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Everything posted by kirkt

  1. I know that the following suggestion does not address the AP/raw output discussion, but for folks who need to import and export raw (as in "not camera raw") data, you can use the free, and open, tool called NIH Image, or ImageJ, or Fiji (Fiji Is Just ImageJ). I currently use the Fiji version, but they are all the same thing. The application reads and writes raw output and is a general purpose image processing tool with a macro language to automate tasks. I am not sure what the CG folks might be doing with PS to edit their data prior to output to raw, but Fiji might be an alternative and a viable way to remove PS from your workflow. It is also cross-platform (Mac, Win, Linux) and is continually being updated and cared for. https://fiji.sc It gives the user direct access to algorithmic and mathematical manipulation of their image data, instead of the more qualitative, by eye approach in PS. Kirk PS - to James Ritson's comment - Yes, DxO produces a linear DNG when it applies adjustments to a raw file and exports it as DNG. This way, users can apply things like optical corrections and noise reduction to a raw image file within DxO and then export a DNG with those corrections to another raw converter, like Lightroom. This operation requires demosaicing of the raw file so that the pixel-based operations can be rendered.
  2. Yes, the TK Panel is a set of tools developed by Tony Kuyper, a photographer and Photoshop guru who popularized Luminosity masking. Kirk
  3. With the mask layer selected, in the Channels panel right-click the Mask Alpha channel and select "Create Grayscale Layer." On this new layer, let's call it GRAY, you can paint with Overlay mode to adjust the edges like you would in PS. Then, when you are finished, in the Channels panel, right-click on any of the channels in the GRAY layer and select "Create Mask Layer." Now GRAY has been converted to a mask with your Overlay painting adjustments and you can nest it wherever you need it. Kirk
  4. Yes you can. Say, for example, you make a Tonal Range selection and then click the New Mask button on the layers panel. You can (nondestructively) choke or expand the mask with a Levels adjustment, for example, by creating a new Levels adjustment layer and nesting it in the new Mask layer. When you want to adjust the mask pixels, you need to make sure to select the "Alpha" section of the Levels adjustment (not the Master). Kirk
  5. On a Mac you can see this data in the Finder, or by using the "Get Info" shortcut, CMD-I. In the Affinity Photo Open dialog, you can also see this data on a Mac - see attached screenshot. AP is not a DAM or a browser, but the OS usually gives you this information. On a Mac, at least, you can pretty much manage your photos, keywords, etc. and search for images based on parameters like aperture, ISO and shutter speed, for example, all from within the OS. I think Adobe still offers Bridge for free and XNViewMP is also a venerable cross platform asset manager, along with a library of batch image manipulation filters. I would be surprised (maybe not?) if Windows does not offer similar metadata support directly in the OS so that you do not have to use another application to examine a file's metadata. An alternative would be to turn off the automatic conversion into the working color space and do the conversion yourself after the image has been opened and the document's color space is displayed in the info bar. Browsing the images before you open them (via the Open dialog window) is an OS task, not an AP task. It sounds like you want AP to employ an integrated DAM, like many others have been asking for for years. Kirk
  6. Check to make sure that you DO NOT have "Convert opened files to working space" unless you want that to happen - perhaps enable the warning if you do want this to happen. Maybe your sRGB file is getting converted to the working space when it is opened, but you are not getting a warning that this is happening. Kirk
  7. On my computer it is the embedded profile. For example, I have AP's working color space set to AdobeRGB. In the previous screenshot, coincidentally, the image was in AdobeRGB. Here is another image, with sRGB embedded, in the same version of AP. kirk
  8. You cannot set a mask to Darken or any of the other layer blend modes, in PS or in AP. (Note: in AP, you literally can set a mask to Darken mode, but what is it darkening or blending with?). A mask is just a grayscale image that controls layer opacity. To composite the Window Pull, you are simply setting the Window Pull layer's blend mode to Darken and then painting in white on the inverted (black) mask to reveal the Darken effect in the area of the Ambient, blown out window. The bright, flash-illuminated edges around the window in the Window Pull are lighter than their Ambient counterpart, so the Darken layer does not appear in these areas, as intended, making painting the mask a pretty straightforward, loose process. If shot correctly, you almost do not even need to mask the Window Pull in Darken mode, but most images have a large FoV, so there will be areas in the Window Pull outside of the window area that will comp into the Ambient without a mask, requiring you to paint a loose mask for the window. It works just like PS. Kirk
  9. Look in the info bar above the image (red arrow in attached screenshot). If this info is not displayed, select the Hand tool from the tools on the right side. The bar is context sensitive. Kirk
  10. Go to Preferences > Photoshop Plug Ins and take a look at the attached screenshot. (1) - Add the folder that has the Nik PS plug ins (in CS6 it is probably in the Plug Ins folder inside the Photoshop application folder). (2) - Authorize Global - this will permit Affinity Photo to search for and use whatever support files are required for you plug ins. (3) - Enable "Allow 'unknown' plug ins to be used" You will need to restart Affinity Photo to enable these changes. The plug ins should appear in the "Filters > Plug Ins" menu Have fun! Kirk.
