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david_s

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Everything posted by david_s

  1. When I'm using Affinity Photo, my main goal is to take a RAW photo from my iOS photo roll and do some processing on it. I don't see any easy way to limit my selection of photos to ones with a raw version and I was wondering if there was an easy way to do that. If not, I think this would be a useful feature to add.
  2. I hadn't seen the term "special 8" before and had instead just personally thought of them as the "extreme" blend modes that could be tempered in a way that wasn't close to mathematically equivalent to performing a linear interpolation between the blended result and the source layer. However, from what I've seen googling that term, it seem that the "hard mix" variable fill amount could be implemented as a "linear light" layer with a variously aggressive levels layer applied to it (with the limit of photoshop-fill being 100 is equivalent to a simple threshold at 128). This means that the same overall result can apparently be created, albeit with a different layer arrangement. So this is a case where the ergonomics for my single (and atypical) use case is less efficient, but the overall consistency of the implementation seems to be better for how you're doing things as opposed to the inconsistency of how photoshop does it. Thanks for the response!
  3. Taking a PSD and importing into Affinity Photo (trial) can result in vastly different visual appearance if the file relies on how "fill" works in Photoshop as opposed to "opacity". In Photoshop-land, fill performs a blend mode-specific modification to the input values or to the blend equation to moderate the effect of the blend mode. This is quite noticeable when using the "hard mix" blend mode which when adjusting fill, in Affinity, seems to linearly interpolate between simply passing through the bottom layer and displaying a full-intensity version of the blend mode. In Photoshop, this seems to instead to modulate the intensity of the blend mode itself, making the burning and dodging effect far more manageable.
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