MikeM481027

Yes, the problem of illuminating the foreground when the light is behind it is a familiar problem for me. When I return home and can do some more fiddling with the alignments (I am working across, L to R, and am about one third there), then I shall return to the tone/contrast issue. I used to be an accountant, once upon a time, so I know all about work-in-progress, Thanks for your advice!

The new stack idea had occurred to me as a (visible) alternative to new HDR stack. I hadn't at that stage got to the stacking parameters. Only saw them last night, and the furrows in my scalp are still bleeding. Away on a new project for a few days, so will try and fit in some remedial reading. So thanks, and maybe "L8R"

Thanks, yes, I am still finding my way with Photo 2... the distortion to compensate for the slight differences of camera position has been absorbing me more than the fine tonal tuning. I'm annoyed with myself for my inability, too, to discover how one influences the stacking order in Photo 2's HDR stacking.

One of those stupid stories ... went on a trip to the fantastic city of Mantova (Mantua in English) with all the gear ... except for the arca-swiss plate with which to stand the camera on the tripod that I had brought with me. As it would have been a three-hour drive home to collect it, and another three back, I extemporised the makings of a multi-shot composite as best I could, hand held. These are "Light.jpg" and "Postcard.jpg", both cropped to put the far shore of the lake on the lower thirds line. And managed to get two frames that don't exactly overlap the way they ought had I been able to use the tripod. It's hard to change your settings just by touch. Thankfully, a live perspective has saved my image, or will have when I put the finishing touches. When I tried using Photo 2's stack with live perspective layers, I could change the blend mode to "Difference" and see the area that didn't overlap, but couldn't work out how to re-align all the elements after I had corrected the most obvious mis-match. I did think about using the Blend Option control (which I am still learning; at least, I think still learning), but ended up releasing both layers from the stack and applying the live perspective distortion only to the Light layer. Jiggling that around gave me a reasonable overlap that you can see below, and then it was easy-peasy to delete the sky and water from the overexposed Light, and apply some vibrance and saturation to the darker layer. C&C welcome Cheers MM

Can I add my voice to the chorus of "Yes, Please"! This is by some distance the most annoying gap in Affinity Photo's armoury.

Hi I would like this feature addressed in preferences. Why? Because this user would like to configure a base folder below which I could look for RAW files to open, and a base folder below which I could find or create a directory into which to export the output. I don't understand why anyone would want to put the photos s/he has developed into the same directory as the original RAW. But I wouldn't want to stop them .

Alternatively, what about crowdfunding a purchase by the users of the products you have mentioned? With a view to granting some kind of a GNU license to Serif, Silkypix, Phase 1, DxO et al (we would of course, insist on Adobe buying a monthly subscription :LOL:) providing they did not charge their users for the right to use the plugins?