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  1. Like
    BiffBrown reacted to Chris B in Photo with Apple Pencil   
    We know what needs to be done to fix this but we need to wait on some other things. 
  2. Like
    BiffBrown reacted to thomaso in Make a Painting?   
    Another approach is this tool which is not simply a filter but rather calculates the merge depending on two inputs and their variety of details. It combines two custom images: one for the 'content / shapes', the other for the 'structure / micro-contrast' and colours.

  3. Like
    BiffBrown reacted to Mft in Peace lily - Affinity Photo   
    Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.

  4. Like
    BiffBrown reacted to James Ritson in Workflow of RAW files in Affinity Photo   
    Hi @SeanZ, here's a quick breakdown of the pixel formats and what happens:
    As you've observed, when you open a RAW file in Affinity Photo it's processed in a working pixel format of 32-bit float, which is unbounded. This prevents values outside the range of 0-1 from being clipped and discarded, and allows for highlight recovery. Colour operations are processed in ROMM RGB (ProPhoto), which helps colour fidelity even if the intended output colour space is sRGB. You are essentially working in the highest quality that is reasonable.
    When you click Develop, by default, the pixel format is converted to 16-bit integer, which is not unbounded. Any values outside the range of 0-1 will be clipped and rounded, so you should ensure you are happy with the tones before you proceed (e.g. using highlight recovery, changing black point etc). The colour space is also converted to whichever option you have chosen—by default, this is sRGB, but you can change this by clicking the Profiles option on the right hand side and choosing another output profile like ROMM RGB or Adobe RGB.
    I say by default, because you can change the output format to 32-bit HDR on the develop assistant (the tuxedo/suit icon on the top toolbar). Be very mindful, however, that 32-bit in Affinity Photo is a linear compositing format as opposed to nonlinear. Adjustments will behave differently (typically they will seem more sensitive) and blend modes may produce unexpected results. I would avoid working in 32-bit unless you either want to author HDR/EDR content—this is not the same as HDR merging and tone mapping—or you need the precision for more esoteric genres like deep sky astrophotography. A lot of customers think working in 32-bit is going to offer them the best quality possible. Whilst this is technically true, there are many caveats and I would seriously advise against it unless you have a specific requirement for this format.
    To answer your questions:
    Technically, the answer is yes, but it's like I mentioned above: unless you have a very specific requirement to work in 32-bit, any loss in quality will be negligible. 16-bit nonlinear precision is more than enough for 99% of image editing use cases. Here's an example of my workflow: I will often choose a wider colour profile like ROMM RGB, then make my image look as flat as possible in the Develop Persona, usually by removing the tone curve and bringing in the highlights slightly if they are clipping. I'll then develop to 16-bit and do all of my tonal adjustments in the main Photo Persona. I have yet to complain about any loss in quality 
    The functionality is more or less the same, but the Develop Persona has more intuitive sliders. In fact, in demos I will frequently explain to people that if you want to do some simple destructive edits to an image, you can simply go into that persona and use a few sliders rather than have to build up a layer stack. One key difference will be the white balance slider: when developing a RAW file, it has access to the initial white balance metadata and the slider is measured in Kelvin. Once an image is developed, however, this slider then becomes percentage based and takes on an arbitrary scale.
    Whatever works best for you, I think. My approach, which I explained above, is pretty fool proof, but you can do as little or as much work during the initial development as you feel is appropriate, e.g. you might want to add luminance noise reduction during the development stage, perform defringing, change white balance etc. Just be aware that if you perform certain steps like noise reduction during the initial development, you can't undo them. With noise reduction, I prefer to add a live Denoise layer in the Photo Persona, then mask out the areas I want to keep as detailed as possible. Again, though, it's down to personal choice.
    Hope that helps!
  5. Like
    BiffBrown reacted to CarmenCo in Sharpening mask   
    It could be something like this
    It is done with Affinity 1.4
  6. Like
    BiffBrown got a reaction from angelhdz12 in Your Affinity 2020 wishlist   
    I would like an Affinity DAM, damn it!!

  7. Like
    BiffBrown reacted to Lefteyeshooter in Create a basic cyanotype image using a gradient map   
    Based on the two video tutorials, I made my first platinum palladium simulation (with border).

  8. Like
    BiffBrown reacted to Lefteyeshooter in Create a basic cyanotype image using a gradient map   
    Great tutorial! Motivates me to start experimenting myself!
    I also found this video very interesting because it shows how to add a border:
  9. Like
    BiffBrown got a reaction from Ian_L in Your Affinity 2020 wishlist   
    I would like an Affinity DAM, damn it!!

  10. Like
    BiffBrown got a reaction from borkia in Your Affinity 2020 wishlist   
    I would like an Affinity DAM, damn it!!

