Jump to content


  • Content count

  • Joined

  • Last visited

1 Follower

About LenC

  • Rank

Profile Information

  • Gender
    Not Telling
  • Location
  • Interests

Recent Profile Visitors

261 profile views
  1. Tried to upload files, queue kept stopping. I got all 11 prestitching originals up, plus a couple of screen shots on upload status from Dropbox. Flattened the three 60-MB stitched afphotos to 20-MB jpegs, but the Dropbox screen would get to 40% uploaded and quit. I can try halving the linear dimensions tomorrow or try to upload the files through the forum. You can try stitching these yourselves or wait for a second try. Here's what I was intending to post with the files: I have placed the following image files in your Dropbox location: Original 11 unstitched files labeled L1.jpg to L5.jpg (lower row) and U1.jpg to U6.jpg (upper row), Stitched images from lower, upper, and both groups of originals [failed on 9/25/18] S1 AP-stitched lower group.afphoto/ or jpg S2 AP-stitched upper group.afphoto S3 AP-stitched both groups.afphoto Discussion All stitched files show rotation of horizontal lines and mismatch of details near the horizon. (Horizontal lines and a straight sea-sky horizon are clearest in the leftmost two original images.) The S1 lower row contains shoreline features below the horizon, and the S2 upper group contains sky with clouds above the horizon. It appears that there is more rotation in the group with sky and clouds. If this is not clear enough I will try to take another series with a clearer horizon, but I do not have immediate access to such a scene. I attempted to explore an alternative stitching app by downloading Hugin.app from hugin.sourceforge.net. This is free and open source and is complex, and is also aware of projection, rotation and alignment issues. One stitching using default parameters gave an image that was superior in places to the above but not excellent. An attempted repeat led to a dead end that I attribute to not so great documentation of the user interface. If I make progress with this I will add a note to the thread.
  2. I have been trying to make a panorama from a group of pictures shot together that contain a sea-sky straight line horizon. Modifying the source masks as in the video "Tricky Panoramas" has not been helpful, and I realized (and demonstrated) that many individual pictures are rotated, and by different degrees depending on which other pictures they are stitched with. So: Does anyone have a workaround for this situation? Or a third-party stitcher that does not behave this way? Or should we ask Serif to add a feature to address this need? (True, not all my horizons are perfect, but I checked them.)
  3. If anyone is still interested, or may come on the topic in the future, the answer to the question of how to create a gray-scale pixel layer from the current RGB image in order to blend it using some special blend mode, such as Luminosity, is as follows. Open an RGB image. Choose the channel to convert from the Composite channels in the Channels panel (e.g., Composite Red). These have the eye and pencil icons on the right. Right click on the channel of the same color among the channels listed with the original image's name (e.g., Background Red). Choose Create Grayscale Layer. The new layer will appear above the original layer. Adjust the blend mode. Incidentally, the preceding post's reference to PP5 should include Chapter 8 as well as 10.
  4. Thanks, I'll try that. But without returning to the panel to experiment, it seems that turning off the visibility of all the channels ought to return the display to whatever is dictated by the selections and check marks of the layers. Did Help tell you that you needed to restore visibility?
  5. AP looks like it is working, and many click commands work, but things like displayed information or option windows are not quite right. Over a day or two it slowly gets worse, until I remember that this happened before and restart the program, with or without rebooting the computer. This has happened at least a dozen times since I first got the program in 2015 or 2016. I’ll explain how this happened recently below, but my question is: Do Serif know why this happens? Could they implement a yellow light suggesting save and restart? If no solution is in hand, is the best remedy a frequent restart, or is a reboot also necessary? (The latter undesired since it’s slow until I get an SSD.) A few days ago I was trying to learn how the PS Apply Image command works in AP. (It is a basic part of the Dan Margulis PS workflow, which I am studying.) There are differences in software and UI design, so the fact that I was not able to do what was expected in PS did not register as malfunction. I was having trouble satisfying the windows source and destination preconditions so that the Apply button was grayed out. Eventually it came on but it