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James Ritson

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Everything posted by James Ritson

  1. Hey Fritz, any chance you could try the following? With your document open, go to Document>Flatten, then go to Document>Colour Format>RGB (8 bit) Are the results as expected? If so, you can then go ahead and export to JPEG and your image will look fine. If the result looks like the exported JPEG then we have a problem... (Please let me know how you get on!) Thanks, James
  2. Hey Littletank, the tone curve is simply a way of presenting a (hopefully) good tonal starting point when you develop your RAW file. RAW files go through a number of operations before the end user sees the result - including a transform from linear light to display referred, which includes gamma correction. On top of this, a tone curve is added to produce a more palatable result that looks similar to the output you would get from in-camera JPEGs. Choosing not to apply the tone curve skips this step, so effectively you'll see a flatter image with less contrast. In my RAW workflow I pretty much always take the tone curve off. Along with the Highlights slider (which has a more pronounced effect without the tone curve), this allows me to shape the image tonally exactly how I want. I'd recommend giving it a try, especially if you're working with images that were taken under tricky conditions - low light, bright skies, etc. Pretty much any RAW converter will add a tone curve to the image. Some software, including Photo, allows you to control this step if you prefer to work without it. Hope that helps!
  3. Ah, the issue is working within the constraints of the forum software unfortunately (including image limits per post for the YouTube/Vimeo icons!). Hmm, this will require some more thought...
  4. Hey all, stay tuned for some new videos soon - in the meantime, I've started experimenting slightly with the way the tutorials on the first post are formatted. To start, I've begun adding links to both Vimeo and YouTube versions, as it's clear that Vimeo doesn't work too well for a number of people. Additionally, I've also tried adding descriptions and keywords for the videos - the idea being that you can do a browser page search and hopefully narrow down what you're looking for. What I'm not sure about is whether this justifies "muddling" the layout (see the Beginners section which I've formatted). Imagine all 200+ tutorials looking like this - I'm worried it will become too overwhelming. Any thoughts from yourselves as customers would be much appreciated! Perhaps take away the description and just have the keywords? What do you think? Thanks all, looking forward to posting some new videos soon.
  5. Hey all, just a quick post - during a dry spell I rerecorded Live Perspective Projection (better example) and did a new video on Dual Perspective Correction. Here are the links: Live Perspective Projection Dual Perspective Projection They've also been updated/added to the first post. Hope you find them useful!
  6. Hey Mike, there are no technical advantages/disadvantages, no quality implications or anything of that nature. Simply put, you can use the Develop persona to apply various adjustments and corrections to a JPEG image if you prefer its workspace, then continue to edit in the Photo Persona for access to the wider array of tools. Hope that helps.
  7. Hi Greg, at first I thought you may have been referring to issues when opening JPEGs tagged with Adobe RGB. I've also had this issue with Olympus JPEGs and it's because the colour space can be tagged a number of ways in the EXIF data. It's possibly the Interoperability Index which the upcoming 1.6 release will recognise. However, I then realised that you're referring to having "Convert opened files to working space" checked, and this also affects the Develop Persona. Truth be told, I'm not convinced it should actually be doing this - Photo's RAW editing is performed in 32-bit float with a wide linear colour space, and in this sense a working colour space is somewhat arbitrary. However, for a closer match initially to the in-camera results, make sure you set the "32bit RGB Colour Profile" instead of "RGB Colour Profile" to Adobe RGB. This will change the way the colour values are initially assigned. Don't forget, however, that you can enable the Profiles option and change your output profile (which is what Photo converts to when you click Develop). By default, Photo will convert to whatever your normal "RGB Colour Profile" is set to - usually sRGB. Apologies as your query threw me at first - RAW files don't have a set colour space, they come in as scene-referred and are mapped to a colour profile during the development process, which in Photo's case is a linear ROMM RGB profile (otherwise known as ProPhoto). Typically, with default settings, the colour space is then clipped and rounded to sRGB when the Develop button is clicked, but you can of course change this; either individually by using the Profiles option, or by changing the default colour profile in Preferences>Colour. Hope that helps!
