smadell
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Posts posted by smadell
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A nice technique for removing shadows, demonstrated by PixImperfect. It is a Photoshop tutorial, but should translate fairly easily to Affinity Photo. Do this prior to adjusting the photo (as a whole) with Curves and other stuff.
Here's a VERY rough attempt at it:
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I'm not sure you'll get the proper results using the Color Replacement Brush since, almost by definition, Black is the absence of color. More specifically, if you replace whatever underlying Hue that black shirt has, it will still have 0% (or thereabouts) luminosity.
I think the best way to turn Black into White is to use a Selective Color adjustment. The drop-down menu has choices of Red, Green, Blue, Cyan, Magenta, and Yellow. More importantly, it has choices of Whites, Neutrals, and Blacks.
1) Leave all the Color choices alone, and skip right to the Blacks (on the drop-down menu, that is). Use the Slider for Blacks (at the bottom of the panel) and slide it all the way (or nearly all the way) to the left.
2) Invert the adjustment layer (Cmd-I on a Mac; Cntrl-I on Windows) and paint with White to bring back the adjustment ONLY on the shirt (the area you're attempting to change).
3) You might need to twiddle the Neutrals and Whites menu choices a bit, based on your picture. But, this should get you the result you're after.
Another method you might try. I put a 15% Grey fill layer on top of the photo, masked out everything but the shirt, and set the Blend Mode to Linear Light. This might even be a more convincing result (maybe just in this situation - don't know!)
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My profile picture is my 6 year old brown Newfoundland, Hudson. She’s sweet as could be, and smart as a whip. Too smart, sometimes.
- v_kyr and jmwellborn
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Before suggesting anything, let me make an over-arching generalization. This photo will never look normal. You can improve it somewhat, but I don't think you'll ever completely remove the blotch.
That having been said, I'd suggest a couple of things. (1) For the dark area over the building, use a technique shown in a PixImperfect video (which I've linked below). It's a Photoshop video, but everything he's doing can be done in Affinity Photo. (2) For the sky, you might have better results selecting the area between the building and the leftmost tree branches and "replacing" the sky with a gradient – sample the colors at the top and the bottom for the two endpoints. (3) You can probably recover some of the detail in the lower branches of the trees on the left, but I really believe that the upper branches (the area in the top, left corner of your photo) are beyond repair. There's simply not enough preserved detail and/or contrast to make any sort of reasonable selection. This is the time for some judicious cropping to get rid of that area.
Even with all that, I fear that the result you'll get will be better but will never really convince anyone that the blotch was never there.
Here's the YouTube tutorial from PixImperfect:
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The American paper size closest to A4 is referred to as “Letter” size, and measures 8.5 x 11 inches. The size closest to A3 is called either “Tabloid” or “Ledger” and measures 11 x 17 inches. Most US desktop printers can print Letter size. Some can print “Legal” size, which is 8.5 x 14 inches. Most desktop laser lrinters will not handle Tabloid sized documents, although some Photo Printers can do so.
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Hi, guys...
Affinity Photo has seen its share of complaints regarding the editing of Channels, and the editing of Masks is another manifestation of that. A while ago, I came up with a set of macros that try to address this. It’s by no means a perfect solution, but I think it might help you out in situations like this.
The original post, along with the macros category, is linked below. Please let me know if this was helpful.
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Another way to solve the problem: create the curve (just once), with the Pen tool active turn the curve into a selection (yes, the curve disappeared). Go over to the Channels panel, right click on the line labelled Pixel Selection, and create a Spare Channel with the active selection. Now, you can recreate the selection by right clicking the Spare Channel and choosing Load to Pixel Selection.
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Affinity Photo does not strore Paths, per se, as Photoshop does. To save a “path,” create the curve, duplicate it and hide it (via the Layers panel), and turn the first curve into a selection (with the Pen tool active, of course).
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I believe that something like this should always be done non-destructively, whenever possible. You've already made a good selection of the girl. (1) Click on the Mask button at the bottom of the Layers panel. (2) Deselect (3) Add a New Fill layer, and change the color to Black (4) Drag that new fill layer to the bottom of the layer stack.
- telemax and firstdefence
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Another thumbs up for FastRawViewer. It is fast, inexpensive (less than $20), and lets you move or copy culled photos to another folder. Affinity Photo will not use the .xmp files generated by FRV, but (to me) the point of the app is culling, not editing; I find the .xmp files from FRV to be superfluous, anyway. The files you move are your original NEF raw files, which can be accessed by AP (or any raw developer) as they normally would be. Great little program!
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After you create your Recolor adjustment layer and mask it, make sure it's selected in the Layers panel. Over in the Channels panel, right click on the line that says "Recolor Adjustment Alpha" and then choose "Create Spare Channel" from the drop-down menu. Now, create your Layers adjustment and make sure it's the layer selected in the Layers panel. Right click on the Spare Channel you just created (in the Channels panel) and choose "Load to Levels Adjustment Alpha." You've just transferred the mask (the Alpha Channel) from the Recolor adjustment into the new Levels adjustment.
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Here's a video with the salient portion of the Affinity Revolution edit. (Sorry about the last post - I screwed up the video.) And this is using the latest version of AP (version 1.8.3).
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firstdefence answered while I was working, and that's a good result – labor intensive! As he's said, this is not the trivial problem it appears it should be. Here's what I did.
I selected the bug (use the Selection brush and Refine Selection…). I copied that onto a new layer. Then I applied a Gaussian Blur (live filter) and a Levels adjustment to the background. That has the effect of smoothing out the speckles and darkening up the background a bit. The bug stays intact, since it's in a separate layer above. (And yes, I know that the speckles under the bug are still showing. Judicious use of a mask on the Bug Only layer could get rid of that easily. I just didn't take the time!)
