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WhiteStone

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  1. "Not sure where you live but secondhand Designer workbooks can be found on ebay" Thanks so much! I wonder why Serif quit printing such good publications 🧐. I live in Washington State, USA. Well, in that case I shall begin perusing the used book market. And yes, I understand there are more features in the new app; but like you suspected, I want to 'cookbook' the basics; and get some knowledge from more experienced users. Thanks again!
  2. Greetings all, I did do a search; but didn't find anything. My question is: Does Serif still print the study books for the three products? I have the Affinity Photo book, and it is nothing less than excellent! I just bought Affinity Designer, and would like to purchase the book for that as well. I just cannot find the books on the web site like I could before. Anyone know if they're still available?
  3. As I was editing colors in some photos, I noticed the colored dots on the HSL tool began to change their colors on their own. Please see attached. The three blue dots should be green red and blue. MAC OS Monterey Ver 12.3.1 on M1 hardware.
  4. Here is another shot. Please don't look upon focus since I didn't have a negative carrier on my light table and the film had some curl 😡. Colors are still not punchy, but better as far as true. Still working on it.....
  5. Paul, Yeah, I too, have been away from film for a long time; but recently decided to get back in a play around with it. As you can see, it's proving to be quite a challenge! More than I expected for sure. But I love a good challenge; and I always look to a challenge as a learning opportunity. Again, thanks for the help! If/when I get some real repeatable answers, I'll post them here. Cheers!
  6. Thanks Nathan! It is close though. Paul also gave it a go as well. Results do show the pic a bit washed out; but the negative looks OK under the loupe on the light table by itself. I/we have so many variables going on here with scanning to inversion that I can't tell which step(s) contribute the most in the washed out result. I must dig in pretty deep here and try different approaches so I can post some actual intellectual reasons for this. Reasons that may help everyone get better final results from their color negs. That; and if CineStill chemistry is just a bit off in temp and/or times. Oh well, I'm now retired; and have the time to play and research. Maybe I can find some answers that everyone can use. Thanks again!
  7. Wow Paul. That's a whole lot closer to what is really in the picture than what I had! I really appreciate your effort! Would you agree with my workflow use? I figured that if I could cancel the rebate cast, I would be very close when I inverted. Obviously not; but thanks for pointing the way with the tools you used. Now I can play some more in hopes of better results. By The Way: I did do a google search on the topic; and many people have had the bluish/cyan cast on their converted negs from CineStill chemistry. I'm not a chemist so I can only do research on a layman's level. Cheers and thanx again!
  8. Greetings all, I know the negative to positive conversion topic has been discussed ad-nauseam. But this is a bit different. Please stay with me on this one. Here are my first steps: 1. Bring in the color negative MF0226_Neg.png below 2. Sample the rebate color to remove the orange cast (MF0226_rebate) and create a fill layer filled with the rebate color. Then change the fill layer blend mode to divide which yields MF0226 Neg and Rebate below. The rebate has been neutralized leaving only a negative without the cast. 3. Then I use the Invert command from the Adjustment Layers which flip the neg to a pos (MF0226_Inverted). NOW here is the problem: I have an overall blue cast that cannot be balanced out. I did process this Ektar 100 film at home using CineStill chemistry. The chemistry was new and just mixed. I checked and rechecked my mixing volumes and temperatures - all OK. Any ideas?
  9. Waveluke, I visited some YouTube videos where photographers are doing exactly what you suggested: Do all RAW processing in Capture One, then edit it in Affinity Photo. The two work in perfect tandem. That is the direction I'm taking. Thanks for the advice!
  10. Goodness! I wish I had known about that link before I asked! Thanks! Now to read and get educated on the subject. Appreciate it man.
  11. Wow! Thanks for the clear explanation. A lot happens there in steps. It leaves me a bit confused as to the use of standards. Isn't red just red? Meaning in RGB space R=255 G=0, B=0? Then comes the B and G all equalling 255 whilst the others equal 0? Then comes the plethora of combinations of RGB for all other colors within RGB space? I'm saying the colors have a specific scientific definition. Now I'm only asking - shouldn't the output from the camera(s) be the same? I.E. Take a photo of a calibrated red test sheet with the values of R=255, G=0, B=0. The light set for a proper exposure of F 8, 1/60th, ISO 100. Light source = 5000K calibrated measurement. I would think that all RAW processors would output the same results from any camera. Am I wrong? ~Jeff
  12. Greetings all, and Happy New Year! I don't know if this is a bug in AP, or simply a preset adjustment that I don't know about, so I posted it here. I have noticed that RAW files direct from my Nikon D7200 (haven't used any other camera) are not as bright and lifelike as the playback on the camera; or when tethered with Capture One. I have attached two photos. The best and most accurate is from Capture One directly captured from the camera. The next one that is quite dull, at least 1 -1/3 stops under is the same photo opened by AF. What is going on? Any comments or direction is welcome! Regards, Jeff
  13. Just stumbled across this. Great Asset!! Thanks!
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