Jump to content
You must now use your email address to sign in [click for more info] ×

smadell

Members
  • Posts

    1,148
  • Joined

  • Last visited

Reputation Activity

  1. Thanks
    smadell got a reaction from stevewade in Official Affinity Photo V1 (Desktop) Tutorials   
    Hey, James...
    Just to nitpick...  The link to the video titled "Inpainting" says "Pinpointing" instead!
  2. Like
    smadell got a reaction from Jenna Appleseed in Why are the Affinity Photo defaults so bad?   
    As to Affinity’s default behaviors, I have always chosen to take a more forgiving point of view. As a business selling a product, Serif is in charge of which features are included (and which are not) as well as the manner in which they are implemented. As a consumer, I am free to purchase their product or pass it over in favor of something else. I think, when all is said and done, it’s really as simple as that.
    The mere fact that this Forum exists, and is so obviously read by Serif developers, implies that they are open to suggestion. But it does not require them to follow anyone’s suggestions.
    To suggest that Serif is purposefully making their product feel “cheap,” even in jest, is simply a ridiculous notion. Who would do such a thing?
    I, too, have made suggestions regarding the UI. Most of these have not been implemented. But that is the nature of suggestions, after all.
    I would love to see the adjustment and live filter panels include a way to access the presets made for that adjustment. I would love it if gradient swatches were accessible to other adjustments that utilize gradients (like the gradient map). And, speaking of the gradient map, I’d really love it if Serif would change the ridiculous tri-color default that I cannot imagine anyone ever really using.
    But, it’s not up to me. Like it or not. And insulting them is not likely to change things.
  3. Like
    smadell got a reaction from Undix Galore in Affinity Photo from 10,000 Feet - Free PDF   
    I am attaching a free PDF called “Affinity Photo from Ten Thousand Feet.” This is a 41 page book that explains many of the concepts and questions that forum members ask frequently.
    Much of the information is based on presentations given to my local photography club. Some of it is based on a series of articles written for the club’s newsletter. Much of the book is newly written material, based on years of working to understand digital photography, how color works, and how Affinity Photo fits into that picture.
    Please enjoy the book. All I ask in return is that you look it over and leave a comment.
    Affinity_Photo_from_Ten_Thousand_Feet.pdf
  4. Like
    smadell got a reaction from chriscaldwell in Create a diagonal pixel pattern overlay   
    Easy peasy. Add a Pattern Layer above the image. If you want stripes that are, say, 8 pixels wide then size the pattern to 1 pixel wide and 16 pixels high. Paint the top 8 pixels one color, then paint the bottom 8 pixels a second color. This should get you equal-sized horizontal stripes. Now, choose the Move tool and rotate the pattern by 45 degrees. Voilà - diagonal stripes.
  5. Like
    smadell got a reaction from chriscaldwell in Create a diagonal pixel pattern overlay   
    My pleasure. You might want to consider making the stripes black and white, lowering the opacity, and adding a Recolor adjustment. That way, the color of the stripes can be changed easily.
  6. Thanks
    smadell reacted to jmwellborn in Affinity Photo from 10,000 Feet - Free PDF   
    Perhaps as people see the post once again they will.  It is a keeper!!
  7. Like
    smadell got a reaction from Alfred in Create a diagonal pixel pattern overlay   
    Easy peasy. Add a Pattern Layer above the image. If you want stripes that are, say, 8 pixels wide then size the pattern to 1 pixel wide and 16 pixels high. Paint the top 8 pixels one color, then paint the bottom 8 pixels a second color. This should get you equal-sized horizontal stripes. Now, choose the Move tool and rotate the pattern by 45 degrees. Voilà - diagonal stripes.
  8. Like
    smadell got a reaction from Nikonshooter in Macro Photography   
    I’ve attached a recent photo merge done with Affinity Photo. I bought a Nikon Z7 II this past September, and have taken advantage of its Focus Merge feature quite a bit. The photo below is a merge of about 100 images.
    Needless to say, I am quite satisfied.

