WeiPhotoArts

Based on a recent thread started by user Steps, I have finalized and am attaching a macro called "Graphic Novel Effect." It is similar to the "Paint by Numbers" macro I created a while back, but offers better control of the black outlines that are needed in a cartoon or a graphic novel illustration.
The attached file is a macros category (not a single macro) and can be imported through the Affinity Photo Library panel. Once inside Affinity Photo, the category contains a single macro which can be moved into a different category (by dragging it) if desired. Since it is provided as a category, it can also be imported into the iPad version of AP.
When you use the macro, it creates a number of layers inside a group (which can be turned on and off to show or hide the effect entirely). The user is presented with 5 options in a dialog:
1) Posterize - How Many Colors?
The macro is preset to 5 color levels, but anywhere between 4 and 6 generally gives a decent result.
2) Outlines - Adjust Black [line thickness]
This option is preset to 50%, but changing the value will make the black outlines more or less prominent.
3) Outlines - Adjust White [fill smoothness]
This option is preset to 90%. Changing the value will affect the fill (inside the outlines). Keep the value above the value set in option #2 (line thickness).
4) Finish - Adjust the Brightness
5) Finish - Adjust the Contrast
These are preset to Brightness = -15% and Contrast = +30%. Changes made here will have the obvious results, and should be considered a finishing touch.
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As always, I am one person with one computer and have not tested this in every possible scenario. Try it and, if you like it, keep it and enjoy it. This forum has provided me with so many good ideas and answers to questions; this macro is another attempt to “pay it forward.”
Graphic Novel Effect.afmacros

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?

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?

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?

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?

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?

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?

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?

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?

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?

Hello alescspra—
 
The gradient map lets you selectively color luminosity ranges of a photo (either color or b&w). Very crudely, the left end is the darker ranges; the right is the lighter ranges; the middle is, well, the midtones. If you select one of the stops on the gradient map, you can change the color used to replace the tone you're working on. I realize that might be a bit confusing, so you might look at the video I made that uses the gradient map to give a photo a vintage look. The first thing I do is apply a gradient map, about 10 seconds in:

 
I will try to make another video showing a more robust use for the gradient map—you can use it to create sepia tones (sort of what I did in the video) or selenium or tinted b&w.
Best,
Darin

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.

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

not mentioned, but implied: use of blend options allows you to precisely feather the range of luminosity affected by the layer (using curves instead of linear selections). The range defined can thus be very precise and appropriate to the image at hand -- something not possible in PS. 
 
Michael

Hey, WeiPhotoArts…

First, the simple stuff. Yes, one of your responses in the original Luminosity Selections post was the reason I started thinking about the second set of macros. And, in response to your question about creating, naming, and utilizing additional channels, AP macros can create additional channels and use them, but I have not found a way to (i) rename them, (ii) select them based on name, or (iii) delete them based on name. Any new channel you create in a macro will be called “Spare Channel.” As far as utilizing the Background Alpha channel, I have simply not mastered that one.

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About the macros themselves. Both the Luminosity Selections and the Luminosity Blend Options… macros are based on altering the Blend Options of the layers to which they are applied. The only real difference is that the Luminosity Selections macros apply blend options based on the luminosity of the selected pixel layer; the Luminosity Blend Options for Adjustments macros apply blend options based on the layers underneath the selected one.

Think about it this way. Open a photo and you have created a pixel layer called “Background.” Now apply an adjustment layer, which sits above the pixel layer. The Luminosity Selections macros can be applied to the Background (pixel) layer; the Luminosity Blend Options for Adjustments macros can be applied to the Adjustment Layer.

Both sets of macros use the same values in the Blend Options panel - the difference is only whether they evaluate the Source Layer (the left graph) or the Underlying Composition (the right graph).

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As to my choice of values in the Blend Options graphs, my thinking was generally as follows.

1) Luminosity based selections/masks apply differing amounts of selection based on the whiteness or blackness of any given pixel. If you accept that premise, then every pixel in an image should have a corresponding amount of selection.

2) In the simplest case (Lights 1), the graph is a straight line. Pure black is 0% selected, Pure white is 100% selected, Neutral Gray (50% gray) is 50% selected.

3) In creating a curve for Lights 2, I applied the equation y = (x*x), where y is the percentage of selection and x is the percentage of luminosity. So, Pure black is still 0% selected (since y = (0 * 0)) and Pure White is still 100% selected (since y = (100% * 100%)). However, Neutral gray is only 25% selected (since y = (50% * 50%)). Think of this as applying a luminosity selection, then applying it again.

4) Values for the Lights 3 and Lights 4 selections extend that same thinking. For instance, in Lights 3, neutral gray is selected (50% * 50% * 50%). The blend options curve for Lights 3 therefore has a point where 50% on the x axis (luminosity) has a corresponding value of 12.5% on the y axis (percent selection).

5) The Darks 1, 2, 3, and 4 curves are simply the inverse (mirror image) of the Lights curves.

6) The Midtones curves start with the assumption that Neutral Gray should be selected 100%. The other values include 0% selection for both Pure Black and Pure White. This results in a triangular selection with the top of the triangle at x=50% and y=100%.