  11. You can run Topaz Sharpen AI as a plug in from AP. Why reinvent the wheel? There are a few different ways to try to analyze an image for shake and correct it, but building an AI model and implementing it is probably time better spent by the AP devs. Kirk
  12. And, for a more applied approach to the tools within AP, consider the vast and easy to digest set of video tutorials: kirk
  13. @foehammer Let's assume that your three textures that you want to pack are called X, Y and Z. They are 8bit grayscale images that you want to pack into a single RGB file like that shown in the video about channel packing. Let's also assume that each texture file has the same pixel dimensions. Maybe try something like this: 1) Create a new RGB file in AP, with the desired pixel dimensions and bit depth/color space. 2) Make sure that you create a new pixel layer in that file and fill the alpha of that layer (as in the video). Make sure this layer is active (selected in the Layers panel) for the following. In the following discussion, the "Source" will be the X, Y or Z texture file and the "Destination" will be the working new RGB file into which you want to channel pack your textures. 3) For each texture (X, Y and Z) you will use the "Apply Image..." filter to take the grayscale image from X, Y or Z and insert it into the R, G or B channel of the working document. To do this, let's assume that you want X -> R, Y -> G, and Z -> B. For X -> R: a) In the Apply Image... dialog - select "Load Source from File" and choose the X file from the file dialog. b) In the Apply Image... dialog leave everything as default and tick the "Equations" check box. c) To put X into the RED channel, you will use the following equations: DR = SR DG = DG DB = DB This tells AP to put SR (Source Red Channel) in DR (Destination Red Channel) and keep the DG and DB the same (i.e., do not change Green or Blue in the destination). As you might have already figured out, to put Y -> G, you repeat Step 3, but select the Y file as the Source file and use the equations: DR = DR DG = SG DB = DB and for Z -> B, choose the Z file as Source and use the equations: DR = DR DG = DG DB = SB. 4) Save as an RGB file. See if this works for you. NOTE: Sometimes the image you see in the thumbnail in the layer stack for a pixel layer is different than the composite thumbnail or what you see on the canvas - if this is the case, look at your Channels palette and make sure that your are displaying all of the channels (hit the clockwise arrow icon in the upper right of the palette to reset the channels view to all channels). This can get confusing if what you think should be happening is not reflected on the screen. Kirk
  14. With working color spaces like sRGB and ProPhoto, conversions between them are always relative colorimetric (at least in PS). Even in PS, where you can specify rendering intent, relative colorimetric is always used under conditions where you are converting from one working space to another. Conversion from a working color space to an output device, like a printer, will provide rendering intent choices that will potentially make a difference in how the color data are remapped during conversion. Kirk
  15. @Gregory Chalenko If you want to create a grayscale image from the Spare Channel there are a couple of ways, one of which may be better than the other for your application: 1) Make a new pixel layer and fill it with White - we will call this new layer "BlankLayer." 2a) Right-click on the Spare Channel that you have stored and select "Load to BlankLayer Red" - repeat but select "Load to BlankLayer Green" and ""Load to BlankLayer Blue." Now you have a grayscale pixel layer that is a copy of the Spare Channel. You can make a Macro that will do the sequence of steps. or 2b) Right-click on the Spare Channel and select "Load to BlankLayer Alpha." The Spare Channel will be transferred to the BlankLayer Alpha channel. In the Channels panel list, right-click on the BlankLayer Alpha channel and select "Create Grayscale Layer." In this case, the BlankLayer is a temporary layer that you use to hold the Alpha channel so you can make the grayscale image from it. I suggest that you right-click on all of the channel thumbnails in the Channels panel and see what options each one has - there is a lot going on there, but it is sort of hidden until you realize that the options exist! Also, even though these work-arounds require additional button presses and steps, I think that all of the steps are able to be recorded in a macro, so you could automate the process by recording a Macro. Kirk