  8. Hey, worry not, this is coming soon in 1.6! You can actually access it now if you fancy downloading and trying the beta (see the latest thread in the beta forum: https://forum.affinity.serif.com/index.php?/forum/19-photo-beta-on-mac/) To access it, apply Equirectangular Projection as usual, then on the top context toolbar, you've got two new options: Straighten and Centre Coordinate System. To use Straighten, pan around to an obvious area where the horizon is tilted, then click-drag the dropdown arrow and drag left or right until you've corrected the tilt. As soon as you let go, the coordinates will be changed. If this is your only edit, just remove the live projection and you're then good to go! Centre Coordinate System is more of an aesthetic feature, it just allows you to change the centre point, so you can modify how the unmapped image looks before it's projected. Hope that helps!
  9. Hi isiria, from the screenshot you've attached, you're currently in the Export Persona. You need to switch across to the main editing workspace called the Photo Persona, then you'll find you have access to the full range of studio panels including Macro and Library. See the attached image for reference (the purple icon is the Photo Persona). Hope that helps! PS Additionally (once you're in the Photo Persona), one thing you can do is simply drag-drop the .afmacros file straight into Photo's workspace - when it imports the macros, it will automatically open the Library panel for you, saving you from having to do it manually.
  10. Hey, thanks for posting, I do a lot of landscape photography so will chip in here: RAW files: on the surface, you would be forgiven for thinking there's not a lot of wiggle room for tonal manipulations. What I tend to do, however, is disable the automatic tone curve that's applied. Once you do this, developed RAW files appear slightly duller since only gamma correction is applied. From here, the Highlights slider is much more powerful, and you can use Curves and other adjustments to completely shape your image how you want tonally. Here's a video where I disable the tone curve option at the start and go on to develop the RAW file. I actually comment on the fact that there's a lot of workable dynamic range considering the camera (Panasonic GH2): Lens corrections: the iPad version of Photo uses Apple Core Image RAW exclusively, and there's definitely automatic lens correction applied. If your images look corrected in Photos (or you know that your lens is supported by Core Image RAW), then you'll be good to go. Currently on the iPad version the mask preview support is lacking. On desktop, you can Option/Alt-click to isolate the mask but you can't do that yet on iPad unfortunately. Copying a mask to another layer: you can either Select the mask, go to the Commands menu (three dots), Duplicate, then tap-drag the duplicated mask and drop it inside whichever layer you want. Select the mask, go to the Channels studio. Select Mask Alpha, tap three dots then Create Spare Channel. You now have a spare alpha channel which you can "load" into any layer. E.g. you could load it into another pixel's alpha channel, or create a new mask and load it into that. Masks via colour ranges: Select the layer you want to base the colour range off. Either: Tap the Selections Persona (lasso icon, top left). Now on the Commands menu (three dots) choose Select Hue Range and you can choose from reds/greens/blues. Go to the Channels studio. Tap the three dots next to the layer name's Red/Green/Blue channels and choose Create Mask Layer. Alternatively, you can also tap the three dots next to any composite channel (which is the channel makeup of the whole document) and choose Load To Pixel Selection, which will give you an active selection you can create a mask from. Wall of text, sorry! The one thing I would also point out is that adjustments and live filters inherently have their own masks, so you needn't clip mask layers to them. For example, simply select the actual adjustment, then you can manipulate its mask straight away with the Paint Brush Tool, or by looking on the Channels studio (you can invert it, load other channels into it, etc). Hope that helps!
  11. Hi Steve, you can check out the online help which documents all the software features here: http://affinity.help/beta/designer - there are various topics, such as Key Features in the Introduction book, that give a general overview of the software’s functionality, and then you can find more in-depth topics in most of the other books. If you’re looking for specific tools (e.g. Node tool, Selection tools, Shape tools etc) they’re found in the Workspace book. Alternatively, the link is tucked away at the bottom of the main Designer website page, but there’s also a no-frills feature list page which you can get to here: https://affinity.serif.com/designer/full-feature-list/ Hope that helps!
  12. Hey Oliver, looks like you've still got the Background layer selected when you add the mask layer - make sure you select the sky layer first (titled Photo in your screenshot) before adding the mask layer. It should then clip the mask into the correct sky layer. Hope that helps!
