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Everything posted by h_d

  1. Hi, If you zoom in on the darker areas of the image there's a lot of luminance noise: green and red speckles, for want of a better word, One of official Affinity tutorial videos shows a method of toning this down by converting the original to LAB colour and blurring the two colour channels. The relevant section of the video starts at around 6 minutes 30 seconds in. It's a fairly advanced technique, but I think when combined with a curves adjustment it can improve the (already amazing) image when viewed at full size.
  2. Google 'free LUTs'. I got mine from https://www.rocketstock.com/free-after-effects-templates/35-free-luts-for-color-grading-videos/
  3. As I understand it, it doesn't matter where you put your LUT files, as Affinity Photo looks for them wherever you tell it you have kept them. (This is on a Mac, but I've no reason to suppose it works differently on a PC.) For example, you have a folder full of LUTs, somewhere (anywhere) on your computer. With an file open in the Photo persona, you add an LUT adjustment layer: You click Load LUT... Navigate to the folder where you're keeping your LUTs: Select the one you want to use... And it will be applied to the image, with its name in the LUT Adjustment panel, as above. You can save it as a preset by clicking Add Preset, and then re-use it from the selection of presets in the Adjustments pane, which I've dragged out and made a bit larger to display it clearly: : But as far as I can see, it doesn't matter where you keep the LUTs. The downside is that this means adding each LUT and creating presets one at a time. The upside (on a Mac at least) is that it doesn't seem to matter if you move the folder full of LUTs after you've created the presets. Hope this helps.
  4. Hi Silvia - exactly the same thing happens with me. But try it while displaying the History panel. When you press Del, the history skips back to the previous step rather than deleting the selection. To get round it, you can press Fn-Delete instead. This is very inconsistent programming - as you say, deleting a selection created with the rectangular marquee tool works as you would expect.
  5. In many cases (at least on my machine and AP 1.6.7), you can't enter decimal increments manually, let alone using the arrow keys. Type in "82.3" or "56.8" (for example) in a percentage field and then press Enter, and the figure is immediately rounded down or up to the nearest whole number. In these cases, using alt/option + up or down arrow simply bounces the cursor from one end of the input field to the other.
  6. It seems to be a bit hit and miss. For example in my HSL adjustment dialog, Alt/Option + Up or Down arrow works for Hue Shift, but not for any of the other settings. (Shift on its own works fine for all four).
  7. On macOS you'd need to change the system shortcuts, as by default ctrl+[up arrow] invokes Mission Control and ctrl+[down arrow] displays application windows.
  8. Here's one way: Open the image, then duplicate the 'Background' layer. Uncheck the lower background layer in the stack to make it invisible. This keeps a copy of the original just in case, as the following two steps are destructive. Make sure the top layer is selected, then pull down the Filters menu and choose Detect --- Detect Edges: Now pull down the Layer menu and choose Invert: Now add a Black and White adjustment layer and play with the settings until you're happy: Final result: I'm sure there are lots of other ways...
  9. For what it's worth, if I run Color Efex Pro 4 as a standalone application, the text size is the same as when it's run as a plugin within Affinity Photo. And I can't see any way of changing text size in Color Efex. So it seems to be down to the Nik collection, not Affinity itself.
  10. They are, and more! (I've pulled out the panels to display them in full - you may need to do a bit of scrolling. (Tones are useful too). This tutorial video is very good as an introduction to the basic processes. And this one goes into a bit more detail.
  11. Looks like Iridient is using the same settings as the camera for its input profile, which I would guess (we're all guessing) means it's applying the same settings as it would if the image was shot .jpg. This is what happens when I switch to "Camera RGB" profile in the Colour Tab in Iridient: My Affinity Photo and RPP are similar to yours. I don't have DxO
  12. Hi, You don't actually lose anything, because the original RAW file does not get changed. You make your initial changes in the Develop personal, then you Develop, then you make any further changes you want to in the Photo Persona, then you export to whatever format you want. Your original RAW file is unchanged. If you try to Save at this point, you will be forced to Save As in Affinity's native .afphoto format. Affinity Photos does not modify the original RAW file - it creates the digital equivalent of a print. Some applications (certainly Mac Photos, Finder and Preview, probably Aperture) apply automatic adjustments (Core Image RAW) to raw images when they display them (for example by applying a tone curve and pre-adjusting exposure). This may make the original RAW image look "better" or "brighter" when you open it with one of these apps. Similarly, if you shot RAW+jpeg, or just jpeg, with a digital camera, the camera software makes automatic adjustments to the jpeg. With Affinity Photo, it's possible to view the original RAW file without any of these automatic adjustments. And a true RAW image can look pretty grungy. (If you want to see a really grungy raw file with no adjustments pre-applied, try an app like Raw Photo Processor - Mac only, very steep learning curve.) But with Affinity Photo, you can (if you want) start at ground level, with a true untouched 'digital negative', and develop it creatively. And if you don't like the result, you can make another 'print' from the RAW 'negative'. There's a really useful (non-Affinity) website which has links to all the Affinity tutorials on Vimeo, grouped by subject. If you haven't already done so, it's well worth taking a look at those that cover RAW development. Hope this helps, and apologies if you already know all this. But to my mind, you don't lose anything - you gain control.
