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About bbd10

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  1. In AP 1.5.2 and 1.6 procedure (LUT export) is broken!
  2. Interaction with NIK plugins is partially broken. Color profile is not included in data.
  3. LUT Export/Import is broken. Probably RED and BLUE channels are toggled.
  4. LUT Export/Import is broken. RED and BLUE channels are toggled.
  5. Back to topic... As I stated in my post #10 you can do whatever you want with masks but not with "one click". You create masks "with one click" using selection tools and refine. The problem is: you have some kind of workflow based on GIMP, Photoshop, whatever and with Affinity some operations are different. In this moment your workflow collapsed. My question is: is there anybody here interested in the full tutorial how we can obtain the FINAL result in Affinity? (Not video! with click here and next there) I am not interested in "mimicking" Photoshop or GIMP but rather in particular problems we encounter during photo editing.
  6. What is more important, features of color grading apps should be used in photo editing applications. Grade wheels for lift - gamma - gain or HSL qualification tools for example. You can emulate the behavior of grading app in Affinity but it slows you down. In the same time we have in Affinity vectorscope and waveform graphs but in very small windows and without proper tools in the user interface. This is not a problem when you perform secondary corrections in Affinity but primary one for RAW is a nightmare. So I do primary correction in other software (Capture One, DxO or even RawTherapee) and then transfer results to Affinity for a secondary one. This is a common misconception that color grading or color correction is primarily about fixing problems and dealing with broadcast safe issues. You grade film because you want it to look as good as it can. You "color grade" photographs for the same reason. In my opinion, we should take as much as we can from color grading community experience.
  7. This is not a reversible process because of blending mode. You can also try screen blending in place of lighten. In the tutorial we have Lighten blending mode applied first and then HSL Shift adjustment to blended channels. In this case, for example, you have two red channels - one from magenta layer and second from yellow and those channels are blended together. When pixels of the upper layer are lighter than the ones on the layers below, then pixels from upper layer are kept in the image. If the pixels in the layer are darker, they are replaced. This is NOT, even with HSL Shift, reverse operation for what recolor adjustment have done. If you add Invert adjustment to each layer and use darken blending mode then an effect will be sometimes more interesting.
  8. iOS version will be available with beta 9
  9. Yes, and sometimes I build my own (adjustments...adjustments) as in the case of V50-ProPhoto. To build your own you have to find original, technical specification of film and replicate response with curves, filters and lot of work. If you have some photographs (negatives) you can scan them and use a scanned image as a reference which helps a lot. The best situation is if you photographed some standard color card. In many cases, you can not properly build "profile" for an original film because a film is unavailable now (to make photography of color pattern in a controlled environment, develop film, scan film and so on). So you have to rely on the other nice people :)
  10. As requested - 3D LUT's for B&W. Now only Kodak T-Max, Tri-X, BW400, HIE. Funky pattern was generated with ImageMagic convert command. In this pattern, there are patches covering full colorspace. In "normal" image only small part of gamut is covered. Procedure: Pattern with "all" colors (Identity) ----> adjustments ... adjustments ----> Export result (Clut) ---> Save ---> Close ---> Open identity ---> Apply 3DLut Adjustmet layer ---> Infer 3D Lut with "Identity" (yes, again!) and "Clut" ---> File - Export 3DLut Credits (Hald CLUT Film Simulation Collection, versions with 1RT in file name): Pat David Pavlov Dmitry Michael Ezra Pictures are my own, the small oasis in Napoli (Italy), Vicolo Miradois. RAW file developed "flat", white balance shifted to warm, Velvia 50 applied + saturation and little vibrancy boost. Important. Remember that working with ProPhoto and other wide gamut color spaces can be little tricky. For B&W you can apply LUT's in sRGB and effect should be correct. And another example (Loretto, Italy) with LUT simulating Adox CHS 100 II film (IMG_2005).
  11. 3D LUT Set - Fuji Transparency Color Film emulations (ProPhoto): Fuji Astia 100F Fuji FP 100C Fuji Provia 100F Fuji Provia 400F Fuji Provia 400X Fuji Sensia 100 Fuji Velvia 50
  12. Samples: MAH_7894_4_Flat: Source image (sRGB) MAH_7894_4_V50: Final image with LUT applied (sRGB) Source-ProPhoto: Source image with ProPhoto color space V50-ProPhoto.3dl : 3D LUT (zipped) 3D Lut generated from two HALD CLUT images in ProPhoto color space.
  13. You need Hald CLUT patterns which can be downloaded from: and Raw Therapee: You can as well use any other program which can perform film simulation, but in any case, identity file is required. To perform film simulation, we require two files: Identity Pattern (file with unconverted colors) Film Simulation Pattern In Affinity Photo 3D LUT Adjustment layer has to be crated. In this layer, we have to use Infer LUT… option. The first file should be identity, second one result of conversion (film simulation pattern). There is one minor problem, though… Hald CLUT identity and film emulation Hald CLUT pattern should be in 16bit format and with the same color space as Affinity Photo image. Here Raw Therapee can be applied. With Affinity Photo or RT you can convert standard Hald_CLUT_Identity_12.tif to desired color space. Processing profile in RT should be neutral, and in Color Tab - Output Profile set to a destination color space. Converted identity pattern file should be opened in Raw Therapee with neutral processing profile. Then in color tab you can apply Film Simulation. The result should be saved as a 16bit tiff file with a target color space. Attachment: RT.png - Raw Therapee
  14. MBd said: "the L channel in LAB works just the same as one expects from RGB" - almost. With RGB you change all color channels with Master curve. Until this is a S-shaped curve, and the midpoint is centered then LAB master can give you very similar effect. But do not even try to move center point up or down with LAB master. With L component of LAB curves you do not change any colors but only lightness. To obtain a similar effect to L component of LAB with RGB curves you have to use master in RGB curves and HSL layer with HSV mode and with the saturation shift decreased. This is the beauty of LAB curves. In one place, you change contrast, color contrast, white balance, color casts etc. You can also add to LAB curves blend options.
  15. Visualization: AOponent: Left is Green <=> Right is Magenta down on left side -> more green, up on right side -> more magenta, middle point: white, up magenta, down green cast BOponent: Left is Blue <=> Right is Yellow down on left side -> more blue, up on right side -> more yellow, middle point: white, up yellow, down blue cast Generally keep the middle point in the center. Move it up or down to correct white balance color. Example: With BOponent you can add some warmness moving upper right point to the center but you have to keep the middle point and left part of the curve under control. Attachement: WarmFilterInLAB