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dkj

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  1. Thanks
    dkj got a reaction from Jaimoe in How to copy masks between adjustment layers   
    (My apologies if this same procedure has been posted previously.)
    Suppose you have two adjustment/filter layers called "SourceLayer" and "DestinationLayer".
    Suppose you've created a mask on SourceLayer, so that it affects only part of your image.
    Suppose you want DestinationLayer to affect only that same part of your image.
     
    1. Select SourceLayer.
    2. On the Channels tab, right-click SourceLayer Alpha.
    3. Choose Create Spare Channel from the menu.
    4. [Optional] Rename "Spare Channel" to "SourceLayer Mask".
    5. Select DestinationLayer.
    6. On the Channels tab, right-click the icon of SourceLayer Mask.*
    7. Choose Load to DestinationLayer Alpha from the menu.
     
    DestinationLayer will now affect the same part of your image as SourceLayer.
    *If you don't click the icon, you won't see the "Load to..." menu selection. This is a (minor) bug in Affinity Photo.
  2. Thanks
    dkj reacted to G13RL in Text inside callout   
    In Designer you can place the callout shape, duplicate it. Select the original (at the bottom of the layers), "Layer", "Convert To Text Frame", type the text. Then, in the layers, nest the text in the upper callout shape.

  3. Thanks
    dkj reacted to thomaso in Text inside callout   
    Currently it is possible only in Af Publisher, where you also have an additional Text Frame Panel which enables you to set text frame properties, e.g. fill and stroke.
    In Af Designer the shape object loses applied fill and stroke when it gets converted to a text frame and gives you access to font properties only, regardless of the way of conversion. That means in Designer you need to use a separate text object as a workaround, placed above the callout shape. In APub you can type directly in the callout shape and set font and frame properties independently.
  4. Thanks
    dkj got a reaction from im140.6 in How to copy masks between adjustment layers   
    (My apologies if this same procedure has been posted previously.)
    Suppose you have two adjustment/filter layers called "SourceLayer" and "DestinationLayer".
    Suppose you've created a mask on SourceLayer, so that it affects only part of your image.
    Suppose you want DestinationLayer to affect only that same part of your image.
     
    1. Select SourceLayer.
    2. On the Channels tab, right-click SourceLayer Alpha.
    3. Choose Create Spare Channel from the menu.
    4. [Optional] Rename "Spare Channel" to "SourceLayer Mask".
    5. Select DestinationLayer.
    6. On the Channels tab, right-click the icon of SourceLayer Mask.*
    7. Choose Load to DestinationLayer Alpha from the menu.
     
    DestinationLayer will now affect the same part of your image as SourceLayer.
    *If you don't click the icon, you won't see the "Load to..." menu selection. This is a (minor) bug in Affinity Photo.
  5. Thanks
    dkj reacted to Alfred in Affinity Designer pen tool   
    Square => sharp node
    Round => smooth node
    Dot => smart node
     
  6. Like
    dkj reacted to firstdefence in James Ritson and Technicolor   
    Ive just had a mix around with the HSL settings and it took a bit of fiddling but I got this result.

     
    lake view tweaked.afphoto
  7. Like
    dkj reacted to Mareck in James Ritson and Technicolor   
    Like he said at the very beginning of the vidéo (18'), it's usually used for skin tones (portraits), like LUTs they are made for specific conditions.
    So you can apply an indoor color correction to an outdoor picture but it'll look weird, same here.
  8. Like
    dkj reacted to carl123 in Macro to add border   
    To move a layer with a macro do not try to drag the layer in the layers panel
    Just record selecting the layer then from the menus use
    Arrange > Move back One
  9. Like
    dkj reacted to James Ritson in Sharpening filters   
    Hi djk, here's a brief rundown of each filter:
     
    Unsharp Mask uses the traditional approach of comparing and subtracting a blurred (or "unsharp") version of the image (or pixel layer). It's the most configurable of the sharpening filters as you can control the factor (strength) and threshold (how much to subtract based on the comparison). For most use cases, this is your go-to filter for sharpening.
     
    High Pass is a little more straightforward: it simply passes parts of the image (or signal) above a certain frequency and attenuates anything below it. This filter is used as part of Photo's automated Frequency Separation filter for retouching, but you can also use it for detail enhancement. Applying it as a Live Filter layer then altering its blend mode (e.g. to Overlay/Hard Light) allows you to be somewhat creative with your sharpening: use smaller radius values for fine detail sharpening and higher radius values for local contrast enhancement.
     
    Clarity has had an overhaul in the Develop Persona, so it now behaves differently compared to its implementation in the Photo Persona. In Develop, it performs quite a strong local contrast enhancement (punchy mid-tones, increase in "perceptual" sharpness). In Photo as a filter/live filter, it's basically Unsharp Mask with a blend mode - or at least it should be. As of the latest release version, it no longer appears to be any different from Unsharp Mask, which is a bug and will be reported...
     
    Detail Refinement in Develop is basically Unsharp Mask - the percentage suggests it might be adaptive but I don't believe this is the case, just treat it as the radius.
     
    Hope that helps!
  10. Like
    dkj reacted to lepr in Filters and adjustments   
    .
     
  11. Like
    dkj reacted to v_kyr in B&W Adjustment vs. Desaturation   
    See for example:  Seven grayscale conversion algorithms...
  12. Like
    dkj got a reaction from R C-R in How to copy masks between adjustment layers   
    (My apologies if this same procedure has been posted previously.)
    Suppose you have two adjustment/filter layers called "SourceLayer" and "DestinationLayer".
    Suppose you've created a mask on SourceLayer, so that it affects only part of your image.
    Suppose you want DestinationLayer to affect only that same part of your image.
     
    1. Select SourceLayer.
    2. On the Channels tab, right-click SourceLayer Alpha.
    3. Choose Create Spare Channel from the menu.
    4. [Optional] Rename "Spare Channel" to "SourceLayer Mask".
    5. Select DestinationLayer.
    6. On the Channels tab, right-click the icon of SourceLayer Mask.*
    7. Choose Load to DestinationLayer Alpha from the menu.
     
    DestinationLayer will now affect the same part of your image as SourceLayer.
    *If you don't click the icon, you won't see the "Load to..." menu selection. This is a (minor) bug in Affinity Photo.
  13. Like
    dkj reacted to toltec in Re-using masks   
    Select the Adjustment layer. In Channels, right click on the Adjustment Alpha channel and click Create Mask Layer
  14. Like
    dkj reacted to Fixx in RAW development   
    There is a lot of more information in RAW file than in developed image. In develop you throw that information away so it is wise to choose what to throw in develop module. Black and white point setting, highlight recovery are the most important operations. Also, noise removal in develop has some merits, you do not have to "rasterize" a layer to apply noise removal.
    That said, if you work in 16-bit wide gamut color space there is still much information left to fiddle with exact white and black point setting and tone curve etc.
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