  9. Like
    smadell got a reaction from Haitch in Photo: Presets Panel on Adjustment layers? One macro question   
    Chris26...
    in response to your question about Adjustment Presets, I also have long felt that Adjustments panel should not be the only place where Presets can be found. Personally, I almost never use the Adjustments panel; I invoke adjustment layers from the icon(s) at the bottom of the Layers panel. I posted a suggestion over a year ago, suggesting (as you apparently believe, also) that adjustment presets should be available from their respective adjustment dialogs. To date, though, this has not been implemented.
    As far as your question about Macros is concerned, these are similar but not completely analogous to Photoshop actions. PS actions take the form of scripts, and have more programming type choices available. In Photoshop, it is indeed possible to write/create an action that pauses while it waits for User input. This is not (strictly speaking) available in Affinity Photo. What you can do in AP is write a macro that contains, for instance, an adjustment which you then make available to the end User in a dialog. However, that dialog will only present itself at the end of the macro; if you change any of the settings, the macro will completely replay with the new value.
    There are some definite down sides to this. First, not all settings can be exposed to the end user. Second, the exposed settings will only be available after the macro has run (but before it is finalized). If the setting must be visualized in the midst of running the macro, this is not going to work.
    In the image below, I have written a macro which adds a Brightness and Contrast adjustment with default values of 20% brightness and 10% contrast. After recording the macro, I can click the "asterisk" at the right of the macro step, and then click the "eye" icon. Here, I've clicked the "eye" next to the Brightness setting. I have given the setting a new name (specifically for the dialog box), which says "Adjustt brightness" – note the inadvertent misspelling. When I run the macro, I get a dialog box at the very end which allows me to change the Brightness. It does not allow me to change the contrast, since I chose not to expose that setting to the user.

  10. Like
    smadell got a reaction from Sechmet in Macro Photography   
    I’ve attached a recent photo merge done with Affinity Photo. I bought a Nikon Z7 II this past September, and have taken advantage of its Focus Merge feature quite a bit. The photo below is a merge of about 100 images.
    Needless to say, I am quite satisfied.

  11. Like
    smadell got a reaction from j3rry in Macro Photography   
    I’ve attached a recent photo merge done with Affinity Photo. I bought a Nikon Z7 II this past September, and have taken advantage of its Focus Merge feature quite a bit. The photo below is a merge of about 100 images.
    Needless to say, I am quite satisfied.

  12. Like
    smadell got a reaction from pruus in Watercolor & Ink Simulation   
    I confess that I have always been partial to Watercolor & Ink paintings. I suppose they’re something you can either love or hate. Anyway, I set out to create a method to simulate a Watercolor & Ink treatment on a photograph. I have attached a macro that will do this.

    1 - Start with a Pixel layer. In most cases, you can open an image as a Background layer.
    2 - Click the “Watercolor & Ink Simulation” macro to generate a nice, somewhat stylized image.
    3 - The macro generates 2 groups - one for the base colors (the “watercolor” part) and one for the outlines (the “ink” part).
    4 - You can adjust many of the parameters to your taste. Expand the “Outline Group” and the “Color Group” to access the individual layers.

    I)    In the “Outline Group,” find the “Thicken Outlines” layer. This is a Levels adjustment. If you move the Black Level slider up or down, the outlines will become more or less prominent.
    ii)   In the “Color Group,” there is a layer called “Lighten Colors.” This is also a Levels adjustment. Adjusting the Gamma slider up or down will lighten or darken the base colors.
    iii)  In the “Color Group,” there is a layer called “Posterize Colors.” This is a Posterize adjustment, and its default value is 8. If you move this up or down, you can inject greater or fewer colors into the image, changing its effect from more realistic to more cartoon-like.

    [As an aside, I am indebted to the Affinity Revolution user for his video tutorial entitled “Turn any Photo into a Pencil Drawing,” which formed the basis for much of the “Outline Group” portion of this effect. Thanks, Ezra!]

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  

    So, here is a before and after version using an image taken at Hearst Castle in California.



    And here is another before and after version taken at a very tourist-laden luau in Hawaii.


     
    Watercolor and Ink.afmacros.zip
  13. Thanks
    smadell got a reaction from Komatös in Watercolor & Ink Simulation   
    I confess that I have always been partial to Watercolor & Ink paintings. I suppose they’re something you can either love or hate. Anyway, I set out to create a method to simulate a Watercolor & Ink treatment on a photograph. I have attached a macro that will do this.

