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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. Actually, I've just loaded a special test photo (Microsoft's "Red Bike, Green Bike") into Affinity Photo It's got a twisted ICC profile embedded in it, plus there's a twisted WCS tag used as well. Anyway, my test shows that the main workspace respects the ICC profile but disregards the WCS tag (despite what Mark Ingram said). When sending the image to a plug-in, both the ICC and the WCS profiles are disregarded. sRGB images might not show saturation problems with the plugins because of the monitor gamut, but the correct colour space is disregarded anyway.
  5. Oh, OK, thanks. As it is, I have to use Photoshop Elements with my plug-ins, and I'd like to fully transition to Affinity, but without it it's impossible. Here's hoping this can be fixed soon.
  6. Still having issues with Nik, Topaz, Imagenomick and Portrait Pro plugins when using ProPhotoRGB. Is anything being done with this?
  7. 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.
  8. 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?
  9. 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.
  10. Sorry, it looks like it doesn't happen with sRGB photos (though Viveza oversaturates with those). Is anybody else seeing these issues (with Adobe RGB and ProPhoto RGB) in Affinity Photo?
  11. I agree, they seem to be two of the most popular plug-in suites, but both seem to be riddled with colour management bugs when used in Affinity Photo -- the three Topaz plugins I use (DeNoise, Detail and Adjust) get desaturated when I launch them from Photo (not so when I do that from Elements or PhotoLine), and Color Efex, Analog Efex and Viveza have a similar problem (Dfine and Sharpeners don't). You might not notice the problem on a regular-gamut monitor, but a wide-gamut device leaves no doubts about colour-management problems. P.S. Topaz Adjust 5.2 (the latest) has a colour-management bug that has been reported by me and confirmed you can work around the bug in Photoshop or PhotoLine, but not in APhoto.
  12. 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.
  13. 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.
  14. The bug is with the way Affinity handles the plugin. Alternatively, this solution looks interesting.
  15. 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).
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