GDPR-354025

Thank you. I'm watching it now. Very nice!

Thank you.

Yep, Eye of the Needle. I think Alfred is Kate Nelligan's little boy all growed up, a lighthouse keeper who takes terrific seascapes but some times takes day trips to photograph the HIGH PASS regions of Norway... (Yes, I hate in-jokes too.) Now four hours and counting-down...

Oh! Okay. You can delete this.

My Gmail promotion countdown says 6+ hours as I post this at 6:53 a.m. June 19, Eastern Standard/Daylight Time. But I thought the U.K. was five hours ahead. So is Affinity six hours ahead or five hours ahead? And inquiring minds want to know if you're really in England or if you're on a small island in the North Sea, where Donald Sutherland might come looking from behind enemy lines for me and my son but where I will keep calm, carry on, and get the upper hand? Thank you.

@gdenby I wish I'd read what you wrote a few weeks ago! This past winter, I've had to make videos compiling old newspaper articles, some images of which were "cleaned up" before I stitched them together, some not. A few weeks ago, posting here on the forum because I was unable to get a color palette to open when I opened B&W images, a poster told me I had to change the Color Format from B&W to RGB. (I needed to highlight certain newspaper passages and gussy them up with colorful borders so the repetitive fine-print wouldn't put viewers to sleep... unlike my gripping posts here on the Affinity Forum... ) When I changed the Color Format to RGB, in addition to the highlighting and gussying, wow, did I discover the wonderful world of GRAY... I've just downloaded the PDF you linked to and will see if it tells me why Overlay and Soft Light are the blend modes necessary for the particular kind of sharpening last week's editing venture required. I suspect it may have something to do with wicked mathematics, the scourge of true genius. A random video this past week talked about certain blend modes being able to do some kind of negative number operation that...that...produced something totally awesome. So maybe the PDF will help me figure out exactly why Overlay and Soft Light operate in the world of negative numbers. Thank you for the response. I still feel as if the number of editing choices doubled in Affinity from "old" Serif days, and whether right or wrong, I am not convinced that all of these choices are necessary.

Yes, of course you're right.

This past week, continuing to try to find answers to questions that arose from difficulties with lack of thumbnails for a certain Live Filter Layer, I read several articles that said there was no difference between Unsharp Mask and High Pass, and that Unsharp Mask was the "grampa" of photo-editing sharpening tools. ( I also arrived at this pretty hilarious and very helpful video about Radius, Factor, and Threshold I will call Grampa Unsharp because it uses PS terms.) After a week of trying to understand why Overlay and Soft Light blend modes are used with the specific Live Filter manipulation I posted here about last weekend--but still with no answer--I'd like to know which adjustments, filters, blend modes--any term regarding editing at all--can rightly be considered redundant, or at least so similar in their effects as to make them substantively redundant. Thank you. I'm making this post early on Sunday morning because I assume anyone who answers may be five or six hours ahead, so if I don't reply immediately, I will read all responses, as I always do.

I didn’t get this response in my Auto Notifications, Mr. Unpronounceable , so thank you belatedly. I think Affinity has me on a quota system for Notifications (seriously). Anyhoo, this will sound fey , but I actually did wonder about the quoted section of your response here that I bolded. I also didn’t know that you can sharpen only one of many channels. I like this presenter because he has a slow and cat-filled manner. My team of psychics tell me I will master Affinity photo-editing on February 29, 2136.

I was thinking about "Chris'" video; he does not reference High Pass and is all about working in Lab (Color Format). I think he addresses why Unsharp Mask isn't the best choice in particular situations. But this leads to a thought below: The sheer amount of manipulations/operations that all seem to accomplish the same thing is what I'd pay for Affinity to address in extended tutorials or even online classroom sessions (obviously with some fee). I'm sure I'm wrong, saying all these operations seem designed to, and do, accomplish the same thing. Affinity's Sharpening Tutorial video covers Unsharp Mask, High Pass, and Clarity in under five minutes. I would so dearly appreciate videos on the terms "Radius," "Factor," "Threshold" alone, dilatory and relaxed for the average Affinity user. The gentlemen behind Affinity technology are geniuses for whom no dwelling or enlarging upon abstract concepts is needed. The majority of Affinity users, or at least I and many forum members, could benefit mightily from tutorials on even 1/10th of the terms in the Sharpening Tutorial alone. Say the word "algorithm" to probably 70% to 80% of Affinity users, and it brings out the Homer in us. (Cough, Alfred): "I am not a physician!" Well, back to work.

Yes, Mr. Smarty-Pants. I did not know that such a thing as a "stack exchange" was other than a fancy name for a forum. Will it Never End?...

Alfred, I felt SOO dumb after reading what you wrote yesterday about changing the User Interface, which choice I did not know existed since getting Affinity in 2016. In fact, I wish Affinity would create a special forum and intentionally title it Scared Little Urchins. I would be a life member. There are just too many choices. Affinity is a Garden of Unearthly Delights.

As long as I cited on a forum for the competition the segment #7, I'd like to know what about the Overlay and Soft Light blend modes (called Linear Light in PS) is of great importance to applying a High Pass Live Filter. If the answer involves mathematics or physics in any way, no need to reply. If the answer is conceptual, on the other hand, I would appreciate a response from anyone who happens to read this.