    1 - Start with a Pixel layer. In most cases, you can open an image as a Background layer.
    2 - Click the “Watercolor & Ink Simulation” macro to generate a nice, somewhat stylized image.
    3 - The macro generates 2 groups - one for the base colors (the “watercolor” part) and one for the outlines (the “ink” part).
    4 - You can adjust many of the parameters to your taste. Expand the “Outline Group” and the “Color Group” to access the individual layers.

    I)    In the “Outline Group,” find the “Thicken Outlines” layer. This is a Levels adjustment. If you move the Black Level slider up or down, the outlines will become more or less prominent.
    ii)   In the “Color Group,” there is a layer called “Lighten Colors.” This is also a Levels adjustment. Adjusting the Gamma slider up or down will lighten or darken the base colors.
    iii)  In the “Color Group,” there is a layer called “Posterize Colors.” This is a Posterize adjustment, and its default value is 8. If you move this up or down, you can inject greater or fewer colors into the image, changing its effect from more realistic to more cartoon-like.

    [As an aside, I am indebted to the Affinity Revolution user for his video tutorial entitled “Turn any Photo into a Pencil Drawing,” which formed the basis for much of the “Outline Group” portion of this effect. Thanks, Ezra!]

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  

    So, here is a before and after version using an image taken at Hearst Castle in California.



    And here is another before and after version taken at a very tourist-laden luau in Hawaii.


     
    Watercolor and Ink.afmacros.zip
  14. Like
    smadell got a reaction from Publoo in Watercolor & Ink Simulation   
    I confess that I have always been partial to Watercolor & Ink paintings. I suppose they’re something you can either love or hate. Anyway, I set out to create a method to simulate a Watercolor & Ink treatment on a photograph. I have attached a macro that will do this.

    1 - Start with a Pixel layer. In most cases, you can open an image as a Background layer.
    2 - Click the “Watercolor & Ink Simulation” macro to generate a nice, somewhat stylized image.
    3 - The macro generates 2 groups - one for the base colors (the “watercolor” part) and one for the outlines (the “ink” part).
    4 - You can adjust many of the parameters to your taste. Expand the “Outline Group” and the “Color Group” to access the individual layers.

    I)    In the “Outline Group,” find the “Thicken Outlines” layer. This is a Levels adjustment. If you move the Black Level slider up or down, the outlines will become more or less prominent.
    ii)   In the “Color Group,” there is a layer called “Lighten Colors.” This is also a Levels adjustment. Adjusting the Gamma slider up or down will lighten or darken the base colors.
    iii)  In the “Color Group,” there is a layer called “Posterize Colors.” This is a Posterize adjustment, and its default value is 8. If you move this up or down, you can inject greater or fewer colors into the image, changing its effect from more realistic to more cartoon-like.

    [As an aside, I am indebted to the Affinity Revolution user for his video tutorial entitled “Turn any Photo into a Pencil Drawing,” which formed the basis for much of the “Outline Group” portion of this effect. Thanks, Ezra!]

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  

    So, here is a before and after version using an image taken at Hearst Castle in California.



    And here is another before and after version taken at a very tourist-laden luau in Hawaii.


     
    Watercolor and Ink.afmacros.zip
  15. Like
    smadell reacted to Daniel Holtz in Save settings for batch job and rename files.   
    Hi, Batch Job realy is a nice feature. But could it be possible to save settings? I have do do it quite a lot and have to reset -save only jpg and picture size every time. Would be nice if this was set for me by default. And I have to rename the files with indexing. OSX has a nice function for that but would be great if this could also be done by Affinitys batch job.
    Regards - Daniel
  16. Thanks
    smadell got a reaction from jdvoracek in Luminosity Mask Visualization   
    I have previously posted 2 sets of luminosity based macro sets. The first set worked on Image and Pixel layers, and created Luminosity Selections that could then be used to create masks, adjustments, filters, etc. They can be found here:

    https://forum.affinity.serif.com/index.php?/topic/27214-luminosity-masks/

    The second set of macros was meant to be used directly on Adjustment and Live Filter layers. These applied luminosity based Blend Options to adjustment and filter layers, based on the Image or Pixel layer(s) below the adjustment. They can be found here:

    https://forum.affinity.serif.com/index.php?/topic/30523-luminosity-masks-for-adjustment-filter-layers/

