Jump to content

DonatoF

Members
  • Content count

    62
  • Joined

  • Last visited

Everything posted by DonatoF

  1. At the moment, you have two choices to produce large tiffs: 1) use the 1.5 beta, abandoning the 1.4.2 version and hope you don't run into any issues 2) do all your work in 1.4.2 and save the .afphoto file, open the .afphoto file in the 1.5 beta and export the tiff from there. I'm using the second as my current workflow, making sure to work on a duplicate of the .afphoto file or not make any changes to it in the beta. I will say the betas are pretty stable, and you may not run into issues.
  2. See this topic: https://forum.affinity.serif.com/index.php?/topic/22829-tiff-files-not-displayed-by-os-x-10116/ Basically, a change in the Mac OS broke the way AP was exporting tiffs, they fixed it in the 1.5 beta but not (yet?) in the production Apple Store version. I really wish they would release a fix for the production version since 1.5 will be in beta for a while and I prefer to use the production version rather than beta.
  3. The grid is specified under the "Overlay" dropdown in the crop tool options, it may be set to "none". Options are none, thirds grid, golden spiral, and diagonals.
  4. Don't use the paint brush, use the pixel tool. It is in the same place as the paint brush tool.
  5. R C-R If you mean the Affinity produced tiff, it opens normally in Affinity, not black. In Preview (and quick look) it is black, Tonality Pro is unable to open it at all ( "It may be damaged or use a file format that program doesn’t recognize."). However, DxO Optics Pro is able to open it ok. Breaks my general monochrome workflow, which is usually develop the RAW in Dxo OP, export color 16 bit tiff, general tweaks in Affinity Photo, export as color 16 bit tiff, monochrome conversion in Tonality, then export to jpeg or whatever. Not as much of an issue with images I keep in color, usually save the .afphoto file and just export jpegs. Actually that lead me to a work-around - if I open the Affinity photo created tiff in DxO OP, then re-export it as a tiff, I then have one that behaves normally. Just have to remember to not apply any preset in DxO. Kind of clumsy, but will work for now.
  6. Any update on this? Just did my own test, and 16-bit tiff files produced from Affinity Photo are broken, while producing them from both Dxo Optics Pro 11 and Tonality CK produce tiffs which are fine.
  7. Just to further expand on what MBd said, it can get confusing as to what exactly is being concealed/revealed - in the example above, painting in black on the adjustment layer mask conceals the black and white adjustment, painting in white reveals the adjustment. So the net effect is that painting in black conceals the adjustment but reveals the underlying color. Painting with white reveals the adjustment, hiding the color.
  8. Various way to do this, the easiest is to just add a live black and white adjustment layer, set the black and white settings to your liking. Then, since the adjustment layer has a built-in mask, just select the adjustment layer and use the eraser tool on it where you want the underlying color to show through. Instead of the eraser, you can also use the paint brush tool with black to erase, and white to add the adjustment back in.
  9. Hi James - Well done as usual, very nice intro to the program and concepts. Just one note for someone opening Photo for the first time, they will get the splash screen first by default, not the "blank interface" that you have in the first video. I had finally turned it off myself, although I do miss it a bit....
  10. By the way, I know the result wasn't exactly the same as the hand drawn, but you can start with the B&W adjustment first, increase the contrast or play with other things to get what you are after, there are many ways to go about it in Photo.
  11. Here's a quick go - 1. Filter>Detect>Detect Edges 2. Layer>Invert 3. Layer>New Adjustment Layer>Black& White Adjustment
  12. Hi Alex- Affinity Photo runs fine on my early 2008 Macbook Pro (2.4 GHz Core 2 Duo, 4GB Ram, El Capitan 10.11.5), so with double the memory it should be even better. Dan
  13. James - Thanks for the tip on editing the adjustment layer mask, I wasn't aware of that and had been creating a separate mask when I could have used the built-in. One thing I do notice is that if you create a new mask layer you have the "refine mask", "edit mask", and "release mask" commands available via the contextual (right-click) menu, while the built-in one for the adjustment layer doesn't have them. Ah - just found that at least "refine mask" is available under the main layer menu for the adjustment layer built-in mask, just not under the contextual menu. In this instance "release mask" may not be applicable, but "edit mask" still could be.
  14. Another useful troubleshooting trick is to create a new user account with no modifications and see if you have the same problem there, that will tell you if it is a system-wide problem or is specific to your normal user account (corrupt preferences, or other odd things with your account).
  15. Hi - downloaded your photo and using the inpainting tool on an area took about ten seconds on my Early 2008 MacBook Pro, 2.4 GHz Core2 Duo, 4 Gigs Ram. Earlier threads have pointed to corrupt fonts possibly causing issues like this, try using the Font Book app to check your fonts.
  16. Excellent tutorial, thank you. Plan to apply this with other hues to simulate other toning processes.
  17. Hi Simon, an excellent start and a big service to new users of Photo and image processing. Obviously a huge challenge to present just enough information without being overwhelming. A few suggestions: In the first video, you must have the "splash" screen (the one with samples to download) turned off, new users might find that confusing because they will see that screen first. Also in first video, a brief mention of the Personas, so in case they accidentally click on another one they will know to go back to the Photo Persona. For color balancing, I think beginners might find the "white balance" adjustment easier than the "colour balance" or "channel mixer", especially using the white balance picker. Or, even easier, the Auto White Balance filter. Not sure which video, but it would be a good idea to include how to save or export the changes. Keep up the good work, and thanks for sharing these.
  18. Liked and shared on Facebook, congrats on winning App of the year!
  19. @Trial&Error, have a look at the "Placing Documents" video, I believe that will be a good start for what you want to do
  20. I do remember reading in another thread that this may be related to a font problem, have you tried running the Font Book app and validating your fonts?
  21. Provide more pressure sensitivity options, for example, allow user to choose pressure sensitivity to control opacity, flow, hardness, in addition to size. Edit: Just found the brush dynamics panel which addresses most of this, the only thing I still see as missing is the opacity control.
  22. Yes, resolved would be a good name.
  23. Just a note, I've seen several threads in the Questions forum where people posted their bug reports there because they believe the Bugs forum is closed. From the top level forum view (where you see the list of all the forums) you see the Bugs forum name with closed under it, and they are mis-interpreting it to mean the main Bugs forum is closed, rather than that there is a Closed sub-forum. Maybe you should consider changing the name from Closed to Fixed,
  24. Unfortunately those videos are embedded from Vimeo also. I did find a Youtube channel from Affinity: https://www.youtube.com/channel/UCAYTwFk4xCES4-AaYus9yZA It only seems to contain some of the tutorials, but see if that works. If it does, try to get Serif to load the rest of the tutorials there.
×

Important Information

These are the Terms of Use you will be asked to agree to if you join the forum. | 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.