  11. Like
    BiffBrown reacted to Paul Mudditt in Official Affinity Photo (Desktop) Tutorials   
  12. Like
    BiffBrown reacted to stroiman in Improve the Macro editor   
    Currently, editing an already recorded Macro is extremely limited.
    I would love to see some really basic functionality, such as the ability to reorder steps, and delete unnecessary steps.
  13. Like
    BiffBrown reacted to stroiman in Renaming a channel recorded as part of a macro   
    I came to this post exactly because I was attempting to create a marco for Luminosity masks.
    In addition to be able to specify a name when creating the channel, it would also be beneficial that you can specify a name when "selecting" a channel.

    E.g. I was following this guide, and to create the "Midtones 1" masks, it suggests to select the entire image, and the first subtract "Lights 1" from selection, then subtract "Darks 1". This will be a lot more stable if you can select the channel by name.
  14. Like
    BiffBrown reacted to Bethany Acorn in Double exposure effect   

  15. Like
    BiffBrown reacted to GDPR-365024 in Orange and Teal   
    @Snowcap1   You may find this article to be of interest. It touches on the psychology of complimentary colour pairings rather than just using pairings for shallow visual effect.
  16. Like
    BiffBrown reacted to TomM1 in DAM that works with AP Files   
    Have you tried NeoFinder?
  17. Like
    BiffBrown got a reaction from craftysue in Photo Workbook   
    That link should download the photo_core_skills folder to your downloads folder. Did on mine (Mac).
    Just did it again - oh, well. Now I've got two copies 
  18. Like
    BiffBrown reacted to smadell in Luminosity Masks for Adjustment & Filter Layers   
    Hey, WeiPhotoArts…

    First, the simple stuff. Yes, one of your responses in the original Luminosity Selections post was the reason I started thinking about the second set of macros. And, in response to your question about creating, naming, and utilizing additional channels, AP macros can create additional channels and use them, but I have not found a way to (i) rename them, (ii) select them based on name, or (iii) delete them based on name. Any new channel you create in a macro will be called “Spare Channel.” As far as utilizing the Background Alpha channel, I have simply not mastered that one.

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

    About the macros themselves. Both the Luminosity Selections and the Luminosity Blend Options… macros are based on altering the Blend Options of the layers to which they are applied. The only real difference is that the Luminosity Selections macros apply blend options based on the luminosity of the selected pixel layer; the Luminosity Blend Options for Adjustments macros apply blend options based on the layers underneath the selected one.

    Think about it this way. Open a photo and you have created a pixel layer called “Background.” Now apply an adjustment layer, which sits above the pixel layer. The Luminosity Selections macros can be applied to the Background (pixel) layer; the Luminosity Blend Options for Adjustments macros can be applied to the Adjustment Layer.

    Both sets of macros use the same values in the Blend Options panel - the difference is only whether they evaluate the Source Layer (the left graph) or the Underlying Composition (the right graph).

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

    As to my choice of values in the Blend Options graphs, my thinking was generally as follows.

    1) Luminosity based selections/masks apply differing amounts of selection based on the whiteness or blackness of any given pixel. If you accept that premise, then every pixel in an image should have a corresponding amount of selection.

    2) In the simplest case (Lights 1), the graph is a straight line. Pure black is 0% selected, Pure white is 100% selected, Neutral Gray (50% gray) is 50% selected.

    3) In creating a curve for Lights 2, I applied the equation y = (x*x), where y is the percentage of selection and x is the percentage of luminosity. So, Pure black is still 0% selected (since y = (0 * 0)) and Pure White is still 100% selected (since y = (100% * 100%)). However, Neutral gray is only 25% selected (since y = (50% * 50%)). Think of this as applying a luminosity selection, then applying it again.

    4) Values for the Lights 3 and Lights 4 selections extend that same thinking. For instance, in Lights 3, neutral gray is selected (50% * 50% * 50%). The blend options curve for Lights 3 therefore has a point where 50% on the x axis (luminosity) has a corresponding value of 12.5% on the y axis (percent selection).

    5) The Darks 1, 2, 3, and 4 curves are simply the inverse (mirror image) of the Lights curves.

    6) The Midtones curves start with the assumption that Neutral Gray should be selected 100%. The other values include 0% selection for both Pure Black and Pure White. This results in a triangular selection with the top of the triangle at x=50% and y=100%.