    Recently, a post from @danlhayes brought up the question of creating a greyscale representation of the luminosity selection. This would be similar to Option-clicking on a luminosity mask to see that mask in shades of grey. After (admittedly) quite a bit of trial and error, I’ve come up with a set of macros that will do just that. They are attached to this post.

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  

    To use the Luminosity Visualization macros, you should do the following:

    1) You need to start with a Pixel or an Image layer selected. An embedded Affinity Photo document also seems to work.
    2) Click on the macro you would like to represent as a greyscale image.
    3) The macro will create a new Pixel layer with the name “LuminosityVisualization” and put it on the top of your layer stack.
    4) You can get rid of the LuminosityVisualization layer by clicking on the macro named “Delete Visualization Layer.”

    As always, some caveats:

    5) You should always delete a previously created LuminosityVisualization layer before creating another one.
    6) When you create a LuminosityVisualization layer, it will be placed at the top of the layer stack (so that any other layers you have placed over your Image/Pixel layer don’t confuse the visualization). If you delete the LuminosityVisualization layer and want to create another one, be sure to choose your Image or Pixel layer again.
    7) These macros were created using the same Blend Options curves that I used in creating the first two sets of macros. As such, they are meant to be used together with those macros, and not with luminosity selections that may be available from other users.
    8) As always, I am one person with one computer. I believe that these macros will work as I’ve stated, but I cannot possibly have tested every possible combination of situations. No guarantees are made; use them if you like them!
    9) If you like the macros, they are yours. They are a “thank you” to everyone for helping me learn, and a request to “pay it forward” with continued generosity.
    Luminosity Visualization.afmacros.zip
  17. Thanks
    smadell got a reaction from jdvoracek in Luminosity Masks   
    In response to a post I made last May, MJSfoto1956 suggested the use of Blend Options as an alternative to more traditional luminosity masks. It turns out that the use of the Blend Options panel, combined with a little math, makes luminosity based selections quite effective. The trouble is that the method is cumbersome if you do them from scratch each time.

    What I have created is a series of Macros that automates the process. The attached afmacros file contains macros for creating Luminosity Selections in their usual and anticipated forms: Lights 1 through Lights 4, Darks 1 through Darks 4, and Midtones 1 through Midtones 4.

    Notes:

    1) Each action will select a luminosity-based portion of the selected layer.
    2) NO additional channels are created, so files don’t become bloated.
    3) Once the selection is made, it can be used for an adjustment layer, a mask, a live filter, etc. It can be deselected (like any selection). It can be replaced by using a different selection (e.g., click on Lights 2 to replace the selection made by Lights 1).

    Caveats:

    4) You must have a Pixel layer or an Image layer selected for the macros to work properly. If you have any other type of layer selected, or if you have NO layer selected, the results you get will be wrong.
    5) The macros will undo any Blend Options you may have set on the selected layer.
    6) I am one person with one computer. Obviously, I have not tested these macros in every possible situation. Use them if you like them. No guarantees are made.
    7) However, if you like them, they are yours. They are my way of saying “thank you” to the Forum for helping me learn a wonderful piece of software!
    Luminosity Selections.afmacros.zip
  18. Like
    smadell got a reaction from JMichael in Luminosity Masks for Adjustment & Filter Layers   
    About a month ago, I posted a number of macros for creating Luminosity Selections. These macros acted only on Pixel and Image layers, and could be used to create masks, adjustment layers, filters, etc. Today’s macros are a follow-up set, and are created to act on Adjustment Layers and Live Filter Layers.

    These macros apply Blend Options to the adjustment and filter layers to produce the same results you would get with traditional luminosity selections and masks. However, these changes can be viewed in real time.

    Instructions (see attached pictures):

    1) Create an adjustment layer or a live filter layer like you normally would.

    2) Apply the effect that the layer provides.