7) The Midtones 1 curve, therefore, has a value of 50% selection (y axis) for both 25% luminosity and 75% luminosity (x axis). The Midtones 2 curve changes that to a 25% selection (50% * 50%) for these points. And so on…

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As to your other concerns, I can only offer the following. First of all, I don’t own Photoshop and I have no experience with Tony Kuyper. I have applied my own logic to the construction of luminosity selections/masks, and have not relied on the work of others. As such, there may be differences in results. Second, my understanding is that Photoshop relies on “intersecting” selections, and this is done differently in Affinity Photo. A direct implementation of Photoshop methods may simply not be possible. AP is, in my estimate, the more elegant of the two.

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Last, you suggest that your results differ when you use corresponding macros from the two sets. This should not be so, since the blend options curves are the same.

I started with a simple White to Black gradient.



I then applied the Darks 2 Luminosity Selection macro.



With that selection active, I added a Recolor adjustment (using the default value of pure red). This is the result I got.



Then, I started with the White to Black gradient again, added the Recolor Adjustment, and applied the Darks 2 Luminosity Blend Options for Adjustments macro with the Adjustment Layer selected. This is the result.



To my eye, the two results are exactly the same.

Ohh man I know this not like having vector arrow heads but you could just make your own "Texture Intensity Brush"  I think it would solve your problem until they implement that feature. I hate to see you blow a gasket over a arrow head option.
 
 
Here, I made you a couple just import this brush set. Adjust the stroke, modify the butt cap. and change the color. This should least give you the basics and you can use it with a brush, pen or a pencil.
 
 

Arrow heads.afbrushes.zip

I can't speak for others, but my workflow probably parallels the one you were mentioning. I do most of my raw processing in workflow tools - Dxo Optics Pro or CaptureOne - and do my external editing for functionality not covered in those using Affinity Photo Beta. To do that I send tiffs to APB, do my layers/selections/masking/other using that tiff, and then send the result back to my workflow tool. In essence my processing is as it was before, except I am using APB as a replacement for Photoshop CC. That processing flow will also include plugins when the APB developers have smoothed out the plugin interface.
 
As to the differences between the Develop Persona and the Photo Persona, it seems to me that it closely parallels the normal raw pixel editor flow with a separate editor for raw and for post-raw. Photoshop uses ACR and PS as editing tools, Corel has a similar pair of functionality as does Acorn. I can not speak as to the philosophy, but the approach is widely used in the editing community.
 
Don't know if any of this answers your questions.

Purpose: Features / Improvements / Fixes
Status: Beta
Requirements: None
Mac App Store: Not submitted
New beta sign-ups: https://affinity.serif.com/photo
Update: Run the app to get the link
 
Features / Improvements / Fixes
 
- New “live filter” layers (experimental). More to come.
- New Option-Click a layer to edit in isolation - including mask support.
- New “Paste to new document”.
- New ability to add “chords” of colour (complementary, analogous, triadic, etc.) from the Colour or Swatches panels.
 
- All filter panels now support “mirror” before / after, as well as “split”.
- Can toggle visibility of multiple layers using the layers tab.
- Brush presets can now have an attached tool. Selecting the preset will automatically switch to the associated tool.
- Assistant option to control how brushes are shared between brush tools.
- Improvements to Info panel - including memory information.
- Edit->Fill now works properly on mask layers.
- Delete button on adjustment panels now always deletes the whole adjustment.
- Guides can be specified and viewed as percentages.
- Improved polar / rectangular commands.
- Fixed weird colour issues with blur brush.
- PSD import improvements - curves, CMYK, etc.
- Slice export improvements.
- Improved default Vignette settings. More to come.
- Many bug fixes and stability improvements.
- A new sample.
 
- Fixed significant ICC profile problems in Develop Persona.
- Develop Persona now has the Info panel - so the sampler tool has been removed.
- Develop Persona will properly import and apply exposure bias.
- Develop Persona now applies user exposure adjustments correctly.
 
