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Found 17 results

  1. Hello People Hello Dev's and Team Well today i'll make it simple for this amazing product we love. I would suggest a new Special Filter to be developed and implemented on Affinity Photo. The Skin Tone Live filter This Special filter should take care of helping the user to process skin tone adjustment in a Pro way and with ease of use. it should come with a tonal range picking tool that allow to pick and a set the initial/reference point/color range we would like to apply into areas we wish to correct. The filters should be Live and Non Destructive allowing a anytime tuning. The same filter should also include slider that will help us achieve things like Smoothing etc... like existing Filters is should have a Mask in it so we can paint the adjustment on specific areas we think we need to correct. let's say i want to make a model skin uniform, i would select the skin color Filter, use its picking/tonal range selection tool and click on the area that i think is the good/best tonal reference point, once i get that point it becomes what i will paint using brush tool in areas i think should be corrected, then i paint into areas i want to uniform to see them updated with selected tonal range and from the same Filter i should also the able to slide left or right (starting from center) to smooth or sharpen the applied skin tone. This should help us spend less time working on model/portrait skin tone but gain great results. if others can learn from us then we too can learn from them but make it 1000 times better than how it offered/presented actually. That was my suggestion for Affinity Photo. Blessings !
  2. Hi I'm moving over to Affinity from Photoshop. One feature of PS [in ACR] is the ability to adjust saturation & luminence separately for each individual colour [red /orange / yellow/ purple etc]. This seems to be missing from Develop persona in Affinity. The only way of approaching it seems to be with Curves [ only for RGB & therefore well near impossible for other tones] or by altering white balance [which is a bit of a blunt instrument]. You can do it to a certain extent with selective colour & HSL in Photo persona, but even here you are only adjusting colour bias, not luminence, & in any case working on the Raw file creates better results. Have I misssed something, please?
  3. Photoshop has a saturation / desat brush nested in the dodge & burn brush tools. Can't find tyhis in Affinity Photo.The only way I can see of applying saturation to a specific area is by selecting it first - & this doesn't allow subtle changes. Can anyone help?
  4. Hi Im new to Affinity having been using Adobe products for years. Its a steep learning curve, with some great tools and some that perform oddly The dodge tool performs oddly in my opinion compared to photoshop if you set the opacity too high, it doesn’t just lighten the colour a lot; it literally destroys it. Some areas almost completely lose their colour, others completely alter. Working with part of a face in deep shadow, the one area went totally gray, the other a bright tan. In general, my way of working in Photoshop was to either slightly over-dodge or over burn and then use the fade menu command to get the shading or toning of an area absolutely perfect. In fact the Fade command is one of my most used commands as it is like fine tuning a radio. But IMO the dodge tool in Affinity is poorly implemented in terms of what it delivers and needs some attention unless I’m missing something. Peter
  5. Hi, When modifying HSL layer and addind saturation to different colors, at some point it's desaturating the colors instead of staying at 100% Two layers with the same HSL modifications modified 2*(values = a, b, c) give a different result than 1 layers with double values (a*2, b*2, c*2)
  6. Hallo, from other software I'm used to enhance the sky when it's overexposed and the color has been shifted to turquoise. Select the sky, use HSL, shift color until it's blue, decrease brightness and increase saturation. This works fine in JPG-Iluminator and Photoshop Elements 14. However when applying the corresponding settings in Affinity Photo, increasing the saturatin has no effect. Enclosed please find two screenshots demonstrating this issue. Best regards - Ulrich
  7. Pre Export: Post Export: You probably get the Problem I've checked all settings and still don't get where the problem could possibly be..