You're right about the second video. I'm not certain the blend mode affected what the first video presenter did. I say this after having edited a great deal of grainy B&W newspaper articles the last year, at the beginning of which venture, I was asking here on the forums for tips on how to clean up grainy B&W scans. High Pass being one of the suggestions, in addition to Denoise, Frequency Separation, FFT, etc., I know I never set the blend mode to other than Normal, nor, to my recollection, did anyone who offered tips. I did not understand the term "High Pass" at that time. THIS dialogue on a forum for the competition was something that would have been helpful all those months ago (especially the section numbered "7"). Speaking for myself, the arcane terminology that holds photo-editing in its menacing grip is part of the reason people of average intelligence either stay completely away from or give up trying to feel at home with photo-editing, an enterprise that makes me feel stupid. What this all has to do with the price of tomatoes is that I overlooked, yesterday, the fact that the desired result of all photo-editing, no matter which manipulation is applied to a given image, is what looks good. So it doesn't matter if there is no way other than the naked eye to use to judge the results when applying High Pass or any other filter. The Thumbnail Mask is something that would be nice, if available, but that in the end makes no difference. As the forum member with the Prince-like unpronounceable name suggested on this thread, my insecurity explains why I needed that thumbnail, or thought I did. Thank you again, very much, for sticking with this thread and for your extremely helpful comments. If not for your images and Alfred's arrival on the scene, I would never (ever) have known I could return to a Photo Plus-era interface.

@>|< It is what I want to see. I’m going back to my old-school light interface and work on this and see if I can replicate what @walt.farrell did. A demain, les gars.

@walt.farrell Yes, I did. If you scroll up and look for my pretentious italicized French response, the links are renamed #1 and #2. The second is masterful.

OMG. I did not know this. Thank you! [Edit: Alfred, it’s a whole new world. My beloved PP look is back.]

But (don’t laugh) why would I want to see the High Pass workspace when it’s just like soupy fog? I will experiment and see if this question is stupid to ask you, because my efforts with High Pass have not included alt-clicking anything. Both videos I cited this morning make the assumption that the Affinity user can Zoom In to the Nth degree in color, and by zooming in alone—alone—know which areas of the image that need sharpening have in fact been sharpened and which have not. And frankly, the thumbnail is not going to be of any help in this respect, whether black or white, « bugged » or not. Thank you again. I’ll continue to work on this.

Images removed. Oh, thank you so much for this incredible tutorial. But the High Pass interface I have on Affinity is nothing—and I do mean nothing —like what you demonstrate here. Yours looks more like the Serif interfaces I was used to. I will have to see if an update is in order. In fact, even the Tabs are different. Greatly appreciated.

I’m seeing this on Sunday afternoon. In regard to the section of your quote that I bolded: How can you see, then, what areas you have or haven’t High Passed? I got stuff working on 1.6.5.135, meaning Invert Layer and Paintbrush. But it’s like shooting darts blindfolded. I will not see any answer you or anyone else may be kind enough to give until tomorrow, but I really would like to know how you fellers accomplish this particular operation if you can’t see it. I owe you all Thanks for making me stick with it, but Affinity really should fix that bug. Otherwise there’ll be more teeming hordes storming the forums with the same High Pass goal.

If I were in the habit of swearing to You Know Who, I would swear to You Know Who that what you describe is exactly what I've done. I don't want to be Debbie Downer here, but last autumn, I spent an entire day making and uploading a series of 32 screenshots to Support asking for help with Why Does My Inpainting Brush Just... Stop? Sincere wishes for continued graciousness, but I will not do that again, because I never received an acknowledgement. What is of importance is that I have done exactly as you describe, and the thumbnail does not turn black, and, for that reason, my Paintbrush doesn't even show up (in regard to the variable, movable circle that appears whenever Paintbrush is chosen). Additionally, there is NOTHING in the History Tab to show that I have chosen to Invert the Layer. I've given up so often on the Forums and will thank everyone who tried to help. I don't know if I have faulty software, or what. Just so I won't feel so bad-- Explain Like I'm 5 is a large community on Reddit for us Great Technological Unwashed. Thank you all again. I will figure out some way of editing the photos.

Well, I'll be. So you and Mr. Farrell are saying that 1) you have to DO something for the Mask to appear? OR 2) I have been watching videos no longer applicable to current Affinity... stuff? Because when I have tried to use the dropdown menu to Invert the High Pass Live Filter, there is no "obvious, immediate effect on the image." There is nothing. So if someone would Explain Like I'm 5 how to Invert the High Pass Filter Layer, I would be very grateful. I am new to this country.

What's a cowboy wanting to reach the High Pass to do, then, pardner? Apply a Mask Layer to the (Merged?) Layer (Background--or Duplicate Background--+ High Pass)? This is a serious question because I have yet to understand Masks after many many years and reached partial enlightenment only yesterday thanks to video #2 referenced above. I did not know that every Layer in Affinity comes with a Mask, frankly don't understand why every Layer would come with one, but am not only extremely grateful to finally have a slight understanding, but eager to put it into effect. And I do have Easter pictures I promised friends I would (ha) perfect. Thank you.

@Alfred So would it help, hurt, or make no difference if I downgraded to 1.5.1? Thanks!

Je n'ai rien compris I just opened version 1.6.135 on a different laptop and tried to get the thumbnail to appear. But the Affinity app reached out of the screen--reached out!--and gave me at tune up in a most unseemly fashion, and-- Actually, it was just ditto the laptop with 1.6.123. I honestly don't understand "mask-nested object" and "layering structure of the document." Thank you for the response, though. Here is one unintentionally comic #1 video dealing with this High Pass/Invert Layer problem. Here is an infinitely better: #2 . Thanks again!