  13. Hey all, just letting you know that I've re-recorded the iOS 11 Drag & Drop video to include the new functionality that made it into the recent release of Photo. The Vimeo link remains the same, but here's the new YouTube link: https://youtu.be/MYKju_Y1C-Y @p_mac, using the gradient tool on a pixel layer remains a destructive operation (since the result is immediately rasterised once you switch tools) - in the video I added a pixel layer because I often forget to use a non-destructive fill layer and old habits die hard - apologies as it was improvised and I just wanted to quickly demonstrate the gradient tool's modifiers.
  14. Hey again, just adding a few more that I edited over the weekend - includes some more portraiture, light painting and long exposure composite work... you can see some more on my 500px profile, I've just picked a few of the favourites. Thanks for looking! Rabatador by James Ritson on 500px.com Splendid Guest House Rooftop #02 by James Ritson on 500px.com Splendid Guest House Chillout Room by James Ritson on 500px.com Sun Waves Goodnight by James Ritson on 500px.com Piercing Cat by James Ritson on 500px.com Thunderstorm in Mellieħa 02 by James Ritson on 500px.com Sassy in Sliema by James Ritson on 500px.com
  15. Hey all, just wanted to share a few of the (many) photos I took during my holiday last week in Malta. We previously went to Malta in May of this year and liked it so much we went back! This time I brought some camera gear that I didn't chance taking last time, including a tripod, flash gun and portable light, so I was able to get some shots I would have previously struggled with. First up is a long exposure panorama of Valletta from Sliema Bay: Valletta at Night by James Ritson on 500px.com Then, on our last night, having wound down and packed all my gear up, we were treated to one of Malta's occasional thunderstorms. I quickly unpacked and went up to the rooftop of the guest house to capture several long exposures, which I then composited into this: Thunderstorm in Mellieħa by James Ritson on 500px.com We also got a ferry across to Comino, which was absolutely packed with tourists. A short walk later to the more arid areas, however, and I saw some tiny lizards: Suspicious Lizard by James Ritson on 500px.com Now, my partner is a bit of a poser (something she'll admit herself), but she doesn't usually like standing around to be photographed in the UK because it's quite cold. Give her some blistering heat, however, and she'll model all day! Test of Strength by James Ritson on 500px.com We ended up doing quite a few photoshoots (I've only edited two or three images so far): Not Impressed by James Ritson on 500px.com Rabat Arch by James Ritson on 500px.com And finally for now, we visited the National Park which is an interesting little place in itself, but I discovered what seemed to be a disused rail yard across the road. I got a few photos of the area, but this one jumped out at me because of all the textures: Rusty by James Ritson on 500px.com Anyway, just wanted to share a few photos, I'll possibly add some more when I get around to editing them (there's quite a backlog...) - thanks for looking and hope they give you some ideas!
  16. Hey Shu, apologies for the late reply. I've been experimenting to find an equivalent approach in Photo, and I might need to suggest an approach and see if you could reply with more information. Apologies if this isn't the correct solution - if it isn't, a contextual example would really help to get a feel for what you're working with. Your usage of the term speed might suggest you're working with 3D render material? My best suggestion would be to experiment with blend ranges. Arrange your layers so that your greyscale layer is masked to the second layer (click-drag and offer it to the second layer until you get the vertical blue bar). At first, this will do nothing. Select the clipped greyscale layer, then click the cog icon next to the blend mode dropdown to access blend ranges. From here you have fine control over the tonal range blending, which means you should be able to achieve the bright/dark area blending using the greyscale layer as your speed mask. You can do this in a linear fashion to achieve the linear interpolation you're after, or use logarithmic spline curves. I've attached a screenshot to try and show what I'm referring to. Hope that helps, let me know if it's what you're after!
  17. Greetings all from Malta! Just dropping in to say I've put live three new videos and added them to the first post. They are Retouching, iOS 11 Drag & Drop and On-Screen Modifiers, and here they are for easy access: Retouching (Frequency Separation & Retouching Tools) Discover Photo for iPad's range of retouching tools, including: Automated Frequency Separation Blemish Removal Tool Healing Brush Tool Patch Tool Clone Tool Inpainting Tool Watch: Vimeo / YouTube iOS 11 Drag & Drop See how to use iOS 11's new Files browser and its drag-drop functionality to import images into Photo - including dropping multiple images in for stacking, HDR merge, panorama stitching and more. Watch: Vimeo / YouTube On-Screen Modifiers Learn how to enable and use on-screen modifiers with the iPad version of Affinity Photo. They behave the same way as traditional modifiers (Ctrl, CMD, Alt) but are touch-based. Watch: Vimeo / YouTube Since I recorded the iOS 11 Drag & Drop video, I'm aware that the developers have added several cool drag-drop additions, so once I return next week from holiday I'll look into re-recording the video and keep you updated when it's ready. Hope you find the videos useful!