did not do what I wanted so I pursued trying to understand better the Channels panel commands. Working with a simple RGB file, I was trying to create a gray-scale layer copy of one of the RGB channels in order to Luminosity blend with the original image to darken the sky. This was new work to me, so I probably clicked some odd commands along the way. Anyway, the displayed image turned BW, and nothing I could do would make it turn back to displaying color except to close without saving and reopen the image. I repeated this quite a few times with variations, and a variety of bad behavior ensued: repeat of the persistent BW display; after I created a BW layer, its histogram showed both one channel and RGB; the same BW layer showed RGB channels in the panel; overall checkerboard display and more. Restarting AP restored expected behavior: by then I was able to create from the red channel a BW layer; Luminosity blend it with the image, which darkened; and the display remained full color. I had not tried to use Apply Image before, so the problem is more general than that one module. My system is in my signature.
  6. The Apply Image procedure that I am trying to reproduce in AP is described for PS in a video labeled "Chapter 04. The Apply Image Command" on the page http://www.moderncolorworkflow.com/private-resources and described in detail in Professional Photoshop (5th ed.) in Chapter 10, "Every File Has Ten Channels."
  7. Thanks, firstdefence and toltec, for your suggestions. I will review these tutorials and if they answer my questions I will post something more specific in this thread (may take a while). If @MEB is about, he answered a channels question a while back quite incisively. Sorry for slow reply - I had notification on and thought I would get emails, but I had not realized there were so many options.
  8. This is long – my questions start in the third big paragraph. After spending a couple of years trying to learn how to improve my photos in AP, I think I see some light along the difficult path in the form of Dan Margulis’s Professional Photoshop (5th ed.) and his other books.* His approach to color correction involves understanding human perception, color spaces, image processing algorithms, and means of rendering images in print and on screen. It should translate well to other image processing programs such as AP. I find his approach so persuasive that if I had the time I would get PS to pursue it. Right now, I need some help applying some basics to AP. Two fundamental tools that Margulis discusses at length are curves and channel mixing. He gives many examples of color correction with curves in RGB, CMYK, and LAB that are easy to learn from. A minor issue is that he displays curves with dark on the right, whereas AP only shows dark on the left. These can be compared by mentally or physically rotating the curves 180 degrees. PS has a one-click control to flip them. Channel mixing does not translate so well. The fundamental Margulis maneuver in PS is to choose a channel in RGB (e.g., the most contrasty), use the Apply Image command to create a BW layer from that channel above the image layer, and then use Luminosity blend mode to increase the contrast. Creating this layer from existing channels seems to involve only a couple of steps. But this does not work in AP, which seems to be set up only to blend two layers, not create a separate one. Also I can select a source layer but I don’t understand how I select the destination (the pixel layer I created to receive the channel). This has got to be trivial but reading Apply Image help does not seem to help. “Apply” button grays and becomes active in a way I have not figured out. Also it appears that the equations operate in only one color space, while PS allows blending cyan with RGB. Can someone help me see if my task can be done in AP? It’s got to be simple. And why are the Composite channels more functional (show, edit) than those of the other layers? Although it goes beyond my immediate inquiry, it could be an important influence on the evolution of AP if, among those AP and PS users who are aware of Margulis’s work, there is enough interest to justify developing better user interface elements. (I already have a couple of ideas.) Many advanced retouchers are very enthusiastic about his writing (see reviews of his books on Amazon). Margulis and co-workers have also automated some of his more complex approaches using PS script actions, available through a freely distributed panel. This appears considerably more capable than the AP macros. * Professional Photoshop: The Classic Guide to Color Correction (5th ed., 2006); Photoshop LAB Color The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace (2nd ed., 2015); Modern Photoshop Color Workflow: The Quartertone Quandary, the PPW, and Other Ideas for Speedy Image Enhancement (2013). Somewhat pricey, but good value. I bought second-hand copies of the first book and the first edition of the second. One lacked the CD. I have not read the third, but there is plentiful information available online, including videos for most chapters.
