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Found 24 results

  1. BW Images still open as colour, and when manually converted to BW, they lose all their Foveon benefits. There's two methods to obtain BWs from Foveon RAWs, and neither of them work in AP. Images taken with the Merrill series cameras are normally able to deliver BW images without the mushiness of a CFA (colour filter array, such as Bayer), or the heavy resolution loss from an antialias filter, like with the a Leica Monokrom, yet are not prone to strong aliasing artifacts like many other cameras. All test images were captured in BW, latest camera firmware, and open properly in some other applications as BW (however, some LibRaw demosaic engine apps open them as colour, suggesting LibRaw as a possible element for the problem. Note however, that digiKam which uses LibRaw 1.19 builds these image thumbnails correctly in BW, and it is configured not to extract the embedded jpeg - it is building a downsampled version of the raw). Forcing BW RAWs to convert from colour to BW in Affinity Photo for the nearly 9 months of production and beta AP versions results in severely downgraded noise and detail and tonal range. How can I support Affinity support getting the issue posted to LibRAW's devs, so that it gets added into their mix of stuff 'in the queue' to be prioritized? I'd really prefer if it had the gravity of a respected LibRaw integrator (Affinity) verifying that it's not some lone user that hasn't done any due diligence. As well, the LibRAW folks might not otherwise appreciate that this affects all Merrill sensor Foveons (not all Sigma cameras, but a large percentage of the current user base).
  2. In Publish, Is there a way to convert select pages of a color document into greyscale?
  3. BW Images still open as colour, and even if converted to BW, lose all the Foveon benefits. There's two ways to obtain BWs from Foveon RAWs, and neither of them work. Images taken with 1:1:1 Foveons (such as those with the Merrill series sensors) are able to deliver BW images without the mushiness of a colour filter array, or the heavy resolution loss from an antialias filter, like a Leica Monokrom, yet are not prone to strong aliasing artifacts like other cameras. All test images were all captured in BW, latest firmware, and open in many other applications as BW (some open in colour, and two of those use LibRaw). Manually forcing them to convert to BW in Affinity Photo for the last nearly 8 months (all production and beta versions) results in severely downgraded noise and detail and tonal range.
  4. Members 12 59 posts BW Images still open as colour, and even if converted to BW in AP, it loses all the Foveon benefits (not very usable). There's two ways to obtain BWs from Foveon RAWs, and neither works. This has been occurring for six months of production and beta releases, and is not a newly reported issue.
  5. BW Images still open as colour, and even if converted to BW, lose all the Foveon benefits. There's two ways to obtain BWs from Foveon RAWs, and neither works. Similar crops below from the same image, all at 200% zoom (slight variations in cropping). Most recent of multiple posts (prior beta) Above: AP choosing BW Above: AP choosing BW and only using blue channel Above: IrfanView 4.5.2 as opened (uses DCRaw) Above: Sigma Photo 6.6.1 Export using Blue Channel only
  6. Resolved: Can confirm 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 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
  7. 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
  8. Profile with Dot Gain is necessary since printing companies specify certain dot gain for grayscale file to be received.It's usually 15%/20%/30%
  9. I'm using Affinity Photo 1.6.4 on a Windows 7-64 bit Home Premium machine. I have some TIFFs that Affinity Photo does not open correctly--even though Windows Photo Viewer, DxO PhotoLab, and GIMP open them fine. For whatever it may matter, these TIFFs are grayscale instead of RGB, and are 16 bits per pixel. Opening the file brought up the Develop persona instead of the Photo persona. The file displayed completely wrong--grossly over-exposed, high contrast, like somebody had grabbed the top right of the tone curve and dragged it almost all the way to the left edge (while leaving it at the top). The first attachment is a screen capture from immediately after opening the file. The second attachment is a screen capture of the same file opened in Windows Photo Viewer, which displayed it correctly. Back to the Affinity screen capture. Note the histogram at top right, which seems to correspond to what I see. Maybe more significantly, note the "RGBA/32 (HDR) - RAW" text toward the top left, which seems to be wrong. In other words, Affinity appears to be misconstruing what it's opening. Just as an experiment, I clicked Develop, but the image did not get fixed or even change appreciably. Also: this is a big file, over 150 MB and 80 MP (it's a scan of an old 8x10 negative). In case you want to experiment, the file's page at the U.S. Library of Congress is: http://www.loc.gov/pictures/collection/det/item/2016796043/ and the direct location of the full-resolution TIFF is: http://cdn.loc.gov/master/pnp/det/4a20000/4a23000/4a23600/4a23684a.tif Thanks!
  10. There is a repeating wish that people would like to use the full scale of editing tools on masks, and handle them as grayscale layers. They are usually told that masks only have the alpha channel, and they are mistaken to think that values of alpha are considered shades of gray. I think this is not the full story. One can use a regular pixel layer as mask, and the alpha channel (transparency) of the pixel layer will be used for masking, while ignoring the RGB channels of it. Furthermore it is possible to put a live Channel mixer adjustment on top of a pixel layer which makes it transparent based on it's luminosity. Combine these two tricks, you get a mask, where you can do every aspect of grayscale editing. Here are the steps: You have pixel layer A you would like to mask, and pixel layer M you would like to use as mask. You nest a Channel Mixer adjustment inside M, choose LAB channels, Alpha channel, make contribution of input Alpha 0, and contribution of input Lightness 100% into Alpha. Layer M should be above layer A. Right-click layer M, and choose Mask to Below. Bam, you have a mask pixel layer to do any edits and it's luminosity is used for masking. (beware of a GUI limitation that nested children of masks are not shown on the layers panel) What do you think?
  11. 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
  12. Can you convert from color to grayscale and/or black/white in Affinity Designer and/or Photo? This is very helpful for designing for the very few people who cannot see color in checking for background/foreground contrast.
  13. I have a color image that I want to reduce the color on. It is too saturated. I don't want Black & White but less color so it approaches black & black. The topic in the Help for Selective Color Adjustment is not helpful. It doesn't say where to find the Selective Color adjustment.
  14. Why I have this problem with greyscale gradients. Yuo can see on the upper image the gradient is smooth, but when I load that image in affinity photo I get this uneven transition. I have attached the original image.
  15. WARNING: If one uses the supplied Greys color palette in a CMYK document, the colors specified are converted into CMYK. This could lead to costly printing mistakes, ie, registering fine grayscale lines