to change. Unlike color space profiles, some profiles (especially those for your monitor and those for printers) are really translations. They work in tandem with a peripheral device to keep the colors of an image reasonably constant. So, my monitor profile translates what's in my image file in order to display it properly on the screen. My printer profile translates that same file to allow my printer to print out the proper colors. If I want what I see on my monitor to match what gets printed by my printer, I need to tell my monitor to use the appropriate monitor profile, and I need to print using the appropriate printer profile. Let's assume that you have calibrated your monitor properly. No matter what color space your image is using, you need to tell your monitor to use the monitor profile so that the image is displayed properly. In this case, your print shop is telling you that they want the image document to exist within the sRGB color space. Therefore, whatever work you do on your image, you need to CONVERT the image to the sRGB profile - either by choosing "Convert ICC Profile..." from the Document menu, or by choosing Export... from the File menu, clicking the "More" button, and choosing sRGB in the "ICC Profile" section, and making sure that "Embed Profile" is checked. There are only 2 places where the "Printer Profile" that your print shop has supplied are going to be used. Most importantly, the print shop will use the profile when THEIR computer sends the image to THEIR printer. This printer profile will translate the color triplets in your image document into the correct colors. This is a translation that is specific to their setup. The only use that YOU have for the printer profile is to "soft proof" your image. Inside of Affinity Photo, you can Convert to sRGB profile (which will limit the gamut of colors available to your image, but which will probably not make any visible change to the image on your monitor). Then you can place a Soft Proof Adjustment layer on the top of your Layers stack, and choose the printer profile as the one being used by the adjustment. This will give you an approximation of what your eventual image will look like, given the setup that the print shop uses. In summary, (i) convert your image to sRGB; (ii) use a Soft Proof Adjustment to check out of gamut areas (but remember to disable or remove the Soft Proof adjustment before you save/export the document); and (iii) send it off.
  13. My first guess would be to check the Assistant settings in both the desktop and the iPad versions. Your two screenshots look subtly different, and I’m guessing that a tone curve is being applied in one but not in the other. Also, you may get results that are closer to each other by changing the Raw engine used in the desktop version (I’m not sure if this is possible in the iPad version.)
  14. So here's a more involved stab at this. The picture needs the dark areas (the grass, trees, and flowers) lightened; it needs some drama in the sky without blowing out the lighter areas. The picture below shows my layer structure for doing this. Starting with the Original Photo, I applied a Darks 3 luminosity selection, inverted it, and duplicated the layer. This gave me a new pixel layer made up of just the sky. I created a Brightness and Contrast layer, and placed it as a child of the Duplicated (sky) layer. This brought out the shadows and detail in the sky without blowing out the light areas. I re-selected the Original Photo and did a Darks 2 luminosity selection. With this selection active, I created an HSL Layer, a Brightness and Contrast Layer, and a Curves Layer. In the HSL Layer, I saturated and darkened the Yellows. In the Brightness and Contrast Layer, I increased both. In the Curves Layer, I dragged the Master curve upward, lightening the foreground; I also dragged up the Green curve, causing the grass and trees to brighten up their hues. Here is the edit, and the Affinity Photo file is also attached. Edited_Picture.afphoto
  15. I used a Curves Layer and a Levels Layer. The Curves Layer is shown below, and has a "Darks 3" luminosity mask attached. It also uses a "Lighten" blend mode. The Levels Layer is below, using a "Lights 2" luminosity mask and a "Multiply" blend mode. Here is the final version: Of course, you can add additional Adjustments on top of this to "punch up" the colors a bit - Curves, Contrast, HSL, etc.