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Found 43 results

  1. Resolved: Can confirm 1.7.1.404RC2 has full control over noise removal, especially chroma noise (working since recent betas: thank you so much), and is fully usable now on Sigma Merrill cameras. Also, only as of 404RC2 is EXIF and focus reliably consistent. Outstanding: BW images still open as colour: no benefits from in-camera BW captured images. Additionally, some BW images shot at higher than base ISO open like linear exposure (super dark). Quick test images (apologies for quality): 6745, ISO100, BW: in 1.7.1.367 and .404RC2 has EXIF and focus info, but recent prior betas were partially missing EXIF & focus metadata. In all versions, these open as colour (should be BW). 6742, ISO800, BW: Very difficult trying to extract a workable image from these RAWs (shot higher than base ISO). Opens fine in other RAW editors. Why Not Use Normal Colour to BW (Post-processing Conversion): The key issue behind this is that the Foveon Merrill can capture the full spectrum at every single 'pixel' (photosite), and output it in BW (like a Leica M Monochrom). No demosaicing is required (or ever wanted). When these are shot as BW in the camera, Affinity Photo opens them as normal colour images, and loses all their benefits. For instance, Foveons also normally capture full spectrum at every 'pixel', and when all treated as BW, you can get 3 times as much sampling per pixel as the monochrome Leica, for improved noise. See earlier post (Issue #1): https://forum.affinity.serif.com/index.php?/topic/80333-med-resolution-images-auto-upsampled-to-high-bw-images-import-as-colour/ SDIM6745.X3F SDIM6742.X3F
  2. Bought Affinity Photo last year, but took a long break from it because of the lack of a stabilizer at the time. Decided to go back to the program yesterday just to see if I could replicate my workflow from Photoshop, which I got decent results from. Still need to figure out some kinks in the system before I feel like my work in Affinity Photo is up to par with my Photoshop work. Might finish these two if I feel like it.
  3. After exporting to a PDF in Publisher I get a weird area at the place of the shadow. If I use the PDF function from Apple, it is not in it. But then the page format is no longer correct. (Affinity Publisher MAC 10.14.4) 220.Adv80x120zwApple.pdf 220.Adv80x120zw.pdf
  4. Hi, I'm a new user of Affinity Photo and Designer. Is there a shortcut for setting foreground and background colors black and white like in Photoshop "D" key?
  5. In this video, We are going to show you, How to create Black and white to Color gradient effect in Affinity, This method works in both software (Affinity Designer and Affinity Photo).
  6. Affinity Photo Desktop Windows, latest (non-beta) rev: 1.6.5.135 Win 10 x64 up-to-date, 16 GB ram, >45 GB on SSD, >400 GB on HD & defragged no SMART errors). GTX 1060 6GB. Camera: Sigma SD1M (M for Merrill, inventor of the Foveon sensor), X3F RAW files. Neither of these issues happen with my SD14. Reproducible. Two unexpected behaviours both occurring during RAW import, even with the same image file. Behaviour One Import B&W RAW image, and B&W setting is lost (appears with separate colour channels). Camera has two methods for obtaining high quality B&W images: 1) At time of capture, choose B&W setting on camera body, which flags RAW metadata to treat R, G, B results as one value (grey) per photosite. Actual raw data would still have RGB per photosite, but image should only open as greyscale. 2) In Post-Processing, extract only the Blue channel from raw RGB data, from every photosite. This method loses the photons from the R&G layers, but since the Blue layer is the top layer, it has the least noise, so is pretty good. The other side-effect to this method is that because only the Blue layer is captured, it would be like using a deep blue filter over the lens, making yellows black, reds very dark, etc. So some things may look a bit different from a full-spectrum B&W image. The advantage is that it is reversible (you can decide you preferred the image as a colour image afterwards, whereas the first method keeps everything B&W for good). I cannot find a way to achieve either method of getting a high quality B&W. I would prefer #1 (above) if I had to pick, as you get panchromatic response and lots of photons per photosite, resulting in ultra-low noise, just like from a Leica Monokrom. In this version, attempting this results in a lot of noise, even in a perfectly exposed image. In other RAW processors, I can use zero sharpening, zero de-noising (colour or luminance), and the images are clean. Also, default behaviour is to open as B&W, with only greyscale available (even Irfanview reads and presents the raw that way). I should note that it's not terrible noise, but the camera is capable of using these modes to deliver super creamy B&Ws, and I was hoping to be able to do that. Behaviour Two Import a RAW image taken at MED resolution, and the imported RAW will be auto-scaled up to FULL/HIGH resolution (I could not find how to defeat this default behaviour). Since it's not a perfect upscaling (I calculated around 47%), there are significant uprezzing artefacts, and it's not as sharp. The camera allows photos to be captured at LOW, MED or FULL/HIGH resolution. Again, it's not horrible, but it's nowhere near how other RAW processors handle it. The camera uses one of the native features (though not all manufacturers make use of the 'feature') of CMOS sensors, 'binning', where arrays can report as if they were a lower resolution sensor: for