  9. Simon, apologies for no reply. Must have turned off my notifications. Too busy in interim to draft anything. To Simon and anyone else still following this thread: I have been looking over two books by Dan Margulis, Professional Photoshop (2006) and Photoshop LAB Color (2005). I bought inexpensive second-hand copies; one even came with the CD! These are the first books I have encountered in the image processing world that talk convincingly about why you would want to do various manipulations and that provide printed examples that show the differences in results and the curves or other techniques needed to get there. Furthermore, if you work to follow him, you will learn to develop your vision in several dimensions. His ideas can mostly be applied directly in Affinity Photo. However, his work has some limitations. Working in high-end letterpress since before Photoshop was created, he mostly likes to deal with an image and the process of making it into something that can be printed, i.e., he is concerned primarily with color quality and sharpness. He prefers global techniques to masking. He is mostly talking to experienced, regular, relatively advanced users of Photoshop, so he will only intermittently be directly useful to a newcomer. However, the second book, on the LAB color space, turns out to have several introductory chapters written for relative beginners that show that this seemingly advanced technology is actually quite easy to use for color correction and sharpening. Perhaps someone will be able to use him as a sort of model for an introductory work. Not everyone likes his writing style, but he is generally very clear, and has obviously put great effort into his study and teaching. There's more about him online, including articles old and new: some links in this thread: https://forum.affinity.serif.com/index.php?/topic/22011--/&/topic/22011-learn-lab/?p=103168
  10. @AnnH I think you will find the discussion at the link below useful. It has references to many free materials, video and text, and others, with some suggestions, e.g.: start small, practice much. https://forum.affinity.serif.com/index.php?/topic/53381-how-to-start-in-affinity/
  11. It seems there should be a way to communicate directly, but I don't know how. I don't want to post a long piece here before editing it for coherence. I'm still short of an outline. Let's look into direct messaging via this forum, or you can use the email in my earlier post. Or I may have a piece worth posting in a week if other responsibilities don't prevent. I'm working my way through Simon's new course and may look at his earlier ones after the Foundations one. One thing I have found by looking at video tutorials by different people (I think the Affinity series is all by James Ritson) that they often do a similar task in rather different ways. Also I have looked at Photoshop books and Adobe help since the basic mathematical operations are the same even though details differ. Only one I found has the deep and broad perspective to be useful for Affinity; that is by Margulis, but though interesting to read it is at, at least, journeyman level and I am still mired in apprentice level after a couple of years reading and viewing tutorials. Practicing more would help, I know.
  12. Simon, I have been thinking about how to learn image editing software since I started using AP in the initial release. I completed your Solid Foundations but continue to be frustrated by a lack of materials that fit my learning style. Your recent YouTube video on patching the big frame image gave me some ideas that I would like to share (not now in final text form, may take a few days since it could reach several pages). If you would like to contact me directly, you can use lcorwin34 {at} gmail.com; if not I will probably post to this forum. I bought the new course at the site discount but have not yet explored it.
  13. Just added this so I get mail if there is an answer.
  14. My images in Photos/exported PDFs are all pre-HEIC. Does this mean that one should not install High Sierra until Serif deals with this, or can old and new coexist? Please say more.
  15. On Quick Inpainting Crooked Horizons, this is useful but refers to tilted horizons. I have some truly crooked horizons from wobbly iPhone pans, and if there is a solution for those that doesn't involve hours of nudging I would be interested. On Using Adjustment Layers on Masks, I'll save this for when I understand more, but for right now, what do you mean by 'to matte' in this context? ('Brush over the hair to matte it," 'hair is a little thin from the matting.') Not a paperboard border, not a non-specular surface, ... ? @James Ritson