toyotadesigner

Thanks evtonic3! I already set the jitter to 95% and the curve like yours. However, the intensity is still far away from what I achieve with Sketchbook or PhotoLine. I guess I'll have to wait a bit longer for a solution (full native support of the Wacom tablets).

Of course I have selected pressure turned on. The effect is marginal, incomparable to Sketchbook.

Another test with even more colors, critical shadow and highlight areas. Original size 6030 x 4030 pixel. Cropped to 2:1, converted color profile from ECI RGB to sRGB, resized to 1500 x 1000 pixel using Lanczos as mentioned above. Then exported with the same settings as above. Very fine details in the jpeg.

Export with resize from 6030 x 4030 pixel to 1500 x 1000 pixel, lots of colored edges in the chrome reflections, no distortion or artifacts

Maybe you can try to apply a watermark without resizing the image first, and then just export with these settings. If you resize first with these settings and then export again with the identical settings I could imagine that applying two times the Lanczos algorithm might lead to unpredictable results. Unfortunately there is no option to just save a resized image as a jpeg, png or tiff - you always have to apply a certain algorithm.

Using these export settings I get phenomenal results without applying any unsharp masking: Original file from a digital camera with a size of 6030 x 4030 pixel @ 48bit @ 300ppi: Original file is a scanned large format negative with a size of 12.900 x 8.600 pixel @48bit @ 4.000ppi: Note that the software mentioned in the Exif is not AP - currently I use AP only for specific tasks. I just opened these files with AP and exported them to generate jpeg files The file size is identical to the jpeg files I am generating with another app.

I don't have the problem with the lag, but with the 100% pressure, which is always on. No soft touch or lines, just 100% color. AP and AD simply lack the pen pressure interpretation in my opinion, no matter how I configure the Wacom and Pen. Drawing in other apps like Sketchbook is smooth as silk. All this on an old 2008 iMac with just 6 GB RAM ;)

When I want to use the Clone Brush Tool with a pen the pressure doesn't have any effect, that means it always paints 100% of the source. No chance to paint a faint brush with slight pressure of the pen. Do you have any solutions for this bug? Or is it a feature? I need this for retouching architectural images...

Oooops - my mistake: I meant 420 mm x 279,98 mm, but selected 'cm' - holy moly, no wonder AP will hang with these settings. My apologies!

Loaded an image 5.981 x 3.987 px @ 300 dpi with embedded color profile ECI RGB v2. Modified 'Curves'. 'Convert ICC profile' to sRGB. Want to 'Resize Document' to 420 x 279,98 cm to match print size in Scribus with settings '300 dpi', resample 'Lanczos 3 (non separable)' with 'Resample' checked. After a while, beach ball starts spinning. After 4 minutes -> Force Quit -> Affinity Photo (not responding). Killed application. Repeated this procedure with different images with AP 1.4 beta 4 as well as with AP 1.4 MAS. Report is sent to apple. Can you fix it?

What about duplicating the layer, dodge and burn, and then modify the opacity? Or make a selection -> new layer -> paste selection -> dodge and burn?

Thank you very much!

What is D&B? Dun & Breadstreet? I hate abbreviations, because they render the search functions in forums totally useless...

What exactly does this button do: I can not find anything in the Help about this.

Is there any chance that you can integrate the Lens Correction tool from Develop Persona in Photo Persona? I am using a lot more scanned images than digital images and would like to be able to apply a lens correction in Photo Persona, because I can't open TIFF files in Develop Persona. What I mean is this tool:

I'd like to see some very basic features as follows: 01. Export dialog: If you would add a 'Convert ICC Profile' it would speed up the export process considerably. Currently I have to convert the color space, then export the file, which is kind of tedious. I'm working with the Prophoto 65 color space with my digital camera and ECI V2 with my scanned images, but I need sRGB for small jpeg files. 02. Remember the settings of i.e. the grid size 03. An option to change the color of the grid -> the grid is hardly visible on white objects -> a real problem in architecture photography See example below: This is a screenshot of my 24" iMac. I really don't want to imagine how this would look on a 27" iMac with a Retina Display... 04. A finer overlay grid with 10 units in the curves dialog, and a curves dialog window which I can resize for higher precision 05. Move the grid settings and grid color to the Preferences pane so they will be persistant Do you see any chance to implement these features?

How can I force AP to remember my settings i.e. for the grid size?

Hi MEB, I've added the PTLens plug-in as you have illustrated, but it doesn't work at all. I could run PTLens in PS (which I have abandoned long time ago) and PhotoLine (16bit image editor). PTLens shows up in the plugin folder with the status 'unknown'. Do you have any trick to turn it useable in AP?

Thank you very much for the information about the mit-2007 iMac! I'm running El Capitan on my 2008 iMac with 6 GB RAM and was afraid that AP would run too slow. Purchased it last night and - yes - it even runs great when working on my 650 MB scanned large fromat files. Very impressive. Now I wish I could use the PTLens plugin...

I vote for the first versions of the logos. The effort to 'flatten' the icons to follow a dubious trend is a waste of time. The world isn't flat either. For me it's like falling back into the times of black and white photography. Nice stuff, great for the first steps, but it lacks the color of life.

Congratulations to the Affinity Team and Serif! You really deserve this award. For a very long time Designer is the first creative, fresh and savvy approach to a new software era. You are definitely the leader of the next generation graphics and image editing for Mac OS.

I forgot to mention where to place the binary: /bin Then start Terminal and issue the command ~/dcraw -v -4 -T (drag your RAW file from a folder right here behind the space) and it will process your file and place the linear 16bit TIFF into the same folder of the original RAW file. If it is too dark or too light, the head behind the camera made a mistake.

You know that ACR is limited to 15bit, whereas AP and others work with 16bit? The problem and the different result is located in ACR. Run the same image through DCRaw and you know where the problem is. More info about DCRaw, the code to be compiled on your Mac: https://www.cybercom.net/~dcoffin/dcraw/ Download the binary for Mac OS X: https://sites.google.com/site/manuelllorens/

These are highlight color patches from an IT8.7 calibration target with correct exposure (based on white = 100% or 255 255 255 RGB): These are highlight color patches from an IT8.7 calibration target with incorrect exposure (white is ~3% above 100% white or 255 255 255 RGB): Now use your curve tool for both samples to recover the image. Which one will pass your test?

If several of your images feature blown highlights, you should train how to expose your images correctly. Or get a Sekonic and learn how to use a hand held light meter. If you use DCRaw which processes the image without any modification, you will see how much your images are off. That's the drawback of digital. If there is no color value, no software on earth can adjust anything. 100% white or 255 255 255 RGB contains nothing. How can any technology modify something that doesn't exist? It's simple as that.