Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by ncJohn

  1. I saw that thread last night, but the gist of it seems to be that the registry hack suggested doesn't work. Did I miss something?
  2. Frameshifter, if you're still around, did you ever find that registry hack?
  3. Robin, I can answer this part but I have to leave the rest to someone else. With your unedited original open, under the Document menu, click "Add snapshot." Then from your Snapshots palette select your snapshot and click "New Document from Snapshot." (If your snapshots palette isn't open, you can open it from the View menu>Studio.) This will give you an untitled copy of your original, which you can edit. This isn't as elegant as the PS method of just duplicating your active image but it works.
  4. Oh, I know; I've been printing for a long time. I've just never had a tool like AP that makes it so easy to see what's out of gamut and bring it back in. (To a distortion that makes me happy.) (Which still makes me laugh.)
  5. Actually I use only sRGB, but these particular photos all have reds that are pretty saturated, and the results I got by bringing them back into gamut are no better than what I got by letting the printer do it. (No worse, but no better.) But I definitely use soft-proofing; the first time I ever read about it I knew that was the way to go. And I really like how they incorporated it as an adjustment layer in AP; I like that a lot better than the PS approach.
  6. Yeah, I can see this. I don't know if the part about choosing a color distortion you're happy with is supposed to be funny, but it kind of is. Thanks
  7. I really enjoyed James Ritson's video tutorial on soft-proofing, but there's one thing I don't understand. He showed how to alter areas of a photo that are out-of-gamut by using curves or HSL to alter those areas so that they'll be in-gamut and will print accordingly. I had some photos where there were red areas that were out-of-gamut but I printed them anyway (just to see what I'd get) and the out-of-gamut areas printed a little bit differently than they looked on-screen (predictably) but they weren't terribly different. My confusion is: either way you wind up with areas that are a little bit different than they would have been if everything had been in-gamut. So why bother with adjusting the photo before printing? If you make the adjustments you have colors that are a little bit different from what you wanted, and if you don't make the adjustment you get colors that are a little bit different from what you wanted.
  8. Well, I did not know that! That's pretty cool! (Not as good as a double-click reset, but still pretty cool.) Thanks.
  9. I want to add my vote to have this feature enabled for all of AP, not just the develop and tone-map personas.
  10. Well, that's not great, but it's something I didn't know about. Thanks.
  11. Yes, I knew about that. (Still looking for that instant double-click.) Thanks.
  12. No, it's not really faster than just fiddling with the slider. In general, I use the keyboard very little, never use keyboard shortcuts, because it means taking your eyes off the screen and your hand off the mouse. I'm a "mouse person." But thanks.
  13. The best way to explain what I want to know is to use an example. So let's say the saturation slider in the HSL palette. When I've moved the slider off of 0 and I want to return it to 0, is there a way to make the slider jump to 0 instead of fussing back and forth, under-shooting and over-shooting with it until it finally settles at 0? In other programs you can, for example, double-click on the slider, or double-click on the word "saturation" or some such, and the slider just jumps to 0.
  14. This is in Affinity Photo on Windows 8.1. The file I uploaded shows the grid that showed up when I used the live lighting filter, added some texture (within the live lighting panel), and then went to the Effects palette and added a Gradient Overlay and changed its blend mode. To duplicate it, just open any image, add a live lighting filter with texture (- or +). Then go to the Effects palette, Gradient Overlay, set the opacity to 50% or so, and start changing blend mode. Once you see the grid, you can go back to the live lighting filter, set the texture to 0, and the grid will disappear. In this example the grid lines are kind of faint; that's because it's a low-quality jpg. When working in AP, the lines are distinct and sharp.
  15. I just want to bump this here; we haven't actually gotten an explanation that I can see. Just a lot of observations about when they do and don't appear.
  16. I don't know if it's still going on, but some years ago there was an Olympic category of "solo synchronized swimming." Kind of the same thing.
  17. That's some pretty good sleuthing, but I think it's more complicated than that. Right now I still get a single circle at 2000 and 100%, and at 3000 I get concentric circles even with the hardness as low as about 35. And earlier today, when I left the message, I really think I was getting concentric circles at around 1200. I'm not absolutely sure of that, but I know I wasn't using a brush size of 2000, and I have to go larger than that right now to get the concentric circles. ... Ah-ha! It depends on the brush! Using an "effects" brush, as I was doing earlier today, I do get concentric circles around 1200. But I still don't know what it means and how to use it. I understand your conclusion that it's a warning that the brush is too big, but it sure doesn't kick in soon enough; at 2000 that single circle is larger than my monitor screen. I'm looking forward to getting an official explanation.
  18. Some of the brushes (paintbrush, smudge, blur), if you enlarge the pixel width enough, are represented by concentric circles instead of just a single circle. Why is that?
  19. I have an image that I've altered using 4 adjustment layers. I've grouped those layers into a group that I want to save so that I can apply the same group to other images. The only way I can find to do it is to save the group as part of the image so that in the future, when I want to use the group, I can open the image containing the group, copy it, and paste it onto the new image. I know there's probably a way to do it but I don't know what it is. Am I talking about a preset, a style, or what? How do I save this group of adjustment layers? Thanks
  20. So it seems that there are a lot of factors in whether or not this "file has been modified" notification shows up. But if I understand correctly, as long as the only thing I've done since saving the file is to export it, then the file really hasn't been changed at all and it really doesn't matter whether I answer "yes" or "no" to the question.
  21. It doesn't seem to matter whether or not "save history" is turned on.
  22. Adobe Illustrator CS does that when printing. If AP is using the history as an indicator that the image has changed, I suppose that would be an easy way to do it but that one extra wasted mouse click, over many images, is quite a nuisance.
  23. Well, the only history entry is "apply the export options preset" which is something along the lines of "TIFF RGB 16-bit." But I would think that would apply only to the exported TIFF, not the image that stays behind.
  • Create New...

Important Information

Please note the Annual Company Closure section in the Terms of Use. 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.