Jump to content

American

Members
  • Content count

    266
  • Joined

  • Last visited

About American

  • Rank
    Advanced Member

Recent Profile Visitors

780 profile views
  1. @Dan C Not sure I understand, but I'll give it a try! Thank you.
  2. @Lagarto Yes, I noticed all of what you say here but after years of watching videos and reading books and having a father who was the head of two art departments, I still do not understand how Cyan exists at all in brown- and green-dominant late summer nature in the northeast U.S. I understand reducing Cyan increases Red, but that presupposes Cyan is somewhere in the Selection to begin with... which I simply do not get and am asking no one to explain. Perhaps Cyan, Magenta, and Yellow only started to exist with the advent of digital photography. TL;DR: My SD card is missing the image's RAW file. For the first time ever, my Canon concealed a huge amount of photographs, embedding them in what I think is called a CTI file, truly concealing them, so that the only way I had of proving I had taken any photos at all was by searching the SD card by the date--and then they were all scattered around. I mean literally scattered. RAW files on Canons always (under normal circumstances) are attached to the JPEGs of the same image; this time they were not. I deleted all RAW files that had no JPEGs attached, as I always do not to waste card-space, assuming I had assessed the JPEGs and decided they weren't worth keeping. Anyway, I'm trying to recover the RAW file. I had to add this because I'm embarrassed at how bad the uploaded images were.
  3. Not to waste space, I'll link to the images I posted in "Which Adjustment or Live Filter Is Most Often Wrongly Used in Landscape Edits?" The glare in the sky is distracting. I have watched Mr. Ritson's videos as well as others about how to edit blown-out skies, but these videos almost always deal with images in which the sky is a major focal point in the image's composition. In the photos in the linked post, the sky is inconsequential to the composition. I just want to get rid of the glare. If there is a way to do this, I would appreciate any responses that address that specific adjustment. Thank you.
  4. @Lagarto Oh, man, this is like finding photo-editing Eldorado for me. I am so grateful. I guess the last question (and you don't have to answer it) would be, how do you know which random green leaf will turn red, or yellow, or (if this was some alternate planet), blue? If it's just a matter of experimentation, no need to respond at all. I used Selective Color extensively in this company's previous photo-editing programs, to great affect. I noticed too that you did not touch CYM or the blacks, whites, or neutrals, and would appreciate knowing if the (very restrained) adjustments of the RGB colors were what prevented the entire image from being "drenched" in red. You've given me enough of your time. If you can just answer this at your convenience-- Did I mention how grateful I am to you? Edit: I noticed the HSL Red adjustments. That explains it.
  5. @Lagarto I am in the process of duplicating your adjustments and besides being stunned that I have had to make no Selections at all--and I'm so over-the-moon grateful for this--I noticed that the values in your HSL adjustment were set to "0." Interestingly, I thought I could dispense with this Adjustment Layer. However, when I un-ticked your HSL layer box, the image lost color. I replicated this several times, both on your file and on mine emulating it, and the exact same thing happened. So how can a "0" value in HSL still affect the edit? I do not understand. All I know is that when I un-ticked the HSL Adjustment Layer, the image lost a noticeable quantity of red tones. Thank you.
  6. @Alfred I'll check the Rebel's settings, but I always choose in "Raw + Large" (where Large means the largest possible pixel size for a T5i). Thank you for the head's up.
  7. @Lagarto Again, thank you so very much. I uploaded a .JPEG rather than a .RAW file, as I thought the file-size would not be allowed. (I'm nevertheless stunned to see how badly a T5i JPEG should be pixelated.) Yes, I found all the controls. I'm kind of stunned at the restraint with which you applied the various adjustments, and their impact nevertheless. I did not see any Selections. This frankly would be the greatest boon to me; as I have said, my (Windows) Affinity's Flood Select Tool does not Subtract or Add. I would truly appreciate knowing if you accomplished all this without Selections--it would be like dying and going to heaven, for the types of forest-intensive photography I use Affinity for, not exclusively, but very heavily in the autumn. Second, do you discourage Levels? Or, for that matter, Live Lighting? I will not be able to pick every single leaf to make adjustments to, which is why I hoped ramping up Affinity "footlights" might somehow affect color... which they obviously did not. Sincere, most sincere, thanks.
  8. Wow! I don’t understand your written reply but— Wow. That is exactly what I was trying for, with perhaps more reds and yellows. Thank you! I mean, true thanks. Edit: Unfortunately, the file did not open correctly in Affinity for IPad. It was extremely pixilated.
  9. I need to finish editing a photo fairly quickly and am posting screen-shots of three images that I hope demonstrate my problem. I don't seem able to utilize adjustment or live filter tools in a way that results in a natural (unedited-looking) image. Reds end up blown out and contrast ends up unnatural. This was an issue I encountered all the time back in Photo Plus days, but I believe that Affinity most likely has the capacity to address these old problems in a way I simply am unfamiliar with. While it would seem that these two specific issues--blown-out reds and unnatural lighting--are easy to fix... they're not. I always begin editing a photo with Levels. Always. In the three photos attached below, there is the original, then the (too heavily) edited photo, and then, if it is necessary, the same heavily edited photo with arrows pointing out the blown-out reds. In this particular effort, I used the Live Lighting Filter, with three points of light. I do not understand why Live Lighting ambushes an entire project by turning an image dark--often very dark--for no reason. I do not understand the reason for two different Opacity sliders on the Live Lighting Filter menu. Chiaroscuro affects are very desirable, but even a tad too much of any adjustment, whether Live Lighting or something else, and you come up with an edit so noticeable you might be better off if you never attempted it. My camera is a Canon Rebel T5i, if that matters. I'm posting this late in the evening U.S. east coast time hoping that in twelve hours, someone may be kind enough to give me his/her/their tips for avoiding unnatural forest landscape edits. I posted a question similar to this over the weekend, but my question was answered with only a question. In regard to that post: I am unable to get my Flood Select/Magic Wand to distinguish between the overwhelming variety of similar green leaves in order that I might be able to edit them. My Flood Select/Magic Wand will not Subtract or Add. It will select, but that is all, so I spend great stretches of time adjusting the percentage number. There is a non-Affinity-related aspect of colorizing forest scenes still summer-like (or late summer-like) with autumnal hues and palettes natural to fall, not summer. The amount of leaves on still-full trees is not reflective of the "thinning" that occurs in the autumn when yellows and particularly reds are most likely to appear. I'm not trying for a Maxfield Parrish manqué masterpiece, but to colorize brown leaves on essentially bare branches does not make for an appealing final product. Thanks to anyone who reads this. I realize I bring up an awful lot of adjustment and live filter questions.
  10. @walt.farrell Oh, dear... I never said I wasn't brain-ally challenged. Thank you. I have so many questions I need answers to this week, and I'm spacing them out. This is my final workspace question for now. Thank you again!
  11. @walt.farrell Thank you for replying, Walt. Alfred told me to click and drag the tab, and it instantly got huge. But then I couldn't put it back in the workspace.
  12. I keep Resetting the workspace because there is no Minimize option. Thank you.
  13. @markw I Reset the entire workspace, but thank you for your kind reply.
  14. @markw Thank you. I made it float, as Alfred instructed (and as I wanted). But now it has entirely disappeared, and the "lower" menu (History, Channels, etc.) is occupying two-thirds of the workspace.
×

Important Information

These are the Terms of Use you will be asked to agree to if you join the forum. | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.