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sankos

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  1. Yes, you need to assign your monitor's profile to a screenshot, and then preferably convert it to sRGB if you want to share it with others.
  2. Many people (also in this thread) don't seem to realize that the fact that you don't notice a colour management issue depends on many things, including the gamut of your monitor and your perception of colours (and I assume that everybody here calibrate/profile their monitors and use colour-managed programs set up correctly). In order to take the subjectivity out of the equation I suggested testing the Affinity Photo plug-in support with specially prepared files, which should give everybody a visual cue whether the embedded ICC profile is transferred from the host application to the plug-in or not.
  3. Yes, I also reported the plug-in colour management issue when I bought the first version of AP for Windows in Dec. 2016. It's not just the Nik Collection but all the plug-ins that I have (Nik, Topaz, Noiseware, PortraitPro) lose the embedded colour profile when started from Affinity Photo. Those same plug-ins work fine when started from other applications or when using them in the standalone mode. Here's a simple test to see what's happening: Go to this colour-management test page hosted by the author of the profiling program DisplayCal: http://displaycal.net/icc-color-management-test/ Scroll down to Test No. 1 and right-click and save the first jpeg photo (the grey square). Open the jpeg in AP -- it should display a grey square. Non-colour managed programs which disregard the embedded profile show a red square, not grey. Invoke any plug-in that you have and you'll see that the grey square is now red (colour-management test failed).
  4. Currently many raw converters do not only do highlights recovery but also highlights reconstruction. Lightroom does it to some extent, and so does Capture One but the best results I've seen in my files were with PhotoNinja. Free converters like RawTherapee and darktable also offer this capability (and they uniquely allow you to see raw histogram [RT] or raw over/underexposed areas [dt]). I think it's reasonable of me (a paying client) to expect of Affinity that they take note of what competitors do in this respect and learn from them.
  5. Thanks, Mark. Just wanted to make sure. Personally I haven't come across any colour management issues with Photo (other than with plug-ins, which are a mess in this respect at the moment). Two more colour management questions, if you will (sorry for a slight off-topic) -- is it safe to use XYZ LUT monitor profiles with Photo, or would you suggest switching to simpler, matrix profiles? I'm calibrating my monitor with Argyll/DisplayCAL and the LUT profiles which are generated also contain a matrix version, but I was wondering if there might be problems here that you're aware of. I know that FastPictureViewer doesn't like LUT profiles, but other colour-managed applications that I use play fine with them, and it looks like Photo is fine with them, but it's better to ask. Also, are ICC v.4 profiles OK with Photo?
  6. OP should ensure of the correct Capture One colour settings. See here. The first thing to check is what you have set up in the menu item View>Proof Profile in CO. The default is "Selected recipe" -- with this setting, if you go to the Output tab and click on your chosen export recipe it's going to be soft-proofed in real time. IOW, if you intend to do retouching in Photo, choose ProPhoto RGB, 16-bit psd or tiff. If, OTOH, you intend to post to web, choose your sRGB jpeg output recipe. If you want to have a ProPhoto or Adobe RGB as your working space in CO at all times, irrespective of what's set in your output recipe, set the permanent colour space in the View>Proof Profile menu. If this doesn't help, then as Pauls said, let's see your Advanced tab Windows colour management settings. BTW, a question for Mark and Paul -- does Affinity Photo make use of the WCS settings or does it just look at what's set as the default monitor profile?
  7. Some further testing: when I make a black-to-white gradient and select Luminosity (the Lights selection), AP gives me a 50% selection, whereas PSE gives me something like 70%. I'm not sure what might be the cause of it. So which is the correct luminosity selection?
  8. Hello, I'm quite puzzled by this: I want to create luminosity selections/masks. 1) I Ctrl-Shift-click the Background layer thumbnail and save the selection as a separate Lights channel; then 2) I invert the created luminosity selection and save it as a separate Darks channel. Then I do a similar thing in Photoshop Elements and make masks from the selections to compare if I get the same thing in PSE and Photo. The Lights (luminosity) mask is the same, but the Darks masks are different -- Affinity makes it more muted, the inverted black patches are more muted/greyish, and 50% grey patches are considerably darker than in PS. Can anybody reproduce this? Is this a bug in the Invert selection command? When I compare the inversion of a normal pixel layer, the results are the same in both applications.
  9. Oh, good to know. The macro/library window, as well as the History panel behave rather flaky on my machine, so I haven't investigated this yet.
  10. Yes, and then do a macro for a Dodging group, and another for the Burning one, so that you don't have to remember to set it up each time.
  11. The bug is with the way Affinity handles the plugin. Alternatively, this solution looks interesting.
  12. For now, you could also turn to the free Nik Viveza, do the control point selective correction on Hue/Saturation/RGB, and then use the Luminosity selections to paint through them (perfecting the mask in the areas, where Viveza didn't fully mask something). Just a workaround for now (assuming the colour-management bug with Viveza gets fixed).
  13. This should work. Must check it myself how this functions for micro-D/B work within Affinity Photo.
  14. If you have a LinkedIn (Lynda.com) account -- trial will do as well -- there's a 5-min. basic tutorial on how to do this. You might be interested in the entire chapter 6, since it's about compositing in Affinity Photo.
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