example, a 4x4 grid of photosites would electronically be merged to act like a single photosite, so that all the photons get added together, giving you lower resolution but super low noise images and more accurate colour. Plus, Foveon images are often upscaled 200% after the fact, and still yield as good images as a Bayer CFA, so the resolution impact isn't near as negative as one might think. Foveons are the best at detecting subtle colours and recording micro-contrast without destructive processing, but sadly, they only do that when shot at low ISO or under loads of exposure, so these are frequent methods users employ. Example: MED resolution photo (see green photo resolution) opened & upsampled/upscaled in Affinity Photo as a FULL resolution image (see yellow Affinity resolution). Also, this same photo was taken as a BW-only image, yet it is apparent that it contains hues. One positive upside I discovered from the comparative testing is that the GPU acceleration in Affinity Photo is faster than the GPU-aided processing in both Corel and much moreso than even Sigma's own software. Haven't benchmarked Rawtherapee or On1 on that yet. I have previously uploaded MED and FULL/HIGH resolution images, as well as colour and B&W images, from my camera to the Forum calling for sample images. Note that neither of these behaviours occur with my SD14 X3F (Foveon) images, so it is confined to the SD1M (aka Merrill). That exact same sensor is used in a few Sigma DP cameras as well (I believe it is the DP3 series), so they may exhibit identical behaviour for both these anomalies. Thanks very much. Still learning a lot about the software, but it has made some things that were unbelievably tedious and error prone into downright easy when using Affinity Photo. Perhaps I have overlooked something and that is also the case here.
  7. Hello! First to introduce me: I´m a professional photographer for 35 years, with experience in many cases of professional photography, developing b&w, color negative, color positive processes, digital photography from its beginning, colormanagement. Meanwhile I work in a public photo archive with 100.000´s of photos from historical until now. About 90% are b&w photos. Digitalization of these photos and managing them in a DAM is my main work here. Right now I try to get a workflow with applications out of Adobe. But there seems to be a bug on the interface between CaptureOne and Affinity Photo. In CaptureOne 10 I export a b&w-file with embedded profile Gray Gamma 2.2. In Affinity Photo (V1.6.5.123) the settings for colormanagement is Gray Gamma 2.2 for b&w-files. When I open the exportet b&w-TIFF with embedded Profile, AP opens it in the Develpo Persona, shows the file extremely bright an assigns the profile for RGB to the photo because AP couldn´t recognize any embedded profile. I can´t rescue the file by assinig other profiles or by developing the file to what it should look like. If I open the same file in Photoshop with the same colormangement-settings, the file will be opened correctly without any profile-warnings. If I "save under..." this file without any changes, but with a new name in Photoshop and open this in AP, it will be opened correctly with the right profile an the right brightness. Any hints for wrong settings or steps in my workflow? Greetings Mikelike
  8. hello, does anybody knows how to create a black and white picture, and then re-color some items in the picture ? (see example) hope to hear from you
  9. Every couple of years or so I visit the Bedfordshire (UK) Steam Fair and take tons of photos. This time I kept it down to just over two hundred; amazing self-restraint! I concentrated on unusual angles, detailed close-ups, and the like. This is part of the works of a paraffin (kerosene) fuelled vintage tractor. I cranked up the saturation a little in the first image, and later I thought I'd try it in mono. For that, I desaturated it and put it through the HDR persona to increase the local contrast, as well as the overall contrast. (Sometimes I find a better B&W result can be got by turning down one or more of the colours in the Black and White adjustment, but I didn't need to in this instance.) And if you're wondering where this lot fits on a tractor, here's the whole thing ... (If you want to see the other 217 photos, let me know!)
  10. same day and time although from the otherside towards the sun behind the fog All done in Affinity for another get to know it exercise -- wishing I didn't straighten/level the truck now The yellow lines made a interesting test for various removal tools for several programs -- the first one I did with affinity work perfectly with the inpaint brush; however next time (this one) was not so good and the clone tool was required also . Third file shows the cleaned area . In the end I don't need to do as much but editing for me usually fiddle around until I'm impressed . The latest idea is to "add" another trailer to make it a proper road train second pic is the Oly raw file "dust" added with a texture brush Honest comments, suggestions, and questions welcome . You are also welcome to download and edit ; but it's still MY photo :).
  11. I am currently working on a black and white photo. When I inserted a photo of a colored image it was black and white as well. Whats the cause of my problem and what should I do? Even the Inpainting Brush's usual red color when used is black and white!
  12. Just wanted to share with you something i've been doing with Affinity Designer recently. I'm in love with black and white these lightless winter days...
  13. v_kyr