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Click once at the desired origin of a straight line, then hold down the Shift key and click once where you want that line to end.
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Alan...
Watch the video from 1:30 to 1:33. You’ll see the instructor select only the mask, and then start to paint on it. If you click on the words (where it says (Mask) in the Layers panel) you will select not only the mask, but the Group as well. If you start painting, well..., you’ve already seen how that screws things up. Click on the thumbnail (the little icon to the left of the word (Mask) in the Layers panel) so that only the Mask layer is selected. Now, using the Paint Brush will paint on the mask, as you’d like.
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Matt...
Look at the thumbnail of the Exposure adjustment in the Layers panel. It is black, with a small area of white in the upper right corner. That indicates that you have successfully (i) inverted the Exposure adjustment layer, and (ii) painted white on it.
Now, open the Exposure adjustment (double-click on it). Move the slider all the way to the right, and all the way to the left. You should see an area of your photo changing. That’s the area that you painted white. “Adjust to taste...”
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Also...
1). Make sure that you’ve actually chosen the Paint Brush tool! There are several tools whose icons (in the Tools palette) look like brushes.
2). Make sure that Opacity and Flow are not set to 0%. Make sure that the Exposure adjustment is visible, and that its opacity is not 0%.
3). Make sure that the Blend Mode for the Paint Brush (in the Context Toolbar) is set to Normal.
4). Make sure that the adjustment layer is either above the layer being adjusted, or is a child of it.
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Not sure just how you got so deep in the weeds, but a couple of pointers...
1) At the point where you are choosing the Paint Brush, you should be painting ON A MASK. If you are trying to follow that video, you should (i) select the Group in the Layers panel, and (ii) create a black mask by clicking on the Mask button at the bottom of the Layers panel while you hold down the Alt or Option key (Windows or Mac, respectively). Painting on the mask requires that you use the Paint Brush - NOT the Color Replacement brush.
2) Make sure that the Paint Brush is selected in the Tools (on the left) and make sure that the Mask is selected on the Layers panel (and ONLY the mask layer - click right on the mask's thumbnail to select only that layer).
3) The color you want to paint with should be White, since you will be painting on the mask to let the adjustments show through (they will show through the white areas, and will be concealed by the black areas).
4) If you have chosen the Paint Brush and all you see are crosshairs instead of a circle, it probably means that the size of your brush is too small. Make it larger by hitting the right square bracket key ( ] ) several times. You should see the circle once you do this enough times.
The most important suggestion: take a deep breath. This is not rocket science, but it's a brand new language and it doesn't always make a lot of sense the first time you drop yourself into it. You'll be fine!
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This issue is solved fairly easily with the "Lock Children" feature. Select the pixel layer with the Move tool. You'll see the "Lock Children" checkbox in the Context Toolbar. If you leave the box checked, the pixel layer and its child layer mask are linked; if you UN-check the box, the link between them is broken. You can move, resize, and otherwise transform the pixel layer without affecting the mask.
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You seem to want to use a luminosity mask on your Curves layer. Blend Options is the way to go. Try these:
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I was watching a YouTube tutorial by PixImperfect where he answers the question about how to remove a color cast in Photoshop. (His tutorials are ALL based on Photoshop, but a lot of them can easily be translated to Affinity Photo.) Unfortunately, the video relies on using the Divide blend mode, which Affinity Photo does not yet offer (why???). Fortunately, a little bit of poking around on these forums got me a really good answer as to how this can be done in Affinity Photo, simulating the use of the Divide blend mode. Here are the steps:
1) Using your original photo, select a color that should be white (or as close to white as you can get - i.e., a very, very light gray). In your photo, I used the Color Picker to click on the spot that I've indicated with the arrow. This loads that color into the "primary" well of the color picker.
2) Create a new pixel layer. From the Edit menu, choose "Fill with Primary Color."
3) Invert the layer, and set the Blend Mode to "Color Dodge." This should remove your color cast nicely.
So, it's not completely automatic. But it's a good start.
In fact, I made you a little macro that automates the very few steps involved. NOTE - the macro assumes that you've already chosen the spot that should be white, using the Color Picker tool, and that the color is active in the primary well of the color picker.
Also note that this is a single macro, NOT a macros category. As such, you have to import it into the MACRO panel, not the Library panel.
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Two other things to know.
First, you can use an adjustment destructively (if you must...) by clicking the Merge button at the top, right of the adjustment’s panel. This will “bake” the adjustment into the layer below it.
Second, a non-destructive adjustment layer can be made to apply to only a single layer; simply drag the adjustment layer (in the Layers panel) over the layer to which you want it to apply. You should see a horizontal, blue line under that layer. When you let go of the mouse button, the adjustment will become a “child” of the second layer, and will only affect that layer. This is the equivalent of clipping a filter to another layer in Photoshop.
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Replace color on century-old halftone illustration
in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Posted
I think you should stop trying to select what you want to get rid of (the background halftone dots) and concentrate on what you want to keep. Here's what I was able to do.
(1) Starting with the original image, (2) make a duplicate of that layer (Command-J) and apply a Threshold adjustment. Merge the threshold into the duplicated layer. Now you have a black and white version of your image sitting at the top of the layer stack. (3) Use the paint brush to paint with Black in order to fill in the Outlines of the animal and tree. Use the Flood Fill and/or the Paint Brush to fill in the now-complete outlines with black. You should now have a silhouette of your original image. (4) Invert the layer, and (5) Rasterize the layer to a Mask and drag the mask into the original image to get rid of the background. Put a White Fill layer at the bottom of the Layers stack to provide the new, white background.