Jump to content
Our response time is longer than usual currently. We're working to answer users as quickly as possible and thank you for your continued patience.

hanshab

Members
  • Posts

    106
  • Joined

  • Last visited

Everything posted by hanshab

  1. My experience is as follows in LAB. When you reduce say Ao to 50% then what happens is that only the magenta is reduced to 50% but not the green it stays at 100%. When you reduce the Bo ( after resetting the Ao to 100%) what happens is only the yellow gets reduced to 50%, the blue does not get reduced. I believe that is what IPv6 may mean. BUT in LAB the AO and Bo sliders each work on two colors which is not the case in RGB . However, if in Ao you reduce both Ao and Bo to 50% then the colors are true. Same is true in Bo . Is this the way it should be? Thanks
  2. 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
  3. 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
  4. 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.
  5. elow are examples of before and after the saturate by subtract macro has run
  6. 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
  7. 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.
  8. 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
  9. 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
  10. 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))
  11. 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
  12. I keep finding things for you for your camera club: here is a good video on why 32 bit Pro photo is the best..... today.... https://wolfcrow.com/should-you-raise-bit-depth-and-color-space-before-color-grading-part-two-raw-video/
  13. BTW Neutral shooting only affects Jpgs not raw..... I use the jpgs for immediate processing using snapseed but then when I get home I use Affinity Photo. 14 bit raw encoding is what is preferred for raw.;.;; if you want to talk about color then I recommend you look at these web sites . The author is a painter and photographer and he gives a very good overview of color theory. Folks in your camera club might appreciate this.....https://www.youtube.com/user/EverydayHDR/search?query=color+theory be sure you watch both color theory 1 and 2 which are both shown on this page... There are many others on color theory out there but I like this one as Blake is also a painter.....
  14. I have several 6 TB disks a 4 TB and a 3 TB disk... I remember when disk technology for a 8 foot high disk drive was 256 MB..... I also developed computers in the early days and have a number of patents on them ITs come a long way. AS AP works in 32 bit floating point in develop it gives you a good start for any further work you do in the photo or HDR module. I use the HDR module a lot directly from the develop module. You might try working in 32 bit mode in photo as most of the adjustments work in that mode. Many folks think you dont need 32 bit and if your camera only records in 8 bit then that is true but my cameras have a very wide dynamic range with 36 and 45 MPixels as well as recording in 14 bit flash and I can recover a lot .. You really need the dynamic range for that. I have conversed with many photographers on You tube working in Photoshop who insist that 16 bits is enough but watch some of the videos from James Ritson and you will see the benefits of 32 bits. Its not for everyone, most people will be very happy with 16 bit which is what Photo persona works in when you dont select 32 bit mode..... I have to tell you that 32 bit mode is especially useful when doing astrophotography..... I never have to bracket a landscape photo when I work in 32 bit I have always been able to recover the darks when I expose for the lights..... But then I have the right camera for this as well. As far as your comment on the cost of the books. Well, these are textbooks and are expensive...
  15. In affinity photo raw development is done in 32 bit unbounded float in a linear space according to Serif. My camera takes pictures in Adobe 14 bit not 8 bit which is adequate for a raw picture when you record the raw file in camera as NEUTRAL. I find cameras that record RAW in 8 bit less than desirable. But 8 bit makes the file size smaller but you cannot recover out of gamut data easily especially in landscape photography which is what I do. Its when you do manipulations with the camera raw file in either any persona that you need the extra precision. So when you go to the photo persona you could select a 32 bit space with the assistant. Serif went to 32 bit in the develop persona i Believe with version 1.5 as with version 1.4 when you did even tonal adjustments it would blow through the available precision and give very undesirable results. The HDR persona is of course in 32 bit as well and I tend to do a lot of adjustments there. Then you can continue working in 32 bit mode when you go to the photo persona. Of course you have to scale to whatever format when you output the file... There is a video on how to do that scaling as well
