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About hanshab

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  1. The LAB selective color problem defined above still exists in release 1.7.1 Please advise
  2. Is did a little more research. This seems to happen to saturated blue only in LAB where it changes a saturated blue to magenta without making any changes ie happens as soon as you call up the selective color adjustment . The first picture is before selecting selective color adjustment, second is after selecting selective color adjustment without making any changes in the sliders. In the first picture I saturated the blue fully first. The previous picture I submitted had a lot of saturated blue in it.
  3. selective color adjustment has this problem in LAB where it changes a saturated blue to magenta without making any changes ie happens as soon as you call up the selective color adjustment first picture is before selecting selective color adjustment second is after selecting selective color adjustment without making any changes in the sliders.
  4. I have found a possible issue using the selective colder adjustment when using the LAB color space. I work in the LAB color space primarily because of the ability to separate color from lightness. I had no problem with this in Affinity Photo 1.6.7 Notice that blue has changed to magenta. I have tried this in RGB and found that this problem does not exist there. The first picture is the original TIFF file loaded from either Capture 1 pro 12 or Lightroom. The second picture is the same picture after the selective color adjustment is applied in Affinity photo. Notice no changes of any kind have been made from within the selective color adjustment. THis is how it comes up when you select the adjustment. If you select darken color blend mode then the effect goes away but does darken the colors. I dont believe this should happen. Thanks
  5. Dodge and burn blend modes are one of the 8 blend modes that you change the amount of color through the FILL opacity and not the general opacity . For this effect I use an HSL adjustment and just modify the value of the FILL slider since general opacity does not really work for this blend mode. When you leave the FILL at 100% then the effect uses only 8 colours. As you reduce the slider you add more and more colours and you also restrict the effect to the midtones and shadows, As you decrease the slider to about 15% you are then affecting only the shadows. The dodge blend mode works the same way. The difference from the burn blend mode is as you reduce the FILL slider on an adjustment layer such as HSL you restrict the effect to more and more of the brights, SO with the FILL slider set to 15% you are targeting the brights. Set the fill sliders to taste as each photo is different. The effect is not as pronounced as saturate by subtract blend mode which I have submitted earlier but have included here below as well in case you missed it. n here is a link to that discussion: I have generated a macro that does this, set the FILL level to what looks right for you . Import them from the macro NOT the library, they single macro color burn: dodge to saturate.afmacro saturate w subtract blend mode.afmacro
  6. hanshab

    Macro Updates for v1.7

    Thanks smadell. Great stuff. I like to use saturation/desaturation just like luminosity to create depth in pictures so I have some suggestions: . On your desaturate macro after it has run you can use a black brush with high opacity to put saturation back in locally. The opacity determines how much saturation you put back in locally. You can also use a grey brush but then you have to know how much saturation you want to put back in in certain places. You can do the same thing with the macro I enclosed which is simple. Its adds an HSL layer set to saturation mode then inverts it; you have to set the saturation to the minimum you want then you can paint back the amount of saturation using a white brush with your selected opacity , I updated your fix undersaturated macro so that you can increase saturation selectively by using a white brush with appropriate opacity settings. Its a trivial change to your macro and all it does is invert the top layer since it is in saturation blend model. You can then use a white brush with appropriate opacity to paint in the opacity where you want. I have included the macros below Thanks again for your work. fix oversat w white brsh &opacity.afmacro FIX undersat w white brush& opacity.afmacro
  7. Hello James. I still refer to the old set of tutorials now and then. Lately I needed to look at the LUT tutorial. Are they still available ? There is a lot of good information there.
  8. hanshab

    Saturate a photo using subtract mode

    elow are examples of before and after the saturate by subtract macro has run
  9. hanshab

    Saturate a photo using subtract mode

    There was a step missing in the macro, which is initially to duplicate the layer. I fixed that and put in more explanations to the macro. The key is the inversion and the subtraction which takes out the complementary colours of RGB to make the RGB more saturated. However what John Rostrow got is typical if you don't adjust opacity and the brightness and contrast of the colours once the subtract mode is applied. This is because in RGB as opposed to LAB, both colours and contrast are adjusted. In the macro I allow you to adjust all these parameters to taste since each picture will be different. The saturation is very deep as is the contrast so those will need to be adjusted. I recommend that you set the global opacity to between 10 to 20 percent saturate by subtract RGB.afmacro
  10. hanshab

    A few free macros - tested in AFP 1.6 & 1.7 Beta

    Very nicely done.
  11. hanshab

    Saturate a photo using subtract mode

    I forgot to add that it is a single macro and has to be uploaded from the macro and not the macro library pull down menu.
  12. The saturation of a color is determined by a combination of light intensity and how much it is distributed across the spectrum of different wavelengths. The math for saturation includes luminosity. An interesting way to saturate a photo is using the subtract blend mode. This can be achieved by making a copy of the photo then inverting it. This changes each color to the complementary color. But it also affects the luminosity. You then apply the subtract blend mode. You are in essence subtracting the complementary colors from the original photo that has the effect of saturating the original color. In RGB mode, when inverting, you not only invert the color but you also invert the luminosity. This has will darken the photo colours. So in practice what I have found you may need to change the brightness of the midtones and/or the shadows. You can then apply blend ranges to apply the difference blend mode but I find keeping the highlights from the original works best. I have included a macro here that does this. The macro lets you manipulate the brightness and contrast of the midtones and shadows if you wish. YOU can also manipulate the blend range if you desire. Have fun. Note that this works in the RGB color space but NOT in the LAB color space as the math is different. saturate by subtract RGB.afmacro
  13. I do most of my work in the LAB color space. I then convert to other color gamuts as required. I find LAB useful since it separates color from luminosity so its easier to create masks such as luminosity or saturation masks. I have developed a macro that provides sharpening and color accentuation using the unsharp mask and curves. In the enclosed macro you can adjust the separation of the A and B components as you wish, just bring up the curves adjustment to accomplish. I have also included the selective color adjustment and levels adjustment which I often use to "dial in" the precise colours I want. Just access the respective adjustments once the macro has run. Hans' LAB sharpen.afmacro
  14. here is the algorithm for vivid light. IT is a combination of color dodge and color bur Based on the value of a particular pixel. This blend mode combines Color Dodge and Color Burn (rescaled so that neutral colors become middle gray). Dodge applies when values in the top layer are lighter than middle gray, and burn to darker values. The middle gray is the neutral color. When color is lighter than this, this effectively moves the white point of the bottom layer down by twice the difference; when it is darker, the black point is moved up by twice the difference. (The perceived contrast increases.) Blend > 0.5) * (1 - (1-Target) / (2*(Blend-0.5))) +(Blend <= 0.5) * (Target / (1-2*Blend))
  15. I cannot open your file.. But just going by your text whenever R=G=B, the color is a shade of grey. But if you say Max=Min, is this supposed to be irregardless of if its blue green or red? Ie Max (R,G,B) = Min(R,G,B) it always will involve the lightness as that is always part of RGB so you are setting the lightness to some single value over all colours in RGB. but I can't be sure as your file does not open... Thanks