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BeauRX

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  1. To better understand how the adjustments work I use test images. Here I used an image with gray segments 0, 32, 64 … 255 to test the Levels Adjustment. As expected, increasing the Levels>Black Level incrementally changed the darker segments to black until all segments were black. Decreasing the Levels>White Level incrementally changed the lighter segments to white. But at 1% the last segment was still black and when slid to 0%, rather than turning the whole image white, the whole image turned black. The picture below are the initial unmodified image, Levels>White Level = 1%, and Levels>White Level = 0%.
  2. There may be a reason/use case for defaulting retouch tools to (current layer) that I am not aware of, but it seems that if users follow the non-destructive approach of using new layers for edits the most likely scenario is retouching on a new layer hence needing (current layer and below). So I would like (current layer and below) as default for the retouching tools. As a beginner it would be just one less setting to remember/forget. Thanks
  3. Affinity, I started out with no photo editing experience and AP 1.6. I bought the AP workbook and watched that generation of videos. I also watched and read about more generic editing aspects via Photoshop information on the net. I feel like I achieved a basic editing/AP proficiency. But there are still use cases like above that are procedural and not immediately obvious, if one does not know if available. In this case, it works one way and not another and is not clear that/why the other way does not work. At one point I did try the way that does not work. Please document/video more of these types of important features/capabilities (i.e. ones without specific menubar items), especially since the release of 1.7. Thanks.
  4. I’m using the Mac version of AP, the printer setup page preview will display a red overlay if the image size exceeds the paper size. Not sure why you can reduce print area, there is a “fit” option on my printer. You could also try scaling way down to test e.g. 5%.
  5. I have read a bit about creating ebooks and looked at Publisher, but would like to hear from someone with experience. I am also an Affinity Photo user so would like to leverage my Affinity experience on Publisher. Would Publisher be a good tool for developing an ebook with photos/images? Either directly or indirectly? Thanks
  6. As in the videos, I was able to "offer up" two masks to the same adjustment and that worked. Thanks for that. Could you provide a bit more detail on the add/substract on the same mask. I created a tonal mask then loaded a selection from another layer and got the marching ants but there was no way to add/subtract the second selection (like with selection brush tool bar). Do I need to be in a certain mode?
  7. Affinity has lots of aspects and tools to manipulate, which is great, but creates a lot of permutations to try when figuring something out. I know how to create a mask and then edit it directly with a brush to refine it. Wondering if there is a way to effectively "combine masks" or different selection techniques? For example a mask created from a tonal range with a mask created by selecting objects via the selection brush? I have tried a few things which kind of look like they work but then do not perform as expected such as selecting a mask and loading a selection from other layer. Any help appreciated, or if I'm wasting my time. I would also like more videos on topics like these for beginners-with-some-experience since this is an area where other vendors videos do not necessarily help. Thanks
  8. Cancel that... I'm using the Mac version. It looks like I was mistaken about which settings were where. I have a Canon multi-function/photo printer MG8220 (not dedicate photo printer) which apparently does not have the RI/BPC in the driver settings either with 1.6.x nor 1.7.x. But thanks for your help anyway.
  9. In 1.6.x the rendering intent and BPC options appeared in the SoftProof and printing dialogs so the scope of the settings seemed pretty intuitive. Clearly moving the settings from print dialogs to AP Preferences allows persisting them. I just wanted to clarify that the settings in Preferences apply only to printing and those in soft proof locally override the preference only for the soft proof. Thanks
  10. The videos are great and have been extremely helpful to learn both digital editing in general and AP. Having been through the complete list in the last year at least once, I periodically return looking for new ones as I gain more experience and the product matures. The list has grown substantially and finding the new ones is becoming a challenge. Wondering if you guys could add the publish date, or some other way to find finding new videos since a previous visit much easier. Thx
  11. I am new digital editing, but agree that the Flood Select Tool could be enhanced. I am taking a photo club course and ran across a problem with the homework. During class the teacher used Photoshop-Magic Wand which worked to select the sky in the attached photo, but I can't do the same with Affinity Flood Select Tool. I attached is a small section of the original photo to demonstrate. The photos have a grainy sky (I expect due to reduced size). While the Affinity Flood Select Tool seems to “find” and band all the the discontiguous sky regions, there are dark pixels on the white bands, which I’m guessing are out of tolerance. Then the marching ants border the whole picture rather than the sky regions. Admittedly the pixel values vary significantly but even raising the tolerance to 100% will select birds and bushes before all the sky pixels, per quick mask. Thanks
  12. Im new to digital photography processing and have a basic question regarding pre and post-develop editing. Given the non-destructive capability of editing with layers post develop, I don’t see any reason to do more than the minimum of global edits available prior to developing. Is there something I am missing? My understanding is that the “develop" process de-mosaics the individual R, G, or B sensor pixels to uniform pixels each with R, G and B values. From what I read the developed native Affinity Photo format can accommodate 16/32 bits per channel, so it would seem that there is no loss of dynamic range until generating/exporting to an 8 bits per channel format e.g. JPG. Is there a technical benefit to doing some of the edits beyond the most basic ones, e.g. exposure, before developing? The only reason I could imagine, is the changes would somehow be done before or as part of the de-mosaicing process. My class instructor is using Camera Raw and Photoshop, but I think the same apply.
  13. Excepting iPhone photo editing, I am new to both Affinity Photo and digital post-processing, so on a steep learning curve. The Affinity Photo videos, help, and workbook are all great. I have joined a local club and am taking classes too. With Adobe’s large market share, discussions regularly end up talking about feature X or tool Y in one of the Adobe products. So one of the challenges I still face is figuring out the Adobe software features and nomenclature and then translating the to the corresponding Affinity counterpart. Many software companies have challenged the dominant player by creating a help/guide mapping the dominant software usage to corresponding features in their products. Thanks for considering this.
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