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About WeiPhotoArts

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  1. It might be easier to read in this pdf: dmstraker-Forum-Note-20180516.pdf
  2. Hi dmstraker, I’ve been intrigued with luminosity masks as applied with Blend Ranges in Affinity Photo. I’ve had some discussions with smadell before locating your work recently on these Forums. Thank you for sharing your findings and macros. The curves you provide, including the multiple additions of the 5-curves, were a good addition. Your 5-Stage Curve Previews macros have been most helpful to me. I noticed that the previews are like the Toggle Quick Mask in the Toolbar, using White as Mask. But as I went from Blacks to Shadows to Mid-tones to Highlights and finally Whites, I found by the time I got to Whites I could not see any of the selected pixels. My screen was completely white. There are pixels selected, but what I needed was the Quick Mask Black as Mask. To better illustrate this, I’ve included a screen grab first from Highlights, then Whites. Finally I show the screen grab from Whites as viewed from Black as Mask. Here are screen grabs from Highlight and Whites from a your macros, followed by pictures from Whites, in Black as Mask mode (which I obtained from the Hack below): [Highlights-Preview-dmstraker.jpg] Screen Grab Highlights Preview [Whites-Preview-dmstraker.jpg] Screen Grab Whites Preview (yes, it’s all white) [untitled-.jpg] Screen Grab Whites (Black as Mask) from Toggle Quickmask My Hack, or workaround, was to go to /Select/Selection from Layer/ [Shift-Cmnd-O] and then select the Toggle Quick Mask from the Toolbar, and finally pick Black as Mask from the drop down. In general I’ve found that when viewing the lighter luminosity masks, Black as Mask works better, and with the darker luminosity masks, White as Mask works better. I’ve played with the macros to create the “semi-macro” Hack: Set Blend Ranges Selection from Layer ...and only then, after the macro finishes, manually picking Toggle Quick Mask...manually having to select the correct mask (Black as Mask, White as Mask, or any other that best shows the pixels selected by the luminosity mask). Might you have a better way to do this? Or to program the macros so that the “lighter” macros have Dark as Mask, while the “darker” macros have Light as mask? Wei Chong / WeiPhotoArts
  3. Is Affinity listening to us? Will they put out a dashboard for 2018 for DAM? With the past 2 months since the last post, it's getting discouraging.
  4. WeiPhotoArts

    Affinity Photo DAM

    We all are impatiently waiting. Just a dashboard of what we can expect in 2018 must be provided. I say 2018, because your competition has drawn a line in the sand. Affinity's progress in the last 18 months (or more) has been very slow in providing the same superb, front-of-the-line technology when it started with 1.0. We will pay for 2.x, but it has to come soon, and with many more front-leading features. Not just marginal features and fixes. You're probably working your behinds off. But is there a possibility of more resources? Your competition just increased their resources by 50%+ in the last 6 months. Pls send this to your management, if they are not seeing the elephant in your room.
  5. I also vote for the question Kellyjanderson had on July 29. Here's my take on it: In Affinity Photo 1.6.6 Adjustment Panel has 20+ adjustments, not organized alphabetically nor in any order that makes sense to me. I only use about 8 adjustments, so I don’t need the others, except in infrequent cases. Is there anyway you can allow users to organize the Adjustments Panel so we can place those I use most in front? Or perhaps alphabetize them so we don’t have to go tediously searching every time I need them. Or tag them with some sort of coloring dots/scheme? Or group them into sub-groups that make sense to us? Other photo editing software has developed user-oriented work spaces that personalize how people work on images. And no, we don’t mean creating shortcut keys, because most “normal” combinations are already taken up; it’s hard to remember something that is not consistent, even if personal. WeiPhotoArts
  6. This topic must have been brought up many times, because many of us AP Desktop users want this rather simple addition: Add visible names to Brushes. Yes, we know one can hover the brushes to get the note name. But what if the one you want is 12 down from a list of 20? Not many of us enjoy hovering 12 times before finding the brush we want. And that's after we've separated the brushes into categories. Can we have the feature soon?
  7. WeiPhotoArts

