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  1. If I'm not mistaken, drag the B&W adjustment on to the label of the Background layer. Then you can collapse it into one single row (see the little arrow on the left side on the bottom image). Whether a new adjustment layer (like the B&W) will be added on top or as child-layer can be defined in the Assistant settings. The assistant is in the tool bar.
  2. For such cases I usually make a Fill Layer (or pixel layer) in the colour which the object should be. Set it to "colour" and it will take on that colour. In this particular case, the the brighter candle already has the exact hue as the darker cylindrical candle. The difference is in brightness and contrast. IMHO whith the levels adjustment, I would adjust the dark, mid and highlights until it matches the "look" of the other candle. Set it in "Luminosity" blend mode and fine-tune the saturation with an HSL layer.
  3. In Photo it can be done as in most other apps. But as Conrad Hoffman says, the green-magenta slider doesn't move when using the picker. In that case, place an info-point on a neutral area and adjust to equal R G and B values (in the screenshot that is RGB 211). Keep in mind, not every colour correction is white balance. In most cases there is colour contamination where light bounces off objects and mixes in (or other non-neutral light sources). That means, a neutral grey/white reference needs to be free of such in order for the WB-picker to give accurate results. In your first example, you'll need to know whether the paper is pure white or not. In my experience the auto-Levels works good to get a neutral looking image. (In the top tool bar.) For nasty colour-casts I still prefer the fill layer in Divide blend mode. If it needs to be super detailed, colour balance or selective colour are the tools of choice.
  4. Two different methods come to mind. 1. Use the levels to lift the underexposed background up. Pull the slider from the highlights side down. I would make a rough selection of the background first because it can over-brighten the subject rather quickly. Paint back any missing shadow or smoothen the transition with the mask. 2. Use divide to remove the background tone. Select the colour of the background, add a fill layer (it will have the selected olour) and set it to "Divide". Here too, you can paint back any shadow or detail you need. Method 2 works best if the subject is underexposed in the same way as the background. Otherwise you'll need to edit both independently. Levels.mov Divide Fill Layer.mov
  5. The preview is a useful feature but can get in the way. I searched for an on/off toggle when exporting several large prints in Designer with different ardboards. On export, the dropdown to select the artboard does not respond for a few seconds due to beachballing for the preview. (MBP M1 Max 64GB)
  6. I also use this tool sometimes. Being able to select multiple colours in one go would be useful indeed. For adjusting certain colours (brightness, hue, saturation) I use the hsl adjustment. It can target several colour ranges at once. But it depends on what needs to be done. Out of curiosity, what is your use-case for these selections?
  7. Perhaps because that rectangle is a path but not a shape? Placing the rays inside a path would be what we see in the second image. for ease of use I‘d use a separate rectangle shape as a mask for the rays (group them). Let it snap to the rectangle where you want it to cut off. IMHO that’s an easy and precise way.
  8. Sometimes these are also a bit confusing. However, the way it works (I think) is that you can only "add" outside a curve (but not on top) regardless color or transparency. In your case, use a donut for the outer ring and it will work. An ellipsis is considered an entire (closed) area, even if you only use/see the outline and also after it is converted to a curve. In opposite, the inner part of a donut is not considered as part of the shape/curve. When using an ellipsis, there is also a button to "convert to donut".
  9. For 2. you can use the X key to toggle background/foreground while using the picker. It will apply the colour to whatever you toggle to. For 3. press the "alt" key. Now click-and-drag to pick a color.
  10. Vielleicht liegt es an den Bildfarbräumen. Prüf mal das Exportergebnis wenn das Kästchen „Farbräume umwandeln“ aktiviert ist. Ich vermute dass das Hintergrundbild einen anderen Farbraum hat als das Profil im Export.
  11. This is an issue I also have with placed images. Usually I put white rectangles where the borders show up. Not very elegant but I haven’t found a better solution.
  12. I'm using an M1 max and 1.10.4 as well. Photo works fine here except under one condition where I get this kind of beach ball. It is when I have an open document with a placed document inside, which is linked (not embedded) AND that linked document is open at the same time. (In other words: A document that contains a linked document which is also open in a separate tab.) Just a guess, but I think it tries to constantly save changes, which uses up the cpu. When I close the linked file, there is no more beach ball.
  13. I'm having a similar question. There are lines around placed images in a larger Photo file. They also show up on export. Is there a way to avoid it?
  14. It's important to turn off the default tone curve in the assistant. This will preserve shadows and highlights at the extremes (but also reduce contrast wich you can add back later). I've recorded the basic steps in this video. Of course, also try the brightness and saturation sliders etc... But at the raw stage I usually just bring my values in the ball park (avoid clipping) and do the details later. duckyduck.mov
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