  8. I've been puzzling over how to create a saturation mask, where the darkness/lightness mask represents the saturation of the colours. You can select by hue and luminosity, but not by saturation level, which is a shame as it is possible in PS. Here's what I did, with images. Note: All adjustment layers are above the image, with the whole set collected in a group. Initial image has overlaid strips of RGBKMYC, fading from white and to black. They are at greatest saturation in the middle, so we should see this being selected. First step is to add an HSL layer, dragging Saturation to zero. Then set Blend Mode to Subtract. Here we can see the central areas of the strips are coming through, which is what we want (I tried Difference blend but it wasn't the same). There's more detail in there, but we can't see it at the moment, so add an Invert layer. To make it black and white for masking, add a Black/White layer. This is all rather faded, so add a Levels layer and drag the Black up to meet the histogram and improve contrast. We can now create a mask from this. Invert it again if you like to select the more saturated colours. Here's a quick example, with the mask loaded to a Curves layer which has been pulled up to affect lower saturation areas (note the lighter and darker areas of the strips are lifted) but higher sauration is not (as can be see in reds such as the draining board stand). As this effectively converts saturation to luminosity, areas of it can be selected with Blend Ranges, for example just the most or least saturated. The principle could also be applied to any other adjustment, subtracting it from the original and turning this into a mask. Bottom line - does this make sense? Have I fallen over any tripwires?
  9. Is it possible to select by saturation level? I'm particularly thinking of using saturation masking (if it can be done).
  10. In Photoshop I can pick a custom range of colors to manipulate and also set a falloff to that range. Will this be added in Photo?
  11. It would be a welcome addition if we could make a swatch based on another swatch, not unlike Sass (https://robots.thoughtbot.com/controlling-color-with-sass-color-functions). In interfaces for example, I could create a green button with a darker green border. The darker green would be based on the original green and have the same hue and saturation, but the lightness would differ. That way, if I later change my mind and want to make all green buttons blue, the dark border would shift along. I'm looking forward to your thoughts!
  12. Hi, I'm having troubles with a small design of mine. I want to apply a gradient fade (from both sides) on a text layer. I tried this method: https://www.youtube.com/watch?v=m5TqqrC3AOY. It works quite well, I get my faded sides of the text. But unfortunately, the colors get gradually desaturated as well. I'm attaching a screenshot, where there are 2 layers visible. One with the fade (and desaturation problem) and the other as a reference. I tried rasterising the text and then the fade works fine, the colors are preserved. But I need to keep the text as a vector. Am I doing something wrong? Could I achieve this effect on a vector text without losing color information? Thanks for any tip or advice.
  13. I find the difference between tonal range settings (highlights, midtones, shadows) is not very different when using the Burn, Dodge and Saturation tools. Can these tools be improved so that there's more differentiation between highlights, midtowns and shadows when using these tools? Although my next question may fit better with a features request, I'd like to keep it in context because they're related; It'll be nice to be able to adjust how much one tonal range setting impinges onto the next - like a tolerance setting. This would give remarkable control over burning and dodging.
  14. I wrote this on twitter and was recommended to do it here, so let's have fun. I wonder if it would be possible to have a Curve editor for the saturation as in Davinci Resolve. It's very powerful and easy to use and could speed things up to control saturation by their luminance level without going to masks. Of course, their other curves are very useful too without the need to touch sliders or masks but the Luma makes desaturate the shadows and highlights a breeze. Thanks and keep up the great work you do!
  15. Affinity Designer: I have some full res photos which I use in a current postcard sized project. I need to create a poster and just want to copy everything o a new document. The problem is, however, that the photos loose saturation when being copied to the other document. Is there any way to get around this bug? I don't want to start from all over. I noticed this bug in previous versions of affinity designer. See the screenshots for reference.
  16. You guys should create a tutorial on how to match the color and tone of any photo because I am completely lost on how to do this on affinity. I can only find videos on how to do this for photoshop which aren't much help. Thanks!
  17. Hello, I just started working with Affinity Photo from Paintshop Pro. I am an ammeter, but reasonably good at photo editing. Anyway, I don't even know if it is possible, but after trying everything to bring this subtle rainbow out in the background layer, and it seems like experimenting with the threshold gave me the best result. The rainbow is too faint for the selection brush to work and thus if I try to select and saturate it effects too much of the sky. The threshold adjustment seems to have produced a pinkish hue in the highlights in the background and I was going to select it and play with the highlights with the HSL adjustment, but I thought I'd take a shot and ask. Thanks in advance for any advice. us and rainbow post.afphoto
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