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barninga

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  1. Like
    barninga got a reaction from Return in inpainting tool brushes and other options   
    Thank you
  2. Like
    barninga got a reaction from NotMyFault in [SOLVED] colours in the exported image differ from colours shown while editing   
    @notmyfault,
    I tried the solutions you suggested. the first one simply clipped the rgb values and I got back to the image with a white sky (overexposed).
    Exporting to JpegXL is not usable for me, since my DAM cannot handle jpgxl files currently.
    the third one did the trick.
    I also tried to do the hdr merge from scratch and found that "clamp to sdr" can help in finding whether the chosen compression level is high enough to avoid clipping pixels later. If this is the case, it is possible to lower the exposure of selected areas using overlays before leaving the tonemap persona.
    thank you so much!
     
  3. Like
    barninga reacted to NotMyFault in [SOLVED] colours in the exported image differ from colours shown while editing   
    Another Option:
    Merge Visible Activate Tone Map Persona Activate "Clamp to SDR" set Tone Compression to 0 - then adjust to taste. Yet Another Option
    Export to JPEGXL Next gen Option:
    Add levels or exposure adjustment Reduce Exposure by 1 stop (-1) merge visible Activate Tone Map Persona Set Tone Compression and local Contrast to taste
  4. Like
    barninga reacted to lepr in [SOLVED] colours in the exported image differ from colours shown while editing   
    You have the Extended Dynamic Range option enabled in the 32-bit Preview panel when the brightest part of the sky looks orange rather than yellow.
    That option is enabling the display of R, G or B values that are greater than the range that can be encoded in a JPEG export or a screenshot, which are standard dynamic range formats.
    In the case of your HDR sky, all G and B values are not greater than 1.0 (equivalent to 255 in an integer 8 bits per channel image), and so they get exported intact to a standard dynamic range image. Some R values also are not greater than 1.0, and these get exported intact to a SDR image. However many R values are greater than 1.0 and get clipped when exported to a SDR image, hence the diminished redness (a shift from orange to yellow) of the brightest part of the sky in the JPEG export and screenshot
    Disable the Extended Dynamic Range option in the 32-bit Preview panel to display only the standard dynamic range that is exportable in a JPEG (or a screenshot).
  5. Like
    barninga got a reaction from MarvinR in How to Install Nik Collection 4 to Affinity Photo   
    well, in another thread I found a post by @MEB where he suggests to improve compatibilty by running Affinity Photo through Rosetta Emulation
    I tried just now and it apparently works, so I suppose that those of you who did not have my problem are running a pre-M1 mac.
    Just to spread the word.
    I opened a ticket to DxO but got no answer yet.
  6. Thanks
    barninga got a reaction from jphthierry in Gradients and Masks   
    Optikz,
    i just discovered that AP and AD allow to create complex gradients by adding stop points - select the gradient tool, select the gradient type, click on the gradient icon and than click on the insert / copy / delete buttons to add and remove stop points. for each stop, you can set colour, relative position and ramps. 
    the multiple masks method i suggested still works and can be a way to achieve even more complex goals, but working with stop points greatly simplifies tasks like creating gradients that have a reversing or waving shade, even multiple.
     
    take a look at this tutorial - it's about designer, but photo works the same under this aspect.
     