  16. You're welcome. It has taken me a while to get my brain around how channels in AP work and redo a lot of muscle memory from using PS for decades. I still use both applications, and I understand how you feel! kirk
  17. @Gregory Chalenko A couple of thoughts in the meanwhile - 1) You can reset the view from individual channels to the composite by clicking on the clockwise circular icon with the arrowhead in the upper right of the channels view. 2) You can replicate your mask construction process in AP but it works a little differently, partially because channels and masks work differently in AP compared to PS. a) Starting with your source image, make a duplicate of the image layer upon which you want to base your mask (CMD-J) and make this layer active. We will call this the "LayerForMask" in the layer stack. b) Inspect your channels to see which one (or a combination of more than one, in overlay mode as you demonstrate in your YouTube clip) you want to use as the basis for your mask. c) If you want to combine channels in Overlay mode, for example: With the "LayerForMask" as the active layer, go to Filters > Apply Image... and choose to "Use Current Layer As Source." Set the Blend Mode to "Overlay." Finally, select the "Equations" check box - let's say in this example, you want to combine the Green and Blue channels in overlay mode like you do in PS using Calculations. Here you will set "DG = SB" [Destination Green equals Source Blue) and "DB = SG" - you are basically switching the two channels and combining the result in Overlay mode. This will give you a high-contrast result in the G channel that you can use as the basis for the mask. d) Click on the Composite Green channel in the Channels panel of the resulting image that now occupies the LayerForMask layer - this will display the grayscale result of the operation you just performed, and you can inspect the result to see if it is satisfactory to use as a mask. This is because the top layer in the stack is the result of the Apply Image process (therefore, the Composite layer is the top layer and you can view its channels). Also take a look at the Blue channel. In this example, suppose you want to use the resulting Green Channel as the basis for your mask. e) Below the Composite layer channels in the Channels panel will be the LayerForMask channels listed. In this case we want to use the Green channel for our mask, so Right-Click on the Green channel for this layer and select "Create Grayscale Layer" - this will create a grayscale copy of the Green channel at the top of the layer stack. This is a pixel layer that you can edit with all of the tools like dodge and burn, etc. to construct and refine your mask. We will call this "WorkingMaskLayer." f) Once you have perfected your mask on the WorkingMaskLayer, this pixel layer can stay in the layer stack for further editing if you want, or stored as a spare channel, etc. In any case, in the Channels panel, Right-Click on any of the channels in the WorkingMaskLayer and select "Create Mask Layer" - this will create a new Mask Layer out of the grayscale image from WorkingMaskLayer and you can drag the new mask layer onto the layer to which you want to apply the mask. A Mask Layer is a special kind of layer in AP - it is similar to the layer mask layer that is attached to a layer in PS, except it is a separable element that you can move up and down the layer stack and nest with other layers. You can edit and paint on a mask layer as well, if you prefer to refine your mask that way - you can view the mask itself (instead of its effect on the layer stack) by OPT-Clicking (ALT-Clicking) on it, just like in PS. Kirk
  18. It is available in the lensfun database, just add it yourself! See: https://affinity.serif.com/en-gb/tutorials/photo/desktop/video/330446061/ Here is a link to the GitHub lens fun database: https://github.com/lensfun/lensfun/tree/master/data/db Incidentally, how much distortion is there at those focal lengths? Kirk
  19. In the meanwhile, it is easy to do with exiftool: exiftool -ProjectionType="equirectangular" photo.jpg # 'photo.jpg' is the photo you want to tag See: https://facebook360.fb.com/editing-360-photos-injecting-metadata/ Kirk
  20. You should take a look at 3D LUT Creator. It does exactly what you want. It is currently designed to integrate with PS to pull images from and pass LUTs to the working PS document. I will email the app’s creator and see if he can include the same integration with AP. See this example: kirk
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