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smadell

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    a real mensch

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  1. Hi, @Andrew Leiataua - I'm not about to create a video tutorial (just not comfortable with that) but I had a go at twilight-ing your sample photo. I've attached the Affinity Photo file along with this post. 1) I made selections of the sky and of the windows, and saved them as Separate Channels. If you open the Channels panel, you'll see them there. 2) I selected the sky, inverted the selection, and masked the Original House photo. Then, I put a substitute sky layer underneath the Original House. 3) I added 2 additional child layers to the Original House layer, in order to adjust the lighting. First, I added a Fill Layer to darken the house and to give it a more orange color (so as to pick up some of the color of the substituted sky. I set the Blend Mode of the Fill layer to Soft Light. Then, I added a Curves adjustment to further darken and add contrast to the foreground. 4) I added a Pixel layer above the Original House layer and cloned out the shadows, since those harsh shadows wouldn't exist at that time of day. 5) I added another pixel layer and selected the Windows (using the saved Spare Channel). I created a Mask using that active selection. Before anything else, I selected the mask and applied a Gaussian Blur (from the Filter menu, so destructive) to soften the edges. Back to the pixel layer, I used the paint brush to fill the layer (i.e., only the masked areas will show up) with a yellowish color. I set the blend mode to Add. Instead of modifying the Opacity, I opened the Blend Options panel and lowered the Fill Opacity to 60%. This gave a better overall effect. I didn't have to add a separate "glow" since I was happy with the effect as it stood. 6) Another pixel layer was used to paint in the light coming from the lamps above the garage door. This had a diminished opacity, and a blend mode of Add. 7) Last, I added a Curves adjustment at the very top of the layer stack to selectively lighten, darken, and add a bit more contrast to the overall image. With more time and effort, it could be better. I'm not really happy with the pots in front of the front door (they're still too dark) and some other details. But, I think this is a good start. A lot of what I did was lifted (and adapted) from the YouTube Photoshop video you included, but I didn't like some of the stuff he did and added some of my own interpretation. Twilight House.afphoto
  2. Glad to help you out, @Ghomul. I find Compound masks a pain sometimes, but they make things so much more powerful - a double-edged sword, of a sort.
  3. (8Hi, @Ghomul. If I understand what you’re trying to do, you need to use a Compound Mask. The compound mask should probably contain (i) the Luminosity Range mask; and (ii) a “regular” mask. On the regular mask, make sure to paint white on the areas on which the luminosity mask should apply, and black on the other parts. Then (and this is the important part) set the “operator” to Intersect. That will make sure the compound mask applies only to areas that are white on both masks. By the way, Easter is spelled with only 1 “s”.
  4. Hi again, @jmwellborn. I assumed you were talking about the "10,000 Feet" pdf only because we had talked about it so much at the time. Also, it didn't occur to me that I had included a pdf with the Reticulated Gradient Map macro. Anyway, you're right – the fonts are different. The pdf that I included with the Reticulated Gradient Map macro uses Goudy Old Style, boldface for the headers and regular for the body text. I think that the attractive thing about the font is the "old style" variation; it gives it a different look that I like quite a bit. Also, the Ten Thousand Feet book can be located at: Good to hear from you again.
  5. Good afternoon, Jen! I assume you mean the "Ten Thousand Feet" pdf. In that document, the "headlines" were various sizes and weights of Avenir, and the body text was 12-point Palatino. Also, the font used on the cover and title pages was ITC Benguiat Std.
  6. Well, @lynda Stevens, that hard drive cleanup is your most likely culprit. In the absence of a local or remote backup, I'm afraid you're out of luck. (Not like any of us have ever been there ourselves…) At the very least, you could use the saved PDF version as a reference. You might be able to extract text from it, and you'll have a reference for the layout of text frames, images, and so forth. That should help.
  7. Good morning, @lynda Stevens. Has the file simply disappeared from the “Open Recent…” choices? Or, is it really gone from your hard drives? When you did the initial “Save As…” you saved the file, with the name of your choosing, to a specific location. Do you remember where that is? If so, simply use Open… from the File menu and open the file directly from wherever it resides. If you don’t remember where you saved it, you can search for it by name using Windows (I am a Mac user, so someone with Windows know-how will have to tell you how to do that.) More than likely, the actual file is probably right where it has always been, but has “fallen off” the Open Recent list because that list will only contain the last x number of files you worked on, and you have worked on at least x+1.
  8. Read (or search YouTube) for info regarding “Linear Profiles.” If you have your Develop Assistant set to NOT apply a tone curve, that’s effectively what you’re getting. A linear profile gives you more possibilities, but leaves you with more work to do to get your results. Linear Profiles were “all the rage” a couple of years ago, but some of the blush is off that rose. I use them only when I need to try to avoid blowing out those nearly lost whites and highlights; otherwise applying a tone curve helps the process quite a bit.
  9. If you don't have access to Inkscape (that is, if you only have an iPad to work on) does this help? Jeep.svg
  10. I'm happy to make the suggestion, @Furry. After all, it is precisely what you said you wanted!
  11. Another note or two about sharpening from another voice. I have started using a live High Pass filter for almost all my sharpening. I find it gives me more controllable results, with more options. My "go to" settings are a Radius of 1 pixel and a blend mode of Linear Light. Often, I will decrease the radius or set the Opacity of the High Pass layer to a lower value. For lower resolution photos, or for photos that won't tolerate that much sharpening, I'll switch the blend mode to Overlay or Soft Light. Occasionally, I use Unsharp Mask (though less and less so lately). I find that it's too prone to artifacts, especially the dreaded "halo". I usually start with settings of (Radius = 2; Factor = 1). Sometimes, if Unsharp Mask looks good but I want to avoid the halo, I will set the blend mode to Darken. This lets me darken the "dark side" of an edge without lightening the "light side." It tends to darken the image overall, but not much. With that blend mode, I find I need to increase the Radius and Factor settings, and my starting point is usually a radius of 4 and a factor of 2.
  12. @Stitches - it took 2 or 3 days of trial and error to get all the pieces to cooperate with other (I hope…) Once it worked, the PDF was easy. Then, it just meant having the confidence that it would work for someone else! Hope you find it worthwhile. Thanks for your feedback!
  13. I hope you enjoy the macro, @romeosoroka.
  14. Glad you like this, @Lorox. The reticulation noise is a actually sampled straight out of Photoshop! In the YouTube video you mentioned in another post, Brady linked to some sample files on his website (https://texturelabs.org/tutorials/grain-shaded-gradient-maps-in-photoshop/) where I downloaded a Reticulation Noise file. I took a 256x256 piece of this (to keep the macro size smaller) and had Affinity Photo. create a Pattern Layer out of it. So, you see, the “reticulation” is not actually an Affinity Photo construct but rather a Photoshop sample.
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