    https://vimeo.com/124806608
  7. Like
    barninga got a reaction from R C-R in AP 1.7.0 - Crop Tool - How to create custom presets   
    yes that's true, thank you for pointing it out.
    but -if i don't fail- there's a difference between rotating the crop box and having crop ratios and their reciprocals in the ratios list: in 1.6.x, when you selected the reciprocal of the current ratio, the crop box was limited to the image boundaries, while in 1.7 it's not, and this means you have to resize it most of the times.
    having the reciprocal of any ratio just one click away is really useful, but I don't think this conflicts with the capability to add reciprocals to the list: both features together would enable users to go the way they find more suitable to their need.
  8. Like
    barninga got a reaction from jkehoe in Adjust the HSL of a color range   
    @jkehoe, the #7 shows a way to mask/unmask an effect in order to apply it only to certain areas of the image. in AP,  any effect layer is also a mask. if you select an effect layer and paint black on it, the effect disappears where you just painted. if you paint white over the black area, the effect reappears.
    the exercise instruct to add a hsl layer, then invert it. inverting an effect layer actually means inverting its mask. when you add an effect layer, its mask is white by default: this means the effect is applied to the whole image. if you invert it, its mask becomes black and the effect is not applied anymore. in the exercise, you set the paintbrush to white, and the paint over a specified areas after selecting the hsl layer. this way, you create a white "hole" in its mask, which the effect becomes visible again through.
  9. Like
    barninga got a reaction from Gnobelix in Adjust the HSL of a color range   
    @jkehoe, the #7 shows a way to mask/unmask an effect in order to apply it only to certain areas of the image. in AP,  any effect layer is also a mask. if you select an effect layer and paint black on it, the effect disappears where you just painted. if you paint white over the black area, the effect reappears.
    the exercise instruct to add a hsl layer, then invert it. inverting an effect layer actually means inverting its mask. when you add an effect layer, its mask is white by default: this means the effect is applied to the whole image. if you invert it, its mask becomes black and the effect is not applied anymore. in the exercise, you set the paintbrush to white, and the paint over a specified areas after selecting the hsl layer. this way, you create a white "hole" in its mask, which the effect becomes visible again through.
  10. Like
    barninga got a reaction from dogsbylori in convert a photo to a pencel drawing   
    1. yes
    2. yes, but instead of hsl you could select "black and white" (it allows you to better tune the bw result)
    3. yes
    4. yes, it works, but imho a better option would be:
        4.1 select the duplicated image
        4.2 go to menus, Layer => New Live Filter Layer => Gaussian Blur
        4.3 slide the radius till you get the effect you're looking for
    5. yes
    6. optional: select the duplicated image go to adjustments > Recolour and set the hue as desired if you want a colored image instead of a b/w one
     
    now the question about "live filter".
    yes, i did mean what you show in the image you attached.
    the advantage of using live filter layers (instead of the filters that you can find in the Filters menu) is that live filters automatically set the effect as a mask you can edit later, just like adjustments:
    - if you later double click on the mask, you reopen the filter's controls and can modify all of the settings
    - if you later click on the mask, you can paint over it with the paint brush. note that the effect mask is white by default, which means that the effect is shown everywhere: so you'll paint black where you want to hide the effect. you can invert the mask (click on it and then press cmd-i): this will hide the effect everywhere and you'll paint white where you want the effect to be shown
     
    in other words, live filter layers allow to edit the image non destructively. you can modify the filter's settings, delete or deactivate it, mask it, and so on, without the need of throwing away the editing work you have possibly done after setting the live filter.
    on the other hand, the filters you apply through the Filters menu are destructive: they modify the pixel structure/color of the image. you can undo them, but if you do more editing after applying one of them and you want to undo that filter, you'll have to undo any subsequent work and redo it again after applying your changes.
  11. Like
    barninga reacted to RNKLN in Orton effect tutorial   
    In the meantime, Serif themselves have produced a tutorial around this topic.
     
     
  12. Like
    barninga got a reaction from Besli in Out of Focus Photo   
    you can try the clarity filter or/and the unsharp mask filter.
    instead of applying the filters on the whole image data, you could first apply the frequency separation filter, balancing the radius so that the high frequency layer holds most of the detail information but non or almost none colour information. this avoids to apply the sharpening filters also to the colour information and possibly raise up some chrominance noise.
    from this point on, you select the haigh frequency layer and apply the sharpening filters only to this layer. you can, for example:
     
    1) simply duplicate the high frequency layer (possibly setting the opacity of the duplicate to less than 100%, if the sharpening looks harsh or shows unnatural halos)
    2) apply the unsharp mask filter (live or destructive) to the high frequency layer
    3) apply the clarity filter (live or destructive) to the high frequency layer
     