    3) Now, click one of the Luminosity Blend Options macros to restrict the adjustment or filter effect to a luminosity range.


    Notes:

    1) Each macro restricts an Adjustment Layer or a Live Filter Layer based on the luminosity of the underlying composition - that is, the visible pixels in layers below the one being restricted.

    2) NO additional channels are created, so files don’t become bloated.

    3) Once you apply a macro to an adjustment or filter, you can change the luminosity restriction by choosing a different one, AND you can see the updates in real time. (For instance, if you want to darken an overexposed sky by applying a Levels layer, create the Levels adjustment layer and apply the “Lights 1 for Adjustments & Filters” macro. If you have affected too many of the midtones and darks, select “Lights 2 (or 3, or 4) for Adjustments & Filters” to restrict the adjustment toward lighter and lighter pixels.)

    4) There is an additional macro called “Reset Blend Options to Normal” that will undo any changes the other macros have created, and return the Adjustment or Filter layer to its normal function.

    Caveats:

    5) Do not apply these macros to your baseline photo. They will not have the desired effect. These macros should be applied to Adjustment and Live Filter layers that are situated above the photo they are modifying.

    6) As with my previous set of macros, I am one person with one computer. Obviously, I have not tested these macros in every possible situation. Use them if you like them. No guarantees are made.

    7) If you like them, they are yours. Consider this to be “pay it forward” software. Enjoy it.
     
    * * * *
     
    Edit (Dec 7, 2016) - The afmacros zip file below has been replaced with a new file, named differently. This is in response to the post which follows this one. The edited attachment should work better (or, should I say, it should simply work).
     



    Luminosity Blend Options for Adjustments.afmacros.zip
  19. Like
    smadell got a reaction from LondonSquirrel in 38 Gradient Maps for Color Grading   
    Today, let’s have fun with Gradient Maps…
    Gradient Maps are a great way to color grade photos, since they map dark, light, and midtone values according to a pre-defined gradient. This can easily define a “look” for photos that might otherwise be hard to accomplish.
    Although I am not a user of Photoshop, our “arch rival” has a wonderful group of gradient maps called “Photographic Toning” that are specifically designed to color grade photos. Although you have to drill down through a few panels and dialog boxes to find them (and you sort of have to know they’re there in the first place) they are a truly nice addition. Also, they are easily obtained by anyone.
    But, as they say, there’s the rub. Affinity Photo cannot import Photoshop gradient maps. Affinity Photo can store pre-defined gradients in the Swatches studio, but for some unknown reason the stored gradients are not available from the Gradient Map studio panel. Gradient Maps can be stored as presets, and can be chosen from the Adjustments panel, but I don’t believe they can be easily exported from one computer and brought into a different one.
    So… after a long couple of days of transcription, I have created a set of Macros that apply each of the 38 Photographic Toning gradient maps. Since macros are easy to store, and to share, I am making them available for anyone who wants them.
    There are actually 2 sets of Macros included - each as an easy-to-import Category from the Library panel. The first group of Macros is called “Photographic Toning Gradients” and these are named according to the gradient map they apply. Each macro creates a Gradient Map layer, applies the appropriate color values, and names the layer according to the gradient map it applied. The second set of macros is called “Photographic Toning Gradients - reduced.” This category also applies the gradient maps in a similar fashion, but then reduces the opacity of the layer to 30%. This reduces the effect of the Gradient Map, and produces a much subtler effect.
    Here is an image that shows the full-strength versions of all 38 gradient maps.

    And here is a photo to which I’ve applied a full-strength gradient map, and also a reduced-strength gradient map.

