Jump to content
You must now use your email address to sign in [click for more info] ×

Chris26

Members
  • Posts

    915
  • Joined

  • Last visited

Everything posted by Chris26

  1. Ah good point - I missed that one. Thanks Alfred.
  2. Dm1 and Lionel thank you for your comments. IPAD Air certainly appears the wy to go. So that's that. Lionel, I have no idea what you mean with MBP and I have no idea what Airdrop is. My Apple mac proper computer has never had problems with anything in 15 years of use. Never a corrupted file, broken software or needed to repair (apart from permissions). Yet in 4 years I have seen more corruptions, frustrations, annoyances, irritations, interferences and down right "what the #@##% is this" on both Microsoft laptops and apple IPADs. It pays to stay with the dinosaurs!
  3. Hallo, should have mentioned it is Version One. Stacks of storage on the IPAD. Searched the forum, nothing found. It is mostly exporting files from A.Design as TIff or PNG and transferring them to my laptop for printing since apple in their so called wisdom have failed to provide access to printer drivers over the years from within an IPAD, half the time they are corrupted along the way. You see the thumbnails with half black over it or one third solid grey covering the image or thumbnail. Anyway, I use to spend hours solving all sorts of software issues over the years but now can no longer be bothered with all the hassle. Thanks for the feedback anyway.
  4. I know this is not an Affinity question as such, but I have absolutely no experience at all with IPADs. All you IPAD users, as far as the Affinity suite is concerned are there preferences between the IPADS?, the IPAD air, or the IPAD pro? My wife's 5 year old ipad is corrupting design files and tiffs and doing weirder than my cat without her evening tuna. So users' experience will be so gratefully received right now as we need to purchase soonest. The only requirements are that an IPAD Pencil can be used and that Procreate intertwines seemlessly with Affinity Designer. Thank you.
  5. Hallo, You are in luck then because you only have to deal with the length of your page and not the width. So this should be a very easy task. If you have a master page for the margins then change the length margin and apply to ALL spreads. Do you have text box set up in a Master page or are they all seperate or linked? If linked with flowing text then this should be very straight forward to go through each page - 30 seconds per page and you are done - I had this issue a few months ago and I had to change All the margins and I had images linked to specific text and even seperately created text boxes coupled with my master page text boxes. and 100 pages to deal with, it only took 30 or 40 minutes so it's not a nighmare. If you have any difficult issues here let us know.
  6. Well along with the things that have been written here, plus the A.Photo's filters, its layer masking and its re-sizing dialogue are the reasons I decided to stop learning A.Photo and stayed with Photoshop. I have to add that Publisher is great and Designer is great, nothing negative to say about either of these programs that I use extensivley, but A.Photo -what a nightmare - gruelling and unwieldy. I did not mind abandoming Adobe Indesign and Adobe illustrator, because of that I decided to get into A.Photo and abandon Photoshop as well. Sorry, I have had a few years of Affinity and they do a fantastic job, and for their pricing one should not even begin to moan, but unfortunately I do wonder who actually designed A.Photo, the final straw came for me when I went into soft proof, I decided, per off chance to compare Photoshop's soft proof with A/Photos soft proof. I used Custom Made ICC profiles for both screens, I used all the same settings, Callibrated both monitors carefully and lo and behold, affinity's soft proof was so out of sync I was shocked. And I have been soft proofing for over 15 years on and off, so it was not my screen to blame. I wonder if Version 2 is any better? Still, affinity is to be congratulated, I still believe, for the other two programs. So I am thankful.
  7. Wow, thank goodness all I ever need are the USM and Curves layers, they do not interfere with each other. Thank you - read with interest.
  8. I am Shocked, really shocked. I remember posting this and then something went amiss server side probably and I deleted, and it NEVER got posted my end. Guys, do you really imagine for one moment that I would post duplicates and not bothering answering who had helped me/ Thank you for the heads up, this has never happened before and I know that when I attempted to post it, it failed and I decided not to continue.
  9. Two screen shots, exactly the same layer positions, it is the subtle positioning of the Curves (though curves is not the issue), between the two layouts. I really can not figure out the difference between the two positions and does it matter? If it matters would that mean that the one layer is having an effect upon the other? I really have not detected any differences in my output. But since it occurs I thought about time I asked about this. Thank you.
  10. Publisher V 1 I can not seem to notice or understand the difference between these two simiar screenshots that I have taken of the same layers but arranged differently - Though I have seen this many times I took no notice of it because it did not seem to matter how it was positioned. I arranged the USM in different positions to demonstrate.
  11. I stand corrected. Thank you for pointing that out - bad mistake on my part. The figures are all the same as you point out.