    7) The Midtones 1 curve, therefore, has a value of 50% selection (y axis) for both 25% luminosity and 75% luminosity (x axis). The Midtones 2 curve changes that to a 25% selection (50% * 50%) for these points. And so on…

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

    As to your other concerns, I can only offer the following. First of all, I don’t own Photoshop and I have no experience with Tony Kuyper. I have applied my own logic to the construction of luminosity selections/masks, and have not relied on the work of others. As such, there may be differences in results. Second, my understanding is that Photoshop relies on “intersecting” selections, and this is done differently in Affinity Photo. A direct implementation of Photoshop methods may simply not be possible. AP is, in my estimate, the more elegant of the two.

    *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

    Last, you suggest that your results differ when you use corresponding macros from the two sets. This should not be so, since the blend options curves are the same.

    I started with a simple White to Black gradient.

    I then applied the Darks 2 Luminosity Selection macro.

    With that selection active, I added a Recolor adjustment (using the default value of pure red). This is the result I got.

    Then, I started with the White to Black gradient again, added the Recolor Adjustment, and applied the Darks 2 Luminosity Blend Options for Adjustments macro with the Adjustment Layer selected. This is the result.

    To my eye, the two results are exactly the same.
  19. Like
    BiffBrown reacted to Multi4G in 5 DIRTY TRICKS - for Affinity Photo // Easy & Fast results   
    5 dirty Tricks for Affinity Photo. Get fast, good looking results in seconds with these Ticks. Unpacking my secret Sauce Stash, i bundled these 5 tricks into one video. From adjusting colors, to awesome sunsets, to rainy day fixes, to creative fantasy scenes. With this video you are covered. Let's have some fun
    Brushes, LUTs and Designs for Affinity Photo:
    Support me on Patreon: 
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    Source Images:
  20. Like
    BiffBrown reacted to smadell in Luminosity Masks: how to transition from Capture One   
    There is no reason why. you cannot create a luminosity range using Blend Options, and also use a layer mask to narrow down the areas to which this luma range is applied. Also, remember that adjustment layers and live filter layers already have a built-in mask, and attaching a seperate mask layer, while possible, is not necessary.
  21. Like
    BiffBrown reacted to DM1 in EXPORT LUT BUG... still there :/   
    I'v read somewhere that when exporting, affinity inverts two of the setting values. If you Export, then import the lut and export it once again, the 2nd exported lut file should be correct. Invert only occurs on export so double invert on same file puts values back where they should be. I haven,t tested this myself.
  22. Like
    BiffBrown reacted to rudyumans in nik collection, affinity 1.7.0   
    People should make the distinction between NIk for Affinity on MAC  and Affinity on windows.
    When DxO came out with the upgrade version 1.1, they said that version 1.1 was now fully compatible with Affinity on MAC, but not on Widows. I use Windows and have no way of checking if that is true for MAC. Now they came out with another update with some minor changes, but nothing to write home about and it still does not fully work with Affinity for Windows. I Paid $50. for version 1.0 $50 for version1.1 (Stupid) and now they want another $60 for a minor upgrade.  They can fool me once, but not twice. (3 times actually)
    That would be $160.00  for a plug-in that is still not fully compatible with my favorite editing software, which is crazy, so I am done with them and besides, there is very little NIK does that can't be done some other way, either within Affinity or with a more friendly plug-in. Even the NIK modules that do work, do not have all the features available on NIK for PS.
    Not sure why people care so much about NIK. Trust me, this feeling with NIK/DxO is not mutual. DxO was in bad financial distress last year, so now all they seem to care about is milking their (loyal I might add) customers
  23. Like
    BiffBrown reacted to arnim in nik collection, affinity 1.7.0   
    FxRphoto, can you please help in understanding how come NIK works perfectly for you? What operating system are you using?
    Is there anything else you have done to get it to work? How come you don't seem to have the "updating fonts" message that so many of us have and that makes Affinity crash?
    As for NIK 2018 and NIK 2 here is what DXO support had told me: "I do apologize, but as Affinity is not a certified host software, we cannot provide support for that combination.  This does include Nik Collection 2 as well." 
    So what is the reason Nik2 will work better than Nik2018 according to your findings?
  24. Like
    BiffBrown reacted to Multi4G in Affinity Photo: TOP 6 NEW Functions in 1.7 Update - You need to know this   
    Best NEW Functions in 1.7 Affinity Photo Update. Find out the most useful new features added to the Photo Editing Software from Serif.
    Get the FREE Brushes here:
    OR Get 17 Brushes for ONLY 5$: https://gum.co/MJZT  
    OR Get 27 Brushes for ONLY 10$: https://gum.co/UTHqY
    Full Live Stream (recording):
    Brush Functions Explained (without SubBrushes)

    Support me on Patreon: 
    Follow me on:
    Join us on Reddit:
  25. Like
    BiffBrown reacted to Mike33 in Affinity Photo for MacOS - 1.7.0   
    On Mojave it ist CMD+R. Did it and it's there!
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