    These macro categories are included in the ZIP file attached to this post, along with a Letter sized JPG that includes samples of the gradient maps. Also included in the ZIP file is another macro category that includes one more macro. It’s called “Obama Hope Poster” and, as you might have guessed, it turns any photo into an Obama Hope-style poster. Just because…
    Please enjoy them!
    Photographic Toning Gradient Maps.zip
  20. Like
    smadell got a reaction from manfred9 in Pastel Watercolor Effect   
    I recently watched one of @dmstraker Dave Straker’s InAffinity tutorials about “Pastel Colour Grading…” and it gave me some ideas. So, thanks to you for the inspiration, Dave!
    I’ve attached another macro for creating a specific Artistic Look – this one called a Pastel Watercolor Effect. The attached file is a macro category (even though it only contains a single macro); you can import it into the Library Panel in the Desktop version of Affinity Photo, and it is compatible with the iPad version as well. (In my own preliminary testing, the macro works fairly well on an iPad, although there are some issues with missing items in the dialog box that appears for setting parameters.)
    When you click the macro, it creates a number of layers inside of a group. The group is called “Pastel Watercolor Effect” and it can be turned on and off by simply showing or hiding the entire group. When you invoke the macro, you will be presented with a number of options in a dialog:
    1-6] Lighten Color - Cyan, Magenta, Yellow, Red, Green, Blue
    All of these color ranges are initially set to a value of -200%. As you move each of the sliders to the right, that particular color range will be selectively lightened. If you set any of the sliders all the way to 100% then that color range will go to white.
    7] Set Amount of Pastel Blurring
    This slider defaults to a value of 25 px. Setting it higher or lower will adjust the amount of “smudging” that the pastel layer displays.
    8] Set Intensity of Outlines
    This slider defaults to a value of 0.7. You can set it to values between 0 and 2, with higher values giving you darker and more intense outlines. If you set the Intensity slider to 0, the black outlines will effectively disappear.
    9] Adjust Brightness
    Brightness defaults to a value of 20%. You might want to increase it if (i) you have increased the outline intensity significantly, or (ii) to compensate for changes (particularly decreases) you might make to the Contrast.
    10] Adjust Contrast
    Contrast defaults to 0%. Adjust this to taste.
    I’ve attached 2 photos (below) to show Before and After versions using this effect. Included in the photos are the settings that were used (which are a bit different from the default values).

     

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
    As with all of the macros I have submitted, please note that I am only one person and have tested this on a limited number of images on a single computer. There is no way to have foreseen every possible scenario. I am hopeful (but obviously won’t guarantee) that you’ll like the results.
    If you do like the macro, please keep it and enjoy it. This is “pay it forward software,” the happy result of an abundance of learning gleaned from the members of this forum who are so generous with their time and expertise!
    Pastel Watercolor Effect.afmacros
  21. Like
    smadell got a reaction from Toge360 in Publisher on Mac: I can´t install a new color profile   
    I am on a Mac, but running Catalina and not Big Sur. So, I cannot say 100% that this is the correct place for the profile. But, with that caveat, copy the profile to your User Library:    ~/Library/Color Sync/Profiles/
    You could also place it into your main Library:   <Your Startup Drive >/Library/Color Sync/Profiles/
    When you restart Affinity Photo, you should see your color profile listed in the "Convert Format/ICC Profile…" dialog box, and it should come up in the Print Dialog if you print to a color printer and choose "Color Sync" as the method of Color Matching.
  22. Like
    smadell got a reaction from Greyfox in compositing tutorials   
    I remembered that video, too. A quick search on YouTube for "Affinity Photo composite" gave me a quick answer. Here's your link:
     
  23. Like
    smadell got a reaction from Greyfox in compositing tutorials   
    By the way, here's another compositing video from James (from that same YouTube search):
     