  13. One of James Ritson's excellent tutorial videos explains the difference between clipping and masking. The drag method used to achieve masking (when you get the vertical blue line before you drop the layer) is slightly fiddly, but works well once you get a feel for it.
  14. Hi ajw874 How about this: Original coloured image: Add two black and white adjustment layers, and nest them both inside the Background image layer (make sure you see the blue vertical bar as you drag): For now, close the sliders panels. Invert the upper black and white adjustment layer (Click once on it to select, then go to the Layer menu and choose Invert). You'll see a black area across the thumbnail: Select the area you want to modify using your favourite selection tools: (My selection is very rough and ready, yours will be much better). Fill this selection with white (you'll see the thumbnail change, the image won't at this stage): Deselect if you wish. Double-click on the thumbnail in the upper Black and White adjustment to display the sliders. Drag them to your heart's content: Hope this helps. (Adjustment layers are their own masks, you don't need to create additional mask layers.) H
  15. Changing background colours and tonal ranges seems to have a huge effect on the effects of the dodge and burn brushes. For what it's worth: First image, on a single colour pixel layer, is the dodge brush, from top to bottom: Tonal range: Shadows, Protect Hue on, then Protect Hue off Tonal range: Midtones, Protect Hue on, then Protect Hue off Tonal range: Highlights: Protect Hue on, then Protect Hue off. Comes out like this There are clear differences between the protection settings. Now the same sequence with the burn brush: Again, pretty clear differences except perhaps in the highlights tonal range. Same sequence, dodge brush, different base colour: And with the burn brush: In the two images with the maroon backgrounds, the differences between the protection on/off pairs are practically non-existent - perceptually and by the numbers. But the differences in the next two are quite dramatic (dodge down the left, burn down the right), in the highlights and shadows if not in the midtones: So it depends on all sorts of things: the underlying colours that are being dodged or burned, the tonal range that the tool is working on, probably more. It's all in the algorithms... But maybe try different tonal ranges as well as protect on/off.
  16. Thanks R C-R for explaining better than I did.
  17. Like this... moving rectangle-desktop.m4v
  18. How about: Movable blur.afphoto The original sharp image is at the bottom of the layer stack. A duplicate blurred version is at the top. The blurred image is masked by a rounded rectangle and then locked. Select the rounded rectangle with the Move tool, and drag it around.
  19. Just discovered - View menu -> Reset rotation This straightens the image and brings back the marching ants
  20. ... I think the solution is NOT to accidentally rotate the image with the track pad.
  21. I can confirm the same thing happens to me in Photo too. It appears that the 'marching ants' round the selection are hidden: if you use the selection brush on a rotated image, you don't see the selection border, but when you hit delete... (I've always wanted to be able to hide the selection border in Photo - like you can in another photo editing program - but this isn't what I had in mind...)
  22. You could use an HSL Shift adjustment layer to desaturate the reds, then mask out the garment. This is with a soft toy knitted by my very clever daughter, but the principle is the same. These are the red settings in my HSL shift: Saturation down to -100%, luminosity up to 100% I masked it by selecting the background with the selection brush, tidied the selection with the Refine... button in the Context menu bar, then selected the adjustment layer and filled the selection area (the wooden table) with black. Hope it helps!
  23. Thanks R C-R! I've managed to achieve what I want (effectively an editable vector mask) by drawing curves on separate layers (four in the example below), combining them into one Curves layer using the Geometry - Subtract operation, then converting them to a mask (via the Pen tool context toolbar). I can then use the Node tool to modify the shape of the mask. Here's a very rough and ready example: Adjust the points with the Node tool... So to answer my original question - no, it's not possible to draw multiple curves on a single layer. But Geometry gets me round it, and if I need to add more curves to my mask I can release it and go through the process again. grass_face.afphoto
  24. Thanks firstdefence! Appreciate your help but that doesn't really achieve what I want - which is the situation in my third image, where I have two separate closed curves on the same layer. I'm just trying to find out if it's possible to carry on drawing on the same layer with the pen tool after closing the first curve. Cheers, H
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