  18. Hey Ian, the best way to achieve this is to: Use a Channel Mixer, Curves or Levels adjustment (depending on how you want to blend). On these adjustments, you can set the colour model to CMYK or LAB if you're working in RGB (and vice versa). So you could add a Curves adjustment, switch to LAB, then tweak the Lightness curve. This method is completely non-destructive. Alternatively, if you wanted to emulate the Photoshop approach, you could: Edit>Copy, then File>New From Clipboard to duplicate the image into a new document. Document>Colour Format>LAB to convert to LAB16. On the Channels panel, ignore the Composite options and find the layer channels below them (usually Background Lightness, Background AOpponent etc). Right click Lightness>Create Greyscale Layer. Select this greyscale layer, Edit>Copy (or CMD+C), then paste it into your original RGB document (Edit>Paste or CMD+V). If you wanted the composite Lightness channel pixels (rather than the isolated greyscale channel), do the same as above, but look at Composite Lightness instead, right click it and choose Load to Pixel Selection. You can then Edit>Copy this and paste it into your original document. Hope that helps!
  19. Power spectral density represents the document view in the frequency domain, so it will give you an idea of the frequencies your image is made up of. It's useful for examining the complexity of your document - more "noise" and scattering on the graph represents more high frequency detail; so sharp pixels, noise, etc. It's also useful for identifying FPN (fixed pattern noise) and periodic noise, which you can remove with the FFT Denoise filter. Outside of some edge cases like astrophotography star stacking, image cleanup, etc it has somewhat limited use, but it's handy for analytical purposes. You could theoretically use it to gauge pre-processing for images to increase compressibility; for example, examining the results of denoising and other convolutions. Hope that helps!
  20. Hi, it sounds like you've downloaded the trial of Affinity Designer and are watching Affinity Photo videos (Designer has fewer tools in the main Draw Persona). Both apps have all features available for their trial versions, so you just need to work out which app you're after - Photo for image/photo editing or Designer for art/vector/design work. Hope that helps!
  21. High pass sharpening isn't covered specifically in any of the official iPad tutorials but I did do a walkthrough of an image edit that uses it as a final step. Check out this video at around 11:50 - It covers adding a live High Pass layer, then setting its blend mode to linear light to achieve the sharpening effect. Hope that helps!
  22. Hi Owen, apologies that your post has gone unanswered - please could I ask for a bit more information from you? Are you able to provide document details such as the colour space you're editing in, and also colour format? (8/16/32-bit) Additionally, have you profiled your monitor or are you using the default iMac calibration profile? The only way I can reproduce what you're experiencing is if I'm working in 32-bit - in this case, the navigator preview will always be managed by the display profile transform, and so accounts for the difference if you're previewing your actual document in linear light or through OpenColorIO. With regards the soft proofing, if you enable gamut check, do you get clear out of gamut warning areas on your document? Look forward to your reply and hope we can solve this - if you're able to provide screenshots that would be a great help too. Thanks!
  23. Hi kazu, You should be able to use ^ as a power operator (e.g. SR^1.2) - is this not working for you? Additionally, you can use other bracketed operators such as sqrt, abs (for rounding), and you can currently use sq and sin as interpolation curves. Hope that helps, let me know if you have any further questions!
  24. Hello, all of the official tutorials typically refer to "iCloud Drive" when accessing files from cloud storage - the ability to add files from other cloud storage services is explicitly covered in the Opening & Saving video here: Photo taps into Apple's general storage support, so all you need to do is have the relevant cloud storage app installed - whether that be Dropbox, Microsoft OneDrive, Google Drive, etc. The above video briefly shows you how to access these at 0:49. You can however always stick with Apple's iCloud Drive, and you can purchase extra space for this by going to your iPad's Settings, then under your account choosing Manage Storage. Although Apple Photos uses iCloud Drive to store your images, Affinity Photo can access the Photos layout separately (via "Import from Photos") as it's more user-friendly. Hope that helps.
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