  16. FYI I am a former professor of Astrophysics and former director of the Hughes GPS (WAAS) program with a specialty in relativity theory. C* is the chrominance in LAB and is not separable in any RGB color space . I would not convert RGB to LAB you lose something as the RGB color space is smaller than LAB. I always go directly to LAB then only convert to Pro Photo when all the calculations are done. Again there is a loss associated with this but its what you have to do and to print you have to go further to sRGB...... I am still experimenting with going directly to a 32 bit color space and working from there . In the formulas L is the luminosity and one can use a luminosity mask for this; again I refer to Kuyper..
  17. There is no precise way to do saturation masks in any RGB color space because lightness affects saturation and lightness is not directly used in any RGB saturation mask approach I have seen. Using the HSL and HSV adjustments in Affinity is a rather poor choice as this will give significantly different results for brighter and darker images.I do not recommend this approach. It does not take into account lightness. (I am working on a solution in the LAB color space that includes luminosity masks and uses color inversion masks and the difference and or subtract blend modes but I am still working on it.) In LAB luminosity is directly applied and much easier to use the formula there is: which is not recommended as there is no chrominance (C*) relationship to other gamuts from LAB , an approximation to what the eye sees is given by . This is still an approximation the explanation can be found in wikipedia here: https://en.wikipedia.org/wiki/Colorfulness or on any book on Color Theory such as https://www.amazon.com/Color-Vision-Colorimetry-Applications-Monograph/dp/0819483974/ref=sr_1_13?ie=UTF8&amp;qid=1547755006&amp;sr=8-13&amp;keywords=The+physics+of+color+theory Tony Kuyper who is cited in the dialogue above has done an excellent job of getting to the best practical solution for saturation masks and I have been using his approach up to now. He has also done a superb job on luminosity masks
  18. I agree, it really hampers me especially when i try to use the color burn/color dodge blend modes...
  19. A number of times I found that I could not record macros when certain steps where required. I would like to see the macro capability improved. For instance, the unfortunate thing is I have not been able to create a macro for saturation masks.. It appears that affinity photo macro capability does not allow you to reorder or nest layers within the macro. Can that be allowed in the next version 1.7?
  20. the unfortunate thing is I have not been able to create a macro for saturation masks.. It appears that affinity photo macro capability does not allow you to reorder or nest layers within the macro. Can that be allowed in the next version 1.7?
  21. Thank you First Defence for your response. Affinity Photo will not allow you to save a document as TIF it requires TIFF and it sends an error message to that effect. , I had tried this already along with a number of other ideas. Lightroom catalog recognises both TIF and TIFF.It would be great if Affinityphoto would do the same. Thanks..
  22. I still use lightroom for cataloguing my pictures. 1. Will Affinity photo have a cataloguing capability in the near future? 2. Lightroom does not recognise the extension afphoto, so I cannot save Affinity worked photos, I have to export them This presents another problem. LIghroom recognises the extension TIF but Affinity saves as TIFF, I cannot save in place. I have to export then import every photo into Lightroom. This takes considerable time. Is there a way to make Affinity photos recognisable in Lighroom?
  23. Hello James, appreciate all your tutorials.  I would like to ask if you would do an in depth video explaining how blend ranges really can be used in place of luminosity masks in Affinity.  I think that would be very interesting to a lot of people.  I have used them and have downloaded some of the macros from the forum but I keep getting questions from people that dont really understand how they can replace luminosity masks

    thanks

  24. great writeup and tutorial. you might mention though that you can do color grading with the exclusion and difference blend modes. IF you add say a blue fill layer and set the blend mode to exclusion, then because of how the math works, you will get blue in the shadows and yellow in the highlights. Color grading results when you reduce the opacity of the color fill layer.. to your desired layer.. Difference works similarly
×
×
  • Create New...

Important Information

Please note there is currently a delay in replying to some post. See pinned thread in the Questions forum. 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.