user_0815

Total disagree here. It's the only good mouse out here. (Except the charging port at the bottom.)

Depending how precise you need it, I would overlap the two and click "add". This will "weld" them together. weld.mp4

Perhaps it would be easier to think the other way around. Instead of "removing" pink or yellow, how about applying the exact skin tone, which augustya wants. That would be the following steps: First, de-select the layer. Then 1. Pick the skin tone that you want with the color picker 2. Add a fill layer. This should now be the wanted skin colour. 3. Set this fill layer to blend mode "hue". 4. Mask this layer to only the areas that you need. You can adjust the skin colour any time by clicking on the fill layer (with the move-tool) and change the hue via the colours panel. skin tone.mp4

Not „better“ but a different approach. I use the HSL adjustment if it’s not too far off. I open the scopes panel and check for the skin tone axis. Then, in the HSL panel I sample the skin tone from the face and move the hue left or right to get the skin tone better on that axis. An alternative is selective Color. There Go to the red (which is the closest to Skin colour) and reduce the yellow contribution.

Well, I must admit, I don't get this working either. Settings back and forth, without using the layers panel, I can't manage to select and/or move that lobster. It seems to be an imported file or content with non-ideal arrangement of those layers and curves. For the way I personally work, this wouldn't be an issue as it works as expected. But Iztok seems to have a hard time getting around his long-established habits. Before it works the way Iztok wants it, the Layers need to be re-arranged. 1. Make Rak 2 Image a Group. 2. Move that group into the "vodna meta Image" Layer. There seems to be a confusion about Layers and Groups. Layers ≠ Groups Lobster.mp4

Yes, the Live Luminosity Range Mask ist what comes to my mind as well. You can also manually mask out more areas when painting black on it, and bring it back again with white. mask.mp4

ApolloOne Very fast and easy to use. Great app that integrates with finder metadata and can also read xmp sidecars (ratings). The good thing is, it moves all sidecar files automatically if you move the image file. Including dop files from DXO. The Apple Photos app can browse the file system? I thought it can only handle its own libraries.

I'd say it depends on how precise you need it. I'd use the pen tool. It's probably the fastest way. When I work with the pen tool in this kind, I do two passes. First I set the points (which leaves straight lines all around) and in a second pass I "bend" the curves with the node tool. pen.mp4

Just tried it and the thing is to first "deselect" the selection (marching ants) before moving. It should be on a new layer to get a pixel-precise scaling. 1. Make selection 2. Copy (or cut or duplcate cmd/ctrl J) 3. Deselect (cmd/ctrl D) Now you can scale more precisely. In some cases the edge pixels get partly transparent but I don't know how to get around that. Usually I don't work on this kind of pixel level, so there might be a better way of doing this. Pixel.mp4

Thanks, I'll try.

Afaik it doesn't search auto-generated sample text (which also can't be edited or so...). Try with written or pasted text.

If you have a lot of text to edit, then the best way would be to switch to Publisher and do the replacements there. In the "File" menu click "Edit in Affinity Publisher". After that, you can switch back to Photo in the same way (File > Edit in Affinity Photo).

How can I save these tiles as pdf on a PC? When I try "Print to file" there is only PRN as file type available.

In diesen Beispielen ist auch der Hintergrund betroffen. Bisher hatte ich dieses Problem noch nie, weder fürs Web noch für die Druckerei. Fürs Web das jpeg/png immer als sRGB exportieren. Im Export Dialog sRGB auswählen und einbetten. Was du dann bekommst wird dann genau so im Web wiedergegeben. Das ist zumindest meine Erfahrung für Drucksachen lege ich das Dokument schon in cmyk an, auch schon mit dem Farbprofil, das die Druckerei möchte. Daraus kann man auch problemlos fürs Web als sRGB exportieren.

If it clones or inpaints from an unexpected area check whether there is a mesh wrap, perspective or liquify layer below somewhere. 😁 These can cause an offset.

I don't know how or if the polygonal selection tool can do that. Usually I use the pen tool to make selections as I find this the most convenient way. The only thing to keep in mind is to have the stroke width to 0 (none), otherwise the stroke will be included in the selection. polygon selection.mp4

As dominik says, there is a similar approach. Instead of using the eyedropper, use an info-point to measure your whitest point (or black point). Then drag the sliders until the R G and B values are equal (255 for white and 0 for black). color cast.mp4

Yes, but... what if I want to apply the adjustments to more than one pixel layer? (Classic usecase: nondestructive retouching by adding fill- or pixel layers for cloning, healing dodge/burn. Then tweaking brighteness, contrast, clarity etc...) I would have to repeat the same adjustments for every layer. Wait, what if I nest all layers in to the first one? Yes, that works. Even the other pixel layers work as if they were stacked on top. As long as the first Pixel layers covers the entire image, there should be no downside. So, instead of a Group (Folder) I can use a non-transparent Pixel layer as a group container. In the End I'd have to mask that top pixel layer in order to see the background. So I might as well slap a mask on a group folder. Thanks, this is probably the most strait forward solution. But still I also like the idea of a pixel layer being it's own group container.

Hi, I need some ideas organising adjustment layers when using groups in complex documents. Recently I wanted to group several adjustment layers in a group, but by doing that, those adjustments were applied to all other groups below, which was unexpected. Roughly like this: Group 1 "Subject": - HSL - Curves - Pixel Layer 1 - Pixel Layer 2 Group 2 "Background": - Pixel Layer 3 - more layers... The HLS and Curves layers are applied only to the Pixel layers 1 and 2 but not Group 2. Now if I put HSL and Curves in a group, they will also apply to Group 2. I did not expect that, although it might make sense in some cases. However, is there a way to group the adjustment layers but still have them only apply inside Group 1 but not Group2? At times there can be lots of layers and it would be good to have a way to keep it well organised and tidy. Any recommendations?

I'ts always meh if a often used feature is missing or works in a different way. I had to adjust my habits when moving from Aperture to Capture One. But in the end it works out finde, just in a different way. There is a much easier way to set the black/mid/white points than in the video linked in the op. That's what levels is actually for. Move the black/mid/white slider to where you need them. If you reqire to set it accurately to 0% 50% and 100% then use the Info-Panel and set a crosshair to that particular area to see the exact measurement. 1. From the Info panel, set a crosshair which displays the brightnes either in rgb or HSL whatever you prefer 2. Move the midtone slider until you get 50% For the black and white points you can also hold the alt/opt key while moving the black or white slider. It will show you the areas, that will be black (0%) or white (100%). set-midpoint.mp4 hold-alt.mp4

The way I do it: 1. Make the curve with the pen tool 2. With the pen tool still active, click on "Mask" in the top left of the context tool bar. Curve Mask.mp4

I'd use a live-luminosity mask. Opt-Click (mac alt-click) on the mask icon. You can add a additional regular mask to mask out areas that still show through, just in case. lightingbugs.mp4

In the op's first example, the crescent isn't square to the center of rotation. You can adjust the angle by moving the center of rotation as long as the Move/Duplicate dialog is still open. Bildschirmaufnahme 2024-07-10 um 16.36.06.mp4

Seems like the white balance is quite off in Photo. Idk why. Set it to 5500k (daylight) and 0% on the green/magenta slider and it looks ok.

Yes, this makes sense. I have also experienced missing live (non-destructive) filters although they were available as regular (destructive) filters. For example zoom-blur.