    B&W play macros

    B&W images can have many different facets and moods for a given motive, so it always also depends on the intended expression that they should convey. Here are a few (six) different B&W conversion macros for tryouts and to play with. - You may have to customize their settings to your individual needs, since not all input images are the same. BEFORE & AFTER MACROS OVERVIEW THE LIBRARY MACROS FILE B&W Plays.afmacros
  14. We need a way to use black and white images as a Layer Mask. I am trying to use some grain/noise images as a matte, but my final image needs an alpha channel. Currently, I have to use PS to convert my BW images to an image with an alpha channel to use. The workflow isn't very convenient. I have attached the type of image that I would like to use as a Layer Mask. You can see that creating a selection from the image would be impossible.
  15. Hi All, Anyone knows what is a good method to convert color images to greyscale non-destructively? Except the Black & White feature. I'm working on a school yearbook, most of the images is groups of children, class group images and sport group images. Thank you.
  16. This was an image taken on Fraishthorphe Beach on the east coast of England. Processed in Affinity Photo on the iPad I was able to create a hi-key finish thus isolating the riders from the otherwise fairly boring background. The hint of the beach still exists in the foreground from the ridges and shadows farmed by the sand. The final step was to de-saturate and adjust the contrast.
  17. Right now, an Affinity Photo document can only be RGB, Grayscale or LAB at a time. However, there are several workflows where it would be beneficial to work in more than one. Examples are: Black and white conversion – you would like to end up with a grayscale image, but work with RGB data using channel mixers, HSL and so on and be able to edit these after the fact. The final image being saved as Grayscale is so important because it ensure that it ends up being separated into the CMYK black channel, leaving CMY clean. Applying LAB mode corrections like LAB curves inside of an RGB mode retouch (could also be implemented as an implicit conversion as part of the curves adjustment layer like in PhotoLine though) Manually fine-tuning the result of CMYK conversion by manipulating the image in RGB mode (possible through soft-proofing, but requires a manual CMYK-export in the end and you have to re-do any manual adjustments that may have been made on the resulting CMYK file every time) These will be even more relevant once work files can be saved natively as TIFF retaining layers and so on since you can then actually place your working files in third party software and not have to export a bunch of separate files. Especially in the B/W case, you currently have to keep your RGB original retouch, then your BW conversion RGB file, and then a final single-channel BW exported file. Currently, there seems to be no other way than to flatten the image and convert to another mode as far as I can tell (haven't tried placing embedded documents yet though). Photoshop provides a rather clumsy workflow where you can convert your entire document into a smart object and then change the colour mode of the enclosing document. But especially if you just want to quickly apply LAB curves a bunch of times in your retouch, the nesting just becomes unusable. If you had simple adjustment layers along the lines of "Convert to LAB" and "Convert to CMYK", that would make it easy to mix the best of all worlds in one single document.
  18. I'm trying to colorize a black and white using adjustment layers and masking. I'm trying to emulate the following PS tutorial in Affinity. https://www.youtube.com/watch?v=jbveFU0JL4c His method is done by creating a color balance adjustment layer and masking out an item in the photo (skin in his case.) He will then fine tune the color by creating another adjustment layer and clipping to the first layer. He'll even make several more layers with different tones all clipped to that one initial color balance layer. He'll repeat this method for all the other items in the photo. I can't seem to clip new adjustment layers together. It will just be blank when I drag it into the thumbnail. Is Affinity not able to clip multiple adjustment layers together at the moment?
  19. I started using Affinity a couple of weeks ago and in general this is great to work with (I do not do many things with it) - but today I am struggling with a probably very simple problem. I just want to convert a picture into B&W by using the small adjustment button on the right and it always opens a new empty "black and white adjustment" layer - which seems to be empty and with which I just can't do anything. What is wrong with my approach? Any settings wrong? thx for help in advance
  20. James Rodriguez

    Kmart Christmas 1979

    Hello all, I drew this when I was 11 and rediscovered it while looking through my ancient portfolio. Long ago it was printed on the cover of this newsletter in black and white even though my original was in color marker. As practice with Affinity Photo, I chose to recolor my old illustration, but all I had was the printed copy on the left. The colorful original was never returned and I think you'll agree the black & white reproduction is muddy and lacks contrast. I scanned the reproduction and AP helped bring color back to my childhood drawing. My main goal—aside from returning color to a cherished memory—was to keep the integrity of the marker work. Under no circumstance did I want to clean up or improve what is otherwise a child's drawing. I'm happy to say Affinity Photo handled this personal project flawlessly. The file is over 300 layers, and each hue is isolated and colorized using Recolor Adjustments and further manipulated with Brightness/Contrast Adjustments, and of course Masks. Before recoloring, I painted out the gray fills to isolate & retain the strokes. Separate layers of the original B&W fills were then used for colorization. The Paint Brush tool and its options helped me get the job done. My old childhood drawing has color again, thank you Affinity Photo. For screen shots and descriptions of the process, including Affinity Designer to redraw the title, please visit Behance at https://www.behance.net/gallery/51578699/Kmart-Christmas
  21. When making multiple slider percentage changes it would be nice to have the total percentage shown. In Black and White adjustment. Also in Colour Mixer. PS does something like this. Thanks you!
  22. Hello, I'm not sure if it's the right place to this topic, so if it's not - I apologise. Sometimes I want to check on photo what is the pure white and what is pure black, and when I tried to do this in AP using threshold, I could only check the black parts. When I set 100% value in threshold it shows like there is no white on picture. Should it be that way? Cheers
  23. dhayton

    A Winter Tree

    On a foggy, predawn hike the other day I came across this tree. It seemed to call out for a photo.
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