    Dodge and Burn using Undo Brush tool

    Littletank, Thank you for your process of burning/dodging in Affinity Photo (AP). Sometimes forum members like myself don’t view the forums often. But when we do, and when we see something valuable, we tend to ask many questions and probe the topic a bit. I hope you will indulge my questions. I’m just trying to understand what you’re saying, as I have not used the Un-Do Brush (History Brush in Photoshop) in either software. FYI, I’ve left Photoshop a while ago, and am picking up with AP. My primary focus will be on B&W burning/dodging. Regarding your burning/dodging workflow in AP: 1. Let’s say I’m in the middle of my developing a B&W image, and want to burn/dodge. Have you found any difference between inserting a blank pixel layer or inserting a merge visible layer? Have you found the effects of burn/dodge to be the same on the merged visible layer, as opposed to the blank pixel layer? Are they the same same when viewing burn/dodge real-time? 2. What is the purpose of taking a Snapshot at the beginning of the blank pixel layer? Must the Un-Do Brush refer to this Snapshot layer? Can it be done any other way? 3. I’m curious as to why you set your Un-Do Brush at 15% opacity and leave the flow at 100%. Have you found it to be different if you set a 100% opacity and flow at 15%? Or are they the same thing…? 4. You give some good blend modes. Did you mean any difference between the “local” area of your Multiply and Screen blends and “small” areas of your Color Dodge/Burn. In other words was there any difference between “local? and ”small?” Or are they the same, if the brush strokes were over the exact same areas? Have you applied the Color Dodge/Burn to B&W images? Or did you apply only to color images? What effect did you experience, if applied to B&W images? How did you develop the blend modes as applied to areas needing burn/dodge? Trial and error? Or were there others who suggested these uses? Thanks in advance for your considerations. Wei Chong
  8. Has there been any serious thought to provide users with personalizing their UI. For example I’ve been trying to use Photo for B&W conversions and tonality changes. The Adjustments tab provides 22 possible adjustments, but I hardly use any of them, and definitely not in the order the UI provides. Software is getting more personal, and it would be effective for me to be able to choose which Adjustments I want, and in what order for a palette. Perhaps I could have a B&W Palette of Adjustments, as well as a Landscape Palette of adjustments for color. This suggested also applies to the Develop module. I know I can move around the palette tabs, but it is within each tab that I’m suggesting personalizing.
  9. Thank you kindly for your contribution. I'll be going through your pdfs soon. Lots of hard work on your part to organize and notate each vid.
  10. WeiPhotoArts

    Affinity Photo pdf manual for your enjoyment.

    Hi ve2cjw, Super Duper! Thanks a Bunch. Wei
  11. WeiPhotoArts


    DesignMeister, Sorry, I got caught up in the Holidays. I haven't yet posted the video. Look for it in early 2017. I will post it here when I create it.
  12. WeiPhotoArts

    Luminosity Masks for Adjustment & Filter Layers

    OK, smadell, here are my short questions: 1. Have you tried curves for the midtone selections? I feel the feathering in darks and lights, both being curves, are more natural. No proof, just a feeling. 2. Have you experimented by limiting your curves on the left or right? What I mean is that you change the Blending Options graph (say midtone-1, which is a symmetrical graph pointing up in the middle, but tethered to the bottom left and right points. Have you tried pulling the left (or right, or both) points away from their ends and towards the middle? If so, what have you seen in your images—and did you expect the result? 3. How do I “see” the Blending Options graph in your Luminosity Selections? I know I can “see” them in your Luminosity Blend Options for Adjustment by pressing the gear option in Layers; but when I do that in your Selections, the graph that appears just has 2 straight horizontal lines on the left and right. Wei
  13. WeiPhotoArts

    Luminosity Masks for Adjustment & Filter Layers

    To AstroMax, I've already asked Tony Kuyper about porting not only the macros, but the 3rd party menu of his TK3. This will not be done until Serif of Affinity Photo allows 3rd party html-like menus. So this is a very long-term wish. I have a request into Affinity Photo. But with the current Dashboard, given the many requests for 3rd party plugins like Topaz and Tonality Pro and others to work (they mostly don't, right now) the need for a database/browser, and the upcoming Version 2.0 later in 2017, I think this won't happen for a couple/few years. And you can be using smadell's software in any case. Wei
  14. WeiPhotoArts

    Luminosity Masks for Adjustment & Filter Layers

    Thank you smadell ! Sorry for taking so long to reply after your quick and clear answers to my long post. I thought I would reply point for point. Then I thought to myself of a different situation I faced almost a decade ago—my switch from Windows pc to Apple iMac/OS. For almost a year after my switch I ponderously applied my Windows workflow on the iMac and MacOS. I don’t know when the clouds lifted so I could understand that I had a new system—so why don’t I dive in a try the “new” way? The iMac/OS became so much easier to use. And to this day I’m so glad I switched. Same thing here. I didn’t mean to suggest that your (or anybody else’s) software should duplicate the Photoshop workflow. After all, that’s why we all switched to Affinity Photo. Your explanations of how you came up with the Blend Options made me much more comfortable about applying it to my masking. So I thought it would be better if I would take the time (and that’s why I’m late), to test your two macros with many of my RAW images that had already been tweaked in Lightroom. But were looking for some tone adjustments and some luminosity adjustments. I began to learn how to employ both macros. Luminosity Selections to determine what luminosity mask(s) to use, and Luminosity Blend Options to implement the adjustments. In all of my test cases, the macros helped improve the images by providing the mask and feathering it automatically. I’ve also learned to “read” marching ants masks and use AP’s masking tools to visualize what the mask looks like, to be better prepared to use the luminosity mask adjustments. As an aside, I also learned how to change the Luminosity Selection masks, in case the marching ants did not exactly fit the mask I was looking for. So again, thanks for your generosity sharing your efforts, your software, your explanations, and your support. Please keep both macros active. I use them both! Wei PS: My efforts in applying your macros led to more curiosity questions, which will be in the next post. This time, a bit shorter than last time...
  15. WeiPhotoArts