  12. PS.tifI thought I would perform a little test: I only upload a screenshot of the colour I used. Photoshop's figures: 1. sRGB 138 66 153 2. L*A*B 43 49 -35 Affinity Pub's figures using eyedropper from colour palette after importing the file as a TIFF: 1. sRGB 158 65 157 2. L*A*B 43 49 -32 Using the Digicolour meter: 1. sRGB 157 65 155 (No LAB option with this) Comparing the screens with the apple mac screen calibrated and my laptop at the optimum angle, it is clear there is a difference consistent with the above. However I actually find little cause for concern when I print since the print always agrees with my apple, even after having imported images into the windows laptop into publisher where I have always anticipated differences.
  13. Well not exactly, I know that, but RAW files open up in Adobe Bridge, after all, that is the program you click on. No the curve would not be different if, as I am assuming, you are comparing your Bridge RAW file with your IMported file into Affinity WITHOUT any editing or adjustments, then the curve info would be the same regardless of how it looks on the screen.
  14. No not true, unless your text is included within the actual image that is. If the image is seperate from the text, then in the layers panel click on image and go to photo persona. The text is unaffected.
  15. Is the Curve information in the Top image EXACTLY the same as the curve information in the bottom image?
  16. Found it, under Zoom. This is what I wanted, pixel view and actual size, thank you.
  17. Something I have not needed to do before but now I must, viewing my Iages in Publisher at 100%. Now this may well be a silly question, but I have had to enlarge the screen size image to 200% (even 250%) to make it even seem like 100%. All images are 300 or 360ppi and very big at source. Does this sound correct to others? Because I can enlarge the exact same image to 100% on my apple and it is double even 2 and 1/2 times larger than viewing it through affinity on the laptop screen. Is this a screen issue?
  18. The first thing I would do would be to rule out the issue being with the print driver (or any other annoying windows update_ I always have those updates turned off by the way - never allow microsoft an inch of space within your printer environment), any I digress, silly question - have you done a test print from within the printer itself, a little cleaning and a little house work? I once had an issue when suddenly I realise that my Cyan was faulty, had spent days blaming everything except the actual ink. Just a thought. Sorry Regards updates, I am referring to microsoft's unwelcome intrusion with their driver updates, they do more harm than good. I am NOT refrring to Printer updates that are accessed directly from or for your model, this is different all together. Just had to clarify.
  19. Hallo om5, for what it is worth this is my workflow in your situation, I have sent things to print lots of times and this works for me. 1. Creatively sharpen whatever areas you want for aesthetic appeal or focus of whatever. 2. Save/export the image as TIFF to the folder where your publisher file is. 3. When needed PLACE the image in Publisher, I never use picture frames. 4. Just before print or Export to PDF or upload to printer, apply Final Overall sharpening to EVERYTHING, no selections no masking no brushing, apply a complete sharpening. Apply this FROM publisher by using the PHOTO PERSONA only. Use a live filter if you want, publisher takes that as well. 5. If you can, do a test print on a small portion of the image first with various levels of sharpening, compare this with your screen to give you an idea about how much detail is diminished by the actual ink. Printing on matte requires a little more sharpening than printing on Gloss or Satin because matte absorbs more ink than gloss and satin. Another tip for output sharpening: Its a general idea, not set in stone, but it works: If you have a more tonal image than Detailed/edges then make the pixel radius much smaller than the strength or amount slider - the latter being more gentle. If you have an image with more detail than tones or gradations then use a high pixel radius and a lot less strength or amount. Always dial in at least a 1 % or 2 % threshold level in the third slider, recommendedfor most images especially if you have lots of shadow tones. The above is just a guide to help you with this output sharpening. What I have just said is not something I apply to DNG sharpening or the Creative sharpening process which is a creative decision. You sharpen for print to offset the amount of blurring that comes with the ink being absorbed by the paper.
  20. Hallo Amy, there is so much to say one hardly knows where to begin. Maybe in the first instance I will outline some ideas that might be useful to help you: 1. There is one catastrophic difference between a proper computer screen and a laptop screen - the laptoop screen is completely inconsistent in ts representation of tone and colour unless you keep the screen at a consistent angle and you look at it at a consistent angle. Always before print I have my laptop screen at a certain known angle where I am assured that the lightness and/or darkness of the image will come out roughly as I am seeing it. 2. Sharpness. The dot that is laid down on your paper will spread, this means that the sharpness on your screen will not be the sharpness you will get on any photographic paper. What you will always always need to do is to sharpen for print, make a copy of your image and OVER sharpen to compensate for the printer ink. You will find that you will have to over-sharpen in an ugly way for matt paper and cheapy paper, but for gloss you will only need to sharpen less than you would do for matte. 