  24. Like
    smadell got a reaction from rhett7660 in Graphic Novel Effect   
    Based on a recent thread started by user Steps, I have finalized and am attaching a macro called "Graphic Novel Effect." It is similar to the "Paint by Numbers" macro I created a while back, but offers better control of the black outlines that are needed in a cartoon or a graphic novel illustration.
    The attached file is a macros category (not a single macro) and can be imported through the Affinity Photo Library panel. Once inside Affinity Photo, the category contains a single macro which can be moved into a different category (by dragging it) if desired. Since it is provided as a category, it can also be imported into the iPad version of AP.
    When you use the macro, it creates a number of layers inside a group (which can be turned on and off to show or hide the effect entirely). The user is presented with 5 options in a dialog:
    1) Posterize - How Many Colors?
    The macro is preset to 5 color levels, but anywhere between 4 and 6 generally gives a decent result.
    2) Outlines - Adjust Black [line thickness]
    This option is preset to 50%, but changing the value will make the black outlines more or less prominent.
    3) Outlines - Adjust White [fill smoothness]
    This option is preset to 90%. Changing the value will affect the fill (inside the outlines). Keep the value above the value set in option #2 (line thickness).
    4) Finish - Adjust the Brightness
    5) Finish - Adjust the Contrast
    These are preset to Brightness = -15% and Contrast = +30%. Changes made here will have the obvious results, and should be considered a finishing touch.
    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  * 
    As always, I am one person with one computer and have not tested this in every possible scenario. Try it and, if you like it, keep it and enjoy it. This forum has provided me with so many good ideas and answers to questions; this macro is another attempt to “pay it forward.”
    Graphic Novel Effect.afmacros
  25. Thanks
    smadell got a reaction from Cealcrest in Add Film Grain (free macros)   
    Adding grain to a photo is a nice way to emulate vintage images, especially older black and white photos. It has always bothered me a bit that Affinity Photo does not include a mechanism to introduce grain, other than to use the “Add Noise” filter. While adding noise is nice, it adds such a fine amount of variation that it is often quite literally unnoticeable.
    I have admired the Film Grain effect that is available in other software, such as Nik’s Silver Efex. These filters can often vary grain size and intensity; sometimes grain can be added to shadows, midtones, and highlights in differing amounts.
    What I’ve attached is an .afmacros file called Film Grain. This is a macros Category and should be imported into the Library panel. It includes two macros. The first is called Add Film Grain - simple. It allows the user to add grain with 2 parameters – intensity and size.
    Grain - Intensity
    The grain intensity defaults to 100%, but can be set to any value between 0 and 100. At 0% intensity, the grain effectively disappears. To understand intensity, think “contrast.”
    Grain - Size
    The size slider accepts values between 0 and 1, with the default being 0.2. The appropriate value will differ based on the image being treated, and the same perceived size might need higher values when the overall dimensions of the image are larger. Also note that values above 0.8 are rounded down to 0.8 (and this forms an effective upper limit to the slider). This is done primarily because the math breaks down at higher values.
    The second macro is called Add Film Grain - by tonal range. It includes the same intensity and size parameters, but also lets the user set opacity levels for highlights, midtones, and shadows separately.
    Grain Opacity - Highlights, Midtones, and Shadows
    There are three separate sliders for highlights, midtones, and shadows respectively. Each defaults to 100%, but can be set to values between 0 and 100. While the “simple” macro creates a single Film Grain layer, the “tonal range” version creates a group containing 3 layers, one each for the three tonal ranges. The Grain Opacity sliders simply vary the opacity of the corresponding layers within that group.
    Finishing Touches
    When each of the macros finishes, the Blend Range for the result (the Film Grain layer in the case of the “simple” macro, and the Group in the case of the “tonal range” macro) is set to diminish the effect of the grain on the highlights slightly. This is an aesthetic choice on my part, and I think you will agree. However, you can set the Blend Range to anything you might like, as desired.
    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
    For most users, the “simple” macro will be enough. It lets the editor vary the Intensity of the grain and also the Size. I have always liked adding grain that was a bit larger, because it becomes more noticeable.
    For other users, the “tonal range” macro will allow you to add some additional nuance to the grain, by letting you emphasize grain in the shadows, midtones and highlights. Do this by first setting a global Intensity and Size, and then adjusting the opacity of the 3 tone ranges as desired.
    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
    Here are samples of the two macros, along with the settings as applied. The differences between the two results is quite subtle, but might be worth the effort in some cases.

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *
    As with all the macros I have posted, I have tested these on one computer under a limited number of conditions. I cannot guarantee anything, but I have no reason to think they will not work for you just as they have for me. The macros are free, with the suggestion to “pay it forward.” As you become more proficient, be sure to share your experience and your work with others.
    By the way, happy holidays to everyone. Here’s hoping that 2021 is a more positive, uplifting year than 2020. And maybe, just maybe, we’ll be able to ring in 2022 in a crowd without any masks!
    Film Grain.afmacros
×
×
  • Create New...

Important Information

Terms of Use | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.