    hope this helps
    stefano
  13. Like
    barninga got a reaction from OneClickAway in adding watermark to images   
  14. Like
    barninga got a reaction from Mamilou in Improving Images with the NIK Collection Vs. Affinity Photo   
    NC modules can be used both as standalone applications or a set of plugins. the way you use them depends on your editing goals and workflow.
    i seldom use them as standalone applications: actually, only when i need to quickly edit an image whose i don't have the raw original file (i's say, images not taken by me).
    in my regular workflow, i always use NC as plugins, as they allow to get results that i cannot reach with AP's native adjustment or live filter layers: i.e. black and white.
    as plugins, they are destructive. so, i usually create a copy of the layer i want to apply them to before calling the plugin itself. and, when possible, i try to apply plugins at the very beginning of my editing work or as the very last step.
    i hope i didn't misunderstand your question.
  15. Like
    barninga got a reaction from shojtsy in text along path in photo   
    it would be usefule to have a text along path feature also in affinity photo. see https://forum.affinity.serif.com/index.php?/topic/15865-how-to-write-text-along-a-curve/?p=72069
  16. Like
    barninga got a reaction from Mann Artt in text along path in photo   
    it would be usefule to have a text along path feature also in affinity photo. see https://forum.affinity.serif.com/index.php?/topic/15865-how-to-write-text-along-a-curve/?p=72069
  17. Like
    barninga reacted to Gnobelix in Questions sur Affinity Photo   
    Hello Pierre Hurtubise,
    maybe will help the two tutorial´s from James Ritson onward.
    here the link tutorial-1 and tutorial-2
     
    have a nice weekend
    Gnobelix
     
     
  18. Like
    barninga got a reaction from Polygonius in brush and mouse-hotkeys???   
    hi @Polygonius
    [ and ] resize brushes.
    ctrl-opt (ctrl-alt on windows) + horizontal drag resize brushes
    ctrl-opt (ctl-alt on windows) + vertical drag modifies the hardness
  19. Like
    barninga got a reaction from John Rostron in nik hdr efex and AP   
    hi john,
    thank you for your reply. yes, i know i can adjust the colors, also after leaving the tone mapping persona.
  20. Like
    barninga reacted to walt.farrell in AP match white balance to another photo?   
    Interesting. I probably don't understand LUTs, either

    I took one of my photos, adjusted the white balance absurdly wrong, to make the appearance obvious. I then used File->Export LUT... to export a .look file.
    I then reopened the original image, added a LUT Adjustment layer, and imported the .look file.
    Visually the two files appear identical to me, or at least close enough that I cannot identify a difference. However, the histograms are significantly different.
    (1) The histogram of all channels shows differences primarily in the shadows region, but a bit up to the lower midtones.
    (2) The histogram for the red channel has major differences from shadows to highlights.
    (3) For the green channel the histogram differences are primarily in the shadows, but extend up a bit toward midtones.
    (4) For the blue channel the differences are similar to the green channel.
    I'm not quite sure what any of that truly indicates, but it was an interesting experiment.
  21. Like
    barninga got a reaction from kenp in raw files   
    it does make sense. however, the abilty to copy all of the raw adjustments to a single preset (instead of one present for each group of controls) would be a very useful enhancement, because it would allow to paste all the adjustments to any other loaded image with just one click.
    it's not about managing digital assets, but rather speeding up the development process when you have a bunch of photos taken in the same environment (same iso, same light, etc) - which happens most of the times.
  22. Like
    barninga got a reaction from Cealcrest in adding watermark to images   
  23. Like
    barninga got a reaction from Ron_S in Out of Focus Photo   
    you can try the clarity filter or/and the unsharp mask filter.
    instead of applying the filters on the whole image data, you could first apply the frequency separation filter, balancing the radius so that the high frequency layer holds most of the detail information but non or almost none colour information. this avoids to apply the sharpening filters also to the colour information and possibly raise up some chrominance noise.
    from this point on, you select the haigh frequency layer and apply the sharpening filters only to this layer. you can, for example:
     
    1) simply duplicate the high frequency layer (possibly setting the opacity of the duplicate to less than 100%, if the sharpening looks harsh or shows unnatural halos)
    2) apply the unsharp mask filter (live or destructive) to the high frequency layer
    3) apply the clarity filter (live or destructive) to the high frequency layer
     
    hope this helps
    stefano
  24. Like
    barninga got a reaction from Wilco in "Find in Layers Panel"   
    quote :-)
  25. Like
    barninga got a reaction from Leigh in (nik) plugins - weird problem with ap 1.5.1 [SOLVED]   
    i got the answer from MEB (thank you) in the bugs forum.
     
    an hdr image has a 32 bit colour depth, so nik plugins (except the hdr plugin) cannot handle it.
    this problem is easily solved converting the image to 16 bit or 8 bit (Document => Colour Format): after this, the plugins are selectable and work as expected.
     
    since the colour format conversion is destructive, as it happens at document level (not layer level), it can be useful to take a snapshot of the image just before converting it. this way, one can go on with their editing and use the plugins, and also keep the last 32 bit version for later use, if needed.
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