3. Colour. I assume you have not gone through the monitor calibration and getting custom ICC profiles for your paper, this is ok. You can still be confident that what you don't see on your screen is what you want on your print out 🙂 (the same as saying that you can be confident that what prints out is what you want in spite of the screen). Download a test image from Northlight Images, from here https://www.northlight-images.co.uk/printer-test-images/ Keith's site is an excellent source of knowledge. Print a colour image out from here and note the differences between screen and print. This will take so much guess work out of this cunundrum that we all have had to face. 4 There is some advantage in converting JPEG to TIFF before doing any adjustments, then print from TIFF. 5. The image that you are showing above, if this was mine I would use HIGH PASS sharpening just before I print it. If a 2 pixel radius looked perfect, then I would double it at least for print. But this is only based upon what I am seeing above. I hope something here is useful.
  21. Hallo Lyndhurst, if you are new to photo editing then naturally the Affinity work book will help, unfortunately it would be wiser to begin with some basic understanding, then working through a tutorial book would become more fruitful as you encounter concepts and termnology. I recommend this site as an excellent start: https://www.cambridgeincolour.com/photo-editing-tutorials.htm I am sure you will want to find your own, but there is both straight to the point and clarity in these simple discussions of the most basic photo editing concepts. I wish you success and the least amount of head banging at times.
  22. Notmyfault and Lepr, thank you for taking the time to respond and advise, but after some considerable time with the luminosity mask, inverting and trying to paint out and paint in - I should have known better, I will stick to Photoshop and transferring files back to apple for output sharpening if necessary. It was only for making slight adjustments before print so it's no big deal but I find A.Photo clunky and unwieldy. Kind Regards Chris EDIT: Having watched countless youtube videos on Luminosity range masking, this is NOT the same as the Luminosity mask I am wanting to make. The Lumnosity Mask literally selects Highlights and you then INVERT the mask to Protect them. You are now free to apply high pass sharpening, THEN, take the brush and brush in or out selected areas accordingly. The High pass filter, while I have tested it just now, was surprisingly ok, except for one niggly point, unlike photoshop's high pass, Affinity's high pass pixel range at 0.2 pixels looks awful, and is equivalent to PS 10 pixels when viewing it on screen (Yes I have a 360ppi 3500 px image Tiff at 150% viewing). I was scared to move beyond 0.2 pixels in Affinity, so I did a 1 pixel knowing that this is what I would do in PS - knowing logically that this had to be fine, and as it turns out, was almost perfect.
  23. Hi Thanks for some inexplicable reason the high pass did work on the B/W image even at 50%. Ok that's solved. Now I selected highlights, But after messing for 30 minutes....how do I get those highlights to become a black mask which is then placed over the Layer which has the high pass sharpening applied? Also, if you have time, could you explain how I can make these masks to reveal or to hide ONCE they are already MADE. This is all I ever need A.Photo for, thank you.
  24. This is about Sharpening for Print Only. Not about creative sharpening or DNG sharpening or editing. I work with photoshop but decided for convenience sake to give A. Photo another bash at sharpening for print since my printers are on windows, my adobe suite on Apple. However to my dismay, I kind of expected a little complication and did not mind, to my dismay the High Pass filter does NOT work with a B/W image with a Dot gain 20% profile, IE, all colour removed. On photoshop no problem there, it works like it would with all colour channels in place regardless. Secondly I wanted to do what PS does, simply select highlights with Option click on a channel if colour present, or on the actual B/W channel, like photoshop. Then one creates a mask to mask the highlights and sharpen 128 and below so to speak. could not find a way to do this in A.Photo though I am sure there is one. To summerize: 1. High Pass on B/W images where all colour has been discarded not possible? Or something else happening here? 2. Equivalent of PS Mac's OPTION Click on a channel, then in A. Photo to select highlights (or reverse it) to use as a mask to prevent sharpening with high pass, OR whatever sharpen technique you want to use. Yes sorry, I really like and support both Publisher and Designer, really like them both, but A. Photo was never for me as a photographer though I did try - have been transferring files over for ages now but if I can just use A. Photo for output sharpening before final print that would be a little consolation in the workflow. Thank you.
  25. Hallo Thomaso, really it is all fine, I can work with it. Otherwise it becomes yet another problem for me to invest time and stress in trying to solve, it really is not that serious and not an everyday event. A little kink here and there, a little rattle is fine, I would rather concentrate on those tyre blow-outs that prevent me going forward. Thank you for your interest though.
×
×
  • Create New...

Important Information

Terms of Use | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.