    Luminosity Masks for Adjustment & Filter Layers

    madell, Thank you kindly for posting both the Luminosity Selections and the Luminosity Blend Options on Adjustment Layers and Filters. Since the former Beta 1.5 RC-1, I’ve been trying to learn your Luminosity Selections for my future luminosity masking work on Affinity Photo. I have been able to test the selections and use them for masking in my work. I’ve also tested them on a grayscale with Tony Kuper’s TK-3 actions in Photoshop CS5. They match very closely in selection, and my AP use of the masking, though quite convoluted, also seem to match quite well. But I was wondering about the convoluted part, when your new Luminosity Blend Options came out recently. “smadell must have been listening to my requests,” I thought. So I have two rather long requests. If this is not the forum for this, Moderator, let me know and I can email smadell, if that is acceptable. Request 1 (Luminosity Selections): a. I’m not familiar with AP macros. Is it possible to easily edit your macros to add an extra channel and rename it? Can you explain how it can be done, or create macros that can? b. I can then probably create a small macro to Load my desired channel into the adjustment layer (that I’ve already chosen). This “mask” should then work. c. Question: Some of my selections of darks, lights, or midtones are so complex and busy, it is hard to see what areas are actually masked. I’d like your opinion of what I did to visualize the mask. I’ve tried to load this selections, say Darks 3, into Background Alpha. This seems to give an inverted mask, where all the darks I want are dark or black, and all other luminosities are in different shades of white. If I then right-click on Background Alpha and select Invert, the picture seems to come out with a white mask (where I want to affect with the adjustment layer to affect dark areas), and all other parts seem to be in muted colors. Is this the mask of the traditional luminosity mask in Photoshop? Regarding this point, I need to back out of this Background Alpha by 2 cntl-z ‘s, or the picture becomes totally mashed up. Can you confirm this happens to you, too? Request 2 (luminosity Blend Options) While my testing showed your Luminosity Selections closely follows the selections of the original Luminosity Masking work of Tony Kuyper, the work on luminosity Blend Options seems to differ. Please see the examples attached. They are jpegs that have been reduced in size for this forum to 1000 pixels on the long side, but the results show differences in the Luminosity Selections versus Luminosity Blend Options when adjustments are made and then viewed in full jpeg. 3 pictures below include the untouched gradient (0-AP-BW-Gradient-20161211), and luminosity mask (1-AP-BW-Selection-L1-20161211), & luminosity blends (2-AP-BW-BlendOption-L1AF-20161211), each applied to the untouched gradient with the same Levels Adjustment. This same levels adjustment was applied to photo 01 and 02 as such: Levels-Applied-to-1&2.jpg It may be due to the fact that I’m not following a correct workflow. And I did notice when editing your macros for Luminosity Selections that you do use blend options there, too—as compared to the tradition Kuyper slicing and dicing of the luminosities by working selections on themselves. To better understand your Blend Options, I’d like to ask how you came up with the right had graph of the blend options screen? It appears that some pixels across the board (of luminosities) are selected, when in fact some should absolutely be excluded. Or maybe I’m just reading the Blend Options graph wrong. For example, in Darks1 for Adjustments and Filters, Darks1-Blend-Options.jpg the downward sloping line from upper left to lower right implies that some pixels from the left half of the graph will be picked (as they should, as this is darks 1), but some pixels (about 50%) from the whites will be picked also (in lessor amount), up to the highest luminosities. This is what I see in my examples above when I use Levels to test. BTW, I would like to understand how you came up with the other blend option graphs also, Darks 2, Dark 3 and Dark 4, as well as the midtones. Am just interested in how one works the blend to come out with a masking scheme. I tried a couple of months back, and all I could come up with was graphs with vertical & horizontal lines—before I gave up. On the other hand, Levels changes with your Luminosity Selections macros (turned into masks) confine most all the the Level changes (and I might add curves) to those area of the mask. Finally, when I get into the Darks 3 and Darks 4, comparing them to real images that I took, the effect of masking and blend options seem to be fairly near in effect, though not exact. Sorry for the long-winded explanation, but I’m just trying to understand this masking and how blend option (hopefully) can provide a more efficient (no channels!) and easier method to apply blends (masks) to images.