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About smadell

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  1. I can't begin to tell you how many times an answer should have been just staring me in the face, except that someone else had to tell me where to look! Glad you got what you were looking for. ps - are you from N'awlins? Spent 4 years there at Tulane. Great food, great jazz.
  2. Once you have the TIFF imported as a separate layer, choose Rasterize to Mask (I think it’s on the Layers menu). Then, drag the mask layer into the TIFF layer so that it becomes a child of that layer.
  3. Hi, Christycowart61 The image you posted makes me believe that the template you have is a PSD document (one created in Photoshop) with multiple layers. The eye icon is the way Photoshop indicates whether or not a layer is visible. So, your template must contain multiple layers with instructions and such on it, and you can hide (not remove) those layers by clicking the eye. In Affinity Photo, layers have a check mark next to them, and the check serves the same purpose as the eye in Photoshop. If you un-check a layer, it becomes hidden. It is still there, but will not show up when you look at the image, when you export it, and so forth. Affinity Photo will open PSD documents. So, my suggestion is to open Affinity Photo, choose Open... from the File menu, and then open the template. You will probably be able to un-check all the relevant layers to effectively leave you with a "clean slate" on which to add your own artwork. Once you're done, you can also choose Export... from the File menu, choose PSD from the tabs at the top of the dialog box, and export your edited template as a new file with a .psd extension.
  4. Think of creating a new document on the iPad in the same way you would "create a new painting" in the more physical world. To create a new painting, you would present yourself with a canvas. But... there is nothing on the canvas as of yet. The reason you can see "a white blank page" is that you have created a new document (similar to creating a new "painting") with a non-transparent background. What you are seeing is simply the "canvas." If you had created a new document with a transparent background (by selecting the little checkerboard icon on the New Document page) you would get a new document with a checkerboard (fully transparent) background on which to work. This is analogous to "creating a new painting" but doing so on a sheet of glass instead of a canvas. In either case, you start off with nothing except a place to create your fresh, new masterpiece.
  5. I'm so glad you found the post. I had to play around with AP until I figured out just what would make it work. I know I've used it before, but I couldn't (at first) remember how! So thank you for jogging my memory!
  6. Please take this as (hopefully) helpful, not as negative criticism. But, I still think the character looks pasted in rather than like he was there all along. To me, the character is still too blue, too dark, and too contrasty. I downloaded your second picture, created a second layer called "Character" by masking out the character, and added a bunch of adjustments and live filters. Mostly, I warmed up the color, and de-emphasized the shadows (with a Levels adjustment and a Shadows and Highlights filter). I also went ahead and added a 0.1 pixel Gaussian blur to the character, because the surrounding forest is not as focused as the character is, and this also makes him stand out as "not real." Here's my take on it (with the Layers panel brought over the picture for info purposes).
  7. I started using FastRawViewer a few months ago. I use it mostly for culling through Raw files prior to developing them. It is fast, and easy. The complicated parts (probably why the manual is so long) are based on the fact that FRV can write .xmp sidecar files that include changes in exposure, etc that other software can use (IF they utilize .xmp files). I do my Raw development in DxO, so I end up tossing the .xmp’s. But, inside of FastRawViewer I can cull through lots of files quickly, mark the ones I want to use, and then move/copy them to another folder. It’s really powerful if you ever want to “expose to the right,” since the Raw histograms are based on the Raw data, and not the embedded JPEG’s, and you can come really close to the right edge of the histogram without clipping any of the channels. Thumbs up from me for this one.
  8. I know I could get pretty much the same configuration in Non-Separated Mode, but the anal retentive part of me just likes docking the panels in Separated Mode and having the whole thing look like a single unit. Maybe I've just gotten used to this look over time and now believe it's "better," but I still prefer it over the "floaties" in Non-Separated Mode. Also, the OP seems to prefer Separated Mode and I thought I would speak to that. Your points are well taken, though!
  9. I'm going to chime in here on a few things. First of all, I would also love it if AP would open my photos in a Separated Mode window that used the maximum available space. But... it doesn't. However, I also like working in Separated Mode much more than in the Unified window mode. It gives me the availablility of two Studio palettes on the right (instead of using Left Studio and Right Studio, which I find looks and feels clunky). It also lets me open more than one image in different windows (yeah, I know I can do that in Unified mode also, but it's an extra step that I don't like). So, here's my particular workaround. First, I assigned a Keyboard Shortcut to the "Merge All Windows" command (in the Window menu). If I open more than one image (which is common, if I'm working on a group of images after shooting a bunch) I can immediately group them into a single window. More importantly, I came across a wonderful little Mac utility called "BetterSnapTool." It's available in the Mac App Store, and costs all of $2.99. It loads on startup, and lets you assign hot spots on the screen that appear when you grab and drag window title bars. If you drag the title bar over the hot spot, the window resizes to a predetermined size and position. You can configure the hot spots so that they only appear within certain applications. So, I programmed a hot spot on my screen (the red arrow in the screen shot below) that only appears when I'm running Affinity Photo or Affinity Photo Beta. Dragging a window over this hot spot will automatically resize that window to the size I want (the green arrows). So, yeah, it would be nice if AP would just do this automatically. But I've found this to be a nice little workaround, and it saves me a boatload of time and frustration.
  10. The "Replace Image" button only shows up if you have an Image layer selected with the Move tool. It will not work if the layer is a Pixel layer. The easiest way to get an Image layer into your document is by using the place command, rather than the Open... command or by using Copy and Paste. However, once you have "placed" an image into your document, selecting the Move tool lets you use the Replace Image button. (see below)
  11. Hey, Stan... By any chance, are you using the beta version, in addition to the retail version? If so, the beta is an entirely separate program, and you’d need to add your plug ins to the beta just like you did in the retail version.
  12. Hey, R C-R. Your question made me think about Affinity Photo's standard behavior when a new layer is created while a selection is active. With an active selection: (i) Creating an adjustment layer adds a mask to that layer automatically, corresponding to the selection. (ii) Creating a live filter layer does the same. (iii) Duplicating the layer restricts the duplication to only the selected area. (iv) Even creating a new Fill layer restricts the fill to the selected area. But - creating a new pixel layer simply adds an empty layer and does not seem to restrict itself to the selection in any way. Does anyone think (as I think I do) that creating a New Pixel Layer with an active selection should automatically create a Mask attached to that new layer? This would seem to be in keeping with the behavior that AP displays in creating other types of new layers. Not a deal breaker, but consistency might be best served in masking the new pixel layer. What do you all think?
  13. I apologize if I'm over-simplifying, but I can't help but notice that the OP shows us a screenshot of his Preferences dialog and, in his first post, says "there are only a few shortcuts." It's important to remember (and perhaps not completely obvious) that the top left of the Preferences dialog has two drop down menus. The first is for the various AP Personas, and the second is for the menus and tools, etc. within that persona. This is where you should find all the shortcuts you're expecting. I have no personal experience with keyboards that don't have the QWERTY setup, but my suspicion is that the problem isn't there. Your keyboard layout should be handled by the system software, and should be taken care of somewhere between pressing the key and sending that input to AP.
  14. If you want luminosity selections and masks inside AP for iPad, you can use these. Download the zip files attached to these posts, un-zip them to get the .afmacros file(s), copy them to a cloud source that you can access from the iPad, and use the Import... choice from the Macros panel. for luminosity selections... for luminosity “masks” on adjustment and filter layers for creating a greyscale visualization of luminosity selections