- New / improved camera support for:
BlackMagic Pocket Cinema Camera, Production Camera 4k Canon PowerShot A550, A3300 IS, G1 X Mark II, G7 X, SD950, SX60 HS, EOS 7D Mark II, EOS 20Da, EOS 60Da, EOS 1200D, EOS-1D C Casio EX-FC300S, EX-FC400S, EX-Z1080, EX-ZR700, EX-ZR710, EX-ZR750, EX-ZR800, EX-ZR850, EX-ZR1000, EX-ZR1100, ZR1200, ZR1300, EX-ZR1500, EX-100, EX-10 Digital Bolex D16,D16M DJI 4384x3288, Epson R-D1s, R-D1x FujiFilm E505, S1, S205EXR, HS10, HS11, HS22EXR, HS33EXR, HS35EXR, F505EXR, F605EXR, F775EXR, F900EXR, X100T, X30, X-T1, X-T1 Graphite Silver Hasselblad H5D-60, H5D-50, H5D-50c, H5D-40, H4D-60, H4D-50, H4D-40, H4D-31, H3DII-22, H3DII-31, H3DII-39, H3DII-50, H3D-22, H3D-31, H3D-39, H2D-22, H2D-39, CF-22, CF-31, CF-39, Stellar II,HV HTC UltraPixel Imacon Ixpress 96, 96C, 384, 384C (single shot only),132C, 528C (single shot only) ISG 2020x1520 Ikonoskop A-Cam dII Panchromatic, A-Cam dII Kinefinity KineMINI, KineRAW Mini, KineRAW S35 Kodak DCS460D, S-1 Leaf Credo 50 Lenovo a820 Leica Digital-Modul-R, D-Lux (Typ 109), M (Typ 240), Monochrom (Typ 240), M-E, M-P, R8, S, T (Typ 701), X (Typ 113), X2, X-E (Typ 102), V-Lux (Typ 114), Matrix 4608x3288 Nikon D4s, D600, D610, D750, D800, D800E, D810, D3300, D5500, Df, 1 J4, 1 S2, 1 V3, Coolpix P340, Coolscan NEF Nokia 1200x1600 Olympus E-450, E-600, E-PL6, E-PL7, E-M1, E-M10, E-M5 Mark II, SP565UZ, STYLUS1s Panasonic DMC-CM1, DMC-FZ7, DMC-FZ70, DMC-FZ1000, DMC-GF7, DMC-GH4, AG-GH4, DMC-GM1s, DMC-GM5, DMC-LX100, DMC-TZ60/61/SZ40, DMC-TZ70 Pentax GR, K110D, K-01, K-S1, Q, QS-1, 645Z PhaseOne IQ250, IQ260, IQ260 Achromatic, IQ280, Achromatic+, P 20+, P 21, P 25+, P 30+, P 40+ Ricoh GXR MOUNT A12, GXR MOUNT A16 24-85mm F3.5-5.5, GXR, S10 24-72mm F2.5-4.4 VC, GXR, GR A12 50mm F2.5 MACRO, GXR, GR LENS A12 28mm F2.5, GXR, GXR P10 Samsung GX-1L, NX1, NX5, NX1000, NX1100, NX30, NX300, NX300M, NX3000, NX mini, Galaxy S3, Galaxy Nexus Sigma dp1 Quattro, dp2 Quattro Sinar eMotion 22, eMotion 54, eSpirit 65, eMotion 75, eVolution 75, Sinarback 54 Sony A7 II, A7S, ILCA-77M2 (A77-II), ILCE-3000, ILCE-5000, ILCE-5100, ILCE-6000, ILCE-QX1, DSC-RX100III, DSLR-A560, NEX-VG20, NEX-VG30, NEX-VG900, IMX135-mipi 13mp, IMX135-QCOM, IMX072-mipi

Talking about far exceeding expectations in a Beta!

I just bought a Nikon D7200 (available just Mar 20), and of course, no one except Nikon had support for NEFs (RAW files). Not Adobe in LR5 nor Photoshop. So I thought just for the hell of it I would just try Affinity Photo Beta to read D7200 NEFs.

WoW! The Beta read in the files, and I’ve been able to use the Develop Persona to process the NEFs into Affinity files and Tiffs (I’m sure the other file types will work, with the changes incorporated into the files). I was able to import LR5 the Affinity-processed TIFF file into Adobe LR5. Can you imagine what Affinity can do, being so far ahead of Adobe…in Affinity’s Beta? Affinity’s quick, nimble and more than satisfying our high expectations.

FWIW, you need to know that the D7200 NEFs start their process at near RAW (no Nikon coloring); I guess that would be their FLAT mode. But that’s how I want my RAW files to be, with most information packed into file, for later processing. And this finding applies to the Beta I just uploaded, 1.1.2.24216.

In another post I will have some ideas for consideration in providing “filters” for the NEF RAW files (as well as Canon’s RAW files) that would incorporate Picture Control (Nikon—or Canon/Sony’s—similar coloring) options.

Thanks again, Affinity team.

Talking about far exceeding expectations in a Beta!

I just bought a Nikon D7200 (available just Mar 20), and of course, no one except Nikon had support for NEFs (RAW files). Not Adobe in LR5 nor Photoshop. So I thought just for the hell of it I would just try Affinity Photo Beta to read D7200 NEFs.

WoW! The Beta read in the files, and I’ve been able to use the Develop Persona to process the NEFs into Affinity files and Tiffs (I’m sure the other file types will work, with the changes incorporated into the files). I was able to import LR5 the Affinity-processed TIFF file into Adobe LR5. Can you imagine what Affinity can do, being so far ahead of Adobe…in Affinity’s Beta? Affinity’s quick, nimble and more than satisfying our high expectations.

FWIW, you need to know that the D7200 NEFs start their process at near RAW (no Nikon coloring); I guess that would be their FLAT mode. But that’s how I want my RAW files to be, with most information packed into file, for later processing. And this finding applies to the Beta I just uploaded, 1.1.2.24216.

In another post I will have some ideas for consideration in providing “filters” for the NEF RAW files (as well as Canon’s RAW files) that would incorporate Picture Control (Nikon—or Canon/Sony’s—similar coloring) options.

Thanks again, Affinity team.