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maritan

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  1. Using Relative Colourimetric in the Soft Proof Layer does get closer to the Assign ICC option, but it's still a little brighter than the Assign ICC option. My starting point is also sRGB colour space. Yes, you are correct. Thanks for pointing this out. I have another batch to print up, so I'll use the Convert ICC profile instead of Assign ICC to see if I get closer. Thanks again for the feedback.
  2. Leigh, Thanks for responding. Here's my workflow developed after the first round of printing (resulting in unusable prints) as far as printing goes: 1. Edit image as needed in sRGB (original colour space) -> 2. Add Softproof adjustment layer -> Change profile to printer ICC -> Compare monitor display to unusable prints -> Not close at all -> 3. Delete Softproof layer -> Apply ICC of printer to document -> Compare monitor display to printouts -> Very close to unusable prints (not exact, but enough for me to make an educated decision on how to further tweak the image for better prints) I understand that the softproof layer is not supposed to show up when exported and printed - which is perfect for my application. That's exactly what I want. But, I found the Softproof adjustment layer so vastly different from the expected print output that for my purposes, it's utterly unusable. Now, I end up with two AFPHOTO files: one with sRGB colour space that will be used to display on web, and another with Printer ICC profile applied to actually print the photographs. This doesn't seem the most efficient way of doing things, and I'm wondering if this is a bug in the implementation Softproof layer or if it's a bug in the way I'm thinking about things. I'm trying to attach the ICC file, but I get an error message saying I'm not permitted to upload this kind of file. Here's the link for it: https://www.drycreekphoto.com/icc/Profiles/IccFiles/Arizona/Costco-AZ-Chandler-Lus.icc
  3. I have a 27" iMac and have calibrated my screen using a ColorMunki Display. I'm using the latest released version of Affinity Photo. I recently printed out some pictures (exported as JPEG from AP - File -> Export...) at my local Costco and got a batch of unusable prints - pictures were less saturated, cooler temperature and much darker - lots of crushed blacks - than what I expected. I understand that a picture on the monitor and in print are going to be different, but this difference was more than that. I got the ICC profile for their printer and tried to use the softproof adjustment layer to see how the picture looked on screen compared to the print out. There was a noticeable change when I selected the correct ICC profile in the window, but not at all close to the printout. This option will not allow me to make a decision to print or not based on the way it works right now. Next, I used "Document -> Apply ICC..." to load the same ICC file (softproof layer deleted) and this made the display match the printout very, very closely. Not quite bang on, but enough for me to know I was in the vicinity of what I'd see when printing out. My question is this - what is the difference between Apply ICC and Softproof "adjustment" layer? Should the Softproof adjustment layer allow me to work, say in sRGB, and then toggle it on and off to mimic applying ICC to the document?
  4. Your first inpainting inputs would be done non-destructively on a separate pixel layer -> link to video tutorial Then you could copy-paste that pixel layer that you inpainted in and change properties as needed. Hopefully that helps? If not, I'm obviously not completely understanding what you want to do.
  5. Are you doing inpainting on a separate pixel layer? Then you should be able to copy-paste and change properties as needed.
  6. @JamesRitson - I must be missing a step somewhere. I was trying to follow the "Channels: Creating/ Storing Selections" and at the 1:10 mark in the video, you show Pixel Red, Pixel Green and Pixel Blue beneath the Composite Alpha channel, but I don't see it. Is there something I need to do to generate those channels? Or perhaps there's a setting that has been disable? What am I missing?
  7. maritan

    Wacom update issues.

    Glad the developers are aware of this. This is such an inconvenience. I really hope this is figured out sooner rather than later.
  8. Look here: Really effective workaround.
  9. maritan

    Selection by color

    I think you're looking for something similar to what Capture One Pro 9's new tool does. It's a really slick implementation if people haven't seen it: Using the colour editor Maybe there's an equivalent method in Affinity Photo. I'd like to learn it too if there is one.
  10. You can do it this way: Add a pixel layer Fill with 50% gray Change pixel layer's blend mode to overlay Dodge and burn to your heart's content on this pixel layer. Change opacity etc. as needed Does that work for you? I'm not sure of the blend if method that you use. Do you have a write up or video of your method?
  11. Creative use of tools to create such a flexible vignette technique. Nicely done.
  12. After I paint with the brush tool in quick mask mode, let's say I move the mouse away from the painted area. When I hit Q on the keyboard to toggle the overlay off, I get a selection exactly the size of the brush where the brush was. See attached picture. Not sure if this has been reported before.
  13. Flora - also, if you already have the brush tool selected, you can hold Option and click anywhere to pick the colour underneath the brush at that point. If you click and hold for a beat drag (thanks for the correction below MEB), you should get a loupe view that will enable more accurate selection.
  14. For the relatively rare full/ super/ blood moon trifecta, I went to Sedona to witness the event. After scouting various locations on the eve and morning of the event, I settled on a location opposite iconic Bell Rock. After going through the 1000+ pictures I took over a span of 6 hours, I selected 60-70 of them. What you see here is a composite of 20-25 pictures. Multiple versions of the same subject (foreground or various phases of the moon) were used to bring out details that would otherwise be lost in shadows or extremely bright areas. All work done in Affinity Photo except converting Olympus raw straight to tiff with no adjustments. Obviously, the moon in the picture is bigger than what we would see in person, but this was done specifically to show the details and beautiful colours of the moon seen through the event. This is not meant to be scientifically accurate. Picture clickable for full res: Sedona Eclipose Composite Questions, comments and constructive criticism is welcome as usual.
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