smadell

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

Thank you very much!

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I have updated the Currency Effect macro to version 2. This new version adds a live Ripple filter, which will give the engraving lines a bit of wave. This can be turned off (naturally!) but I think the added touch gives the engraving a bit more authenticity. There is also an Instructions macro, which will place on-screen instructions into a new layer.
The new version can be downloaded from the first post in this thread. The .afmacros category includes both the original and new versions of the macro, along with the instructions macro. You can safely delete the old version of the Currency Effect, since that original macro is included in the v2 category above.

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

Oh... I didn't notice this (or wasn't quite aware you could do it this way). Maybe the slightly stronger jaggedness of the reticulation grainin AP which I seemed to be noticing is possibly connected to a certain setting that had been made or to the resolution of the example? Anyway, I your contribution is highly appreciated!

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

Comments by @v_kyr and @R C-R are correct, but the problem remains. If I create a macro solely for my own use, I have control over the naming of any existing layers as well as the layers created by the macro. However, if I create a macro and share it with others (as you know I frequently do) then I have no way to know what layer names might already exist in document(s) created by others. Therefore, any layer my macro creates is given a name that is suitably obscure, and any reference I make to existing layers is usually based on their position in the Layers stack - top, bottom, n layers above or below - and definitely not by its assumed name. Does that guarantee that layer references will always be correct? No, but it’s the best I know how to do.

Definitely not foolproof (and there is no shortage of fools…) For instance, if I have 3 layers named “Background” and I tell a macro to select the layer named “Background” I have no idea which one it will choose. Is it random? Does it search from the bottom up? the top down? The better solution is to use a name which is virtually guaranteed to be unique, even if that means going back to that layer at the end of a macro to rename it to something intelligible. (e.g., create a layer and name it “MyMacroLayer-temp01” which is quite unlikely to be otherwise present. If needed, at the end of macro recording, go back to that layer and rename it something else.)

Good morning @maxegb. What you are trying to do is very possible. But, as noted, you cannot select multiple layers at once. Instead, substitute these steps at the beginning of your macro.
Deselect - make sure there is no active selection
Deselect Layers - make sure your new layers are placed at the top of the Layers stack
** these first two steps are optional, but often helpful **
Duplicate the Image - or, perhaps, Merge Visible (which will incorporate all existing layers, adjustments, etc)
New Group - from the Layer menu
Name the Group - double click on the Group Name and type something
Set the blend mode to Screen
Move back one - from the Arrange menu
Select the duplicated layer - when the dialog box pops up, choose ‘Select layer 1 above current layer”
Move inside - now you’re inside the group
** Continue your macro by adding additional stuff **
Select the enclosing Group layer - confirm that you are selecting the ‘parent layer’ in the dialog box
This should get you what you want. Believe me, it was a long period of pulling my hair out trying to figure out how to use Groups inside of macros. Once you get it, it’s fairly straightforward. But until you figure out the logic that’s being used, it’s a bit frustrating (to say the least…)

Here's another option for an edit. This harkens back to the OP's use of Curves instead of Levels. I actually added two separate Curves adjustments – the first one for tonality and the second for contrast.
The first adjustment (called "Curves for Tonality" in my screenshot below) brings the black point up from the left, bottom corner to increase the luminance of the darker pixels, while leaving the brighter pixels alone. This gives me more detail in the blacks and shadows, but it vastly diminishes contrast.
The second adjustment (called "Curves for Contrast") brings the black point of the image in from the bottom left, which darkens the dark pixels, and it raises the luminance of the midtones, thus creating greater contrast. It still leaves the white point alone.
This version of the edit was done without using any masks at all, nor does it invoke the Blend Options curves. (Note: I tried doing this using a single Curves adjustment, like the OP did, but I was not happy with the result. The blacks were too black, and the image suffered by trying to accomplish too much in one adjustment layer.)

Hello again, @thomaso.  A couple of points to make…
1)  A luminosity selection selects the entire layer, but the degree to which pixels are selected is proportionate to their luminosity. Think of this as if every pixel is being described with HSL (instead of RGB) values. The white pixels have a luminance value of 100% and the black pixels have a luminance value of 0%. Middle grey has a luminance value of 50%. When you Cmd-Opt-Click on a layer's thumbnail, the selection strength varies according to the luminance percentages of each pixel. So, in that sense, the light areas are always more strongly selected than the dark areas (their luminance is higher, so they are "more selected.")
2) Like many other apps, marching ants represent the selected pixels, but they only show up for pixels that are 50% selected or more. Therefore, when you Cmd-Opt-Click the OP's photo, you will only see marching ants around the light areas (such as the white jackets, the sky, and so forth).
3) The visibility (or lack of visibility) of the marching ants does not reflect the alpha channel values for those pixels. Presumably, in the original photo all of the pixels have an alpha value of 100% (since they are all completely opaque). Rather, the visibility of the marching ants depends on the strength of the selection and is visible only for those pixels which are 50% or more selected. In a luminosity based selection, the light areas are more strongly selected than the dark areas. (In the abstract, since a pixel selection is an alpha channel, you might get away with saying that the visible marching ants reflect an alpha value of 128 or greater, but it is easier to talk about the strength of selection at this point.)
4) As to the screen rendering of marching ants at the borders, I have seen the situation you describe. I don't know what the explanation is, but have guessed that it is a screen render issue. I don't know if v1 and v2 are different in how they handle this.
5) If I am interpreting your screenshots (at the bottom your last post) correctly, you have created a luminosity selection and applied it to a Levels adjustment. You have then inverted the mask. (In effect, the initial Cmd-Opt-Click selection is a "Lights 1" luminosity selection. The inverted version of this selection, or the mask it creates, is what most would term a "Darks 1" selection/mask.) When you apply this mask to a Levels adjustment, the adjustment preferentially affects the darker areas of the photo, since these are the lighter areas of the mask. This is precisely what the OP did in Photoshop, and represents the method that I suggested to him in my first post. When I used an Exposure adjustment and altered the Blend Range Options for that adjustment, I was using the Blend Options in lieu of a luminosity mask, and I did this because Blend Options allows for more flexibility in deciding where the adjustment is applied or not applied. Please note that if you closely inspect my screenshot of the Exposure adjusted photo, you will see that there is no mask applied to the Exposure adjustment; there is only a Blend Options curve applied.

Thank you all for those additional comments since last I posted. My biggest danger now is information overload. That official v1 video looks interesting and I may come back to it.
But I think this discussion has gone far enough for now (at least for me; if others want to take it further, that is up to them). I will now think about the next Photoshop tecnique I use and how it can be translated to APh. Stay tuned!

Hi, @Furry and @thomaso.  A couple of comments, especially regarding the questions posed by thomaso.
First, my suggestion (as posed above) was meant to suggest a way to effectively duplicate the method that Furry was using in Photoshop. In copying the original image into the Levels adjustment, he is effectively masking the adjustment to work more in the highlights and less in the shadows. Inverting that will cause the adjustment to affect the shadows more than the highlights. Because Affinity Photo cannot "paste" into the Levels adjustment directly, I suggested a way to mask the Levels adjustment by first creating a luminosity-based selection of the original image. (As I will note below, I think there are far more elegant ways to do this.)
Second, thomaso's question regarding the apparent transparency created with the Cmd-Opt-Click method of selection is best understood as follows. Cmd-Opt-Clicking the thumbnail of the Background layer selects the entire layer, but does so based on the luminosity of each of the layer's pixels. So, a pixel that is 100% luminous - white (255,255,255) will be selected at 100% strength; a pixel that is 0% lumninous - black (0,0,0) will be selected at 0% strength. A pixel that is 50% luminous - middle grey (128,128,128) will be selected at 50% strength. Because the photo provided by the OP is very dark, most of the pixels are selected at very low strength. Because of this, they will appear transparent. Actually, many of them are not completely transparent, but are so nearly transparent that they look that way.
When a luminosity-based selection is in place, any operation that takes place next is applied to the selected area at a strength proportionate to the strength of the selection. So, applying a magenta color to pixels that are 100% selected will be applied at 100% strength (or, stated more appropriately, with an alpha level of 255 (100%). Applying a magenta color to pixels that are 0% selected will apply that color with an alpha level of 0, and the color will effectively be invisible. Applying magenta to a pixel that is 50% selected will apply that color with an alpha level of 128, and will appear 50% transparent.
In the image below, I have added a blank pixel layer above the Background layer, Cmd-Opt-Clicked on the Background layer, and (with the blank pixel layer active) filled the selection with magenta. (See below for notes on the best method to fill a selection.) Hiding the Background layer reveals the magenta fill, which reflects the luminosity selection – opaque where the Background is white; transparent where the Background is black. Actually the entire pixel layer has RGB values of 300,100,50. But, the alpha channel values are different which causes the higher or lower measures of transparency.

Lastly, the method that thomaso has used to fill the luminosity selection with magenta is flawed. Using the Flood Fill tool to fill any pixel layer (with or without an active selection) will always take into account the color directly under the point that is clicked on. Therefore, if I use the flood fill tool and click on the white coat of the woman on the left, only the areas of white are filled. It is only when I bump the tolerance to 100% that AP will allow any color to be affected by the Flood Fill. The better way to do a "fill" with a specific color is to use the Fill… command (in the Edit menu) and specify a "Custom Color". Performing the fill with this command avoids the need to worry about what color you're clicking on.

As far as the Select Midtones, Select Shadows, and Select Highlights commands (in the Select menu) are concerned, I have always found them to be lacking in enough specificity for me. And, they tend to create hard-edged selections (or nearly so) that are difficult to control.
I played with a couple of methods to accomplish the goal that Furry set out, and I think I got the best solution by increasing the Exposure, applying Blend Options to the adjustment (such that the adjustment is preferentially applied to the blacks and shadows).

Hi, @Furry and @thomaso.  A couple of comments, especially regarding the questions posed by thomaso.
First, my suggestion (as posed above) was meant to suggest a way to effectively duplicate the method that Furry was using in Photoshop. In copying the original image into the Levels adjustment, he is effectively masking the adjustment to work more in the highlights and less in the shadows. Inverting that will cause the adjustment to affect the shadows more than the highlights. Because Affinity Photo cannot "paste" into the Levels adjustment directly, I suggested a way to mask the Levels adjustment by first creating a luminosity-based selection of the original image. (As I will note below, I think there are far more elegant ways to do this.)
Second, thomaso's question regarding the apparent transparency created with the Cmd-Opt-Click method of selection is best understood as follows. Cmd-Opt-Clicking the thumbnail of the Background layer selects the entire layer, but does so based on the luminosity of each of the layer's pixels. So, a pixel that is 100% luminous - white (255,255,255) will be selected at 100% strength; a pixel that is 0% lumninous - black (0,0,0) will be selected at 0% strength. A pixel that is 50% luminous - middle grey (128,128,128) will be selected at 50% strength. Because the photo provided by the OP is very dark, most of the pixels are selected at very low strength. Because of this, they will appear transparent. Actually, many of them are not completely transparent, but are so nearly transparent that they look that way.
When a luminosity-based selection is in place, any operation that takes place next is applied to the selected area at a strength proportionate to the strength of the selection. So, applying a magenta color to pixels that are 100% selected will be applied at 100% strength (or, stated more appropriately, with an alpha level of 255 (100%). Applying a magenta color to pixels that are 0% selected will apply that color with an alpha level of 0, and the color will effectively be invisible. Applying magenta to a pixel that is 50% selected will apply that color with an alpha level of 128, and will appear 50% transparent.
In the image below, I have added a blank pixel layer above the Background layer, Cmd-Opt-Clicked on the Background layer, and (with the blank pixel layer active) filled the selection with magenta. (See below for notes on the best method to fill a selection.) Hiding the Background layer reveals the magenta fill, which reflects the luminosity selection – opaque where the Background is white; transparent where the Background is black. Actually the entire pixel layer has RGB values of 300,100,50. But, the alpha channel values are different which causes the higher or lower measures of transparency.

Lastly, the method that thomaso has used to fill the luminosity selection with magenta is flawed. Using the Flood Fill tool to fill any pixel layer (with or without an active selection) will always take into account the color directly under the point that is clicked on. Therefore, if I use the flood fill tool and click on the white coat of the woman on the left, only the areas of white are filled. It is only when I bump the tolerance to 100% that AP will allow any color to be affected by the Flood Fill. The better way to do a "fill" with a specific color is to use the Fill… command (in the Edit menu) and specify a "Custom Color". Performing the fill with this command avoids the need to worry about what color you're clicking on.

As far as the Select Midtones, Select Shadows, and Select Highlights commands (in the Select menu) are concerned, I have always found them to be lacking in enough specificity for me. And, they tend to create hard-edged selections (or nearly so) that are difficult to control.
I played with a couple of methods to accomplish the goal that Furry set out, and I think I got the best solution by increasing the Exposure, applying Blend Options to the adjustment (such that the adjustment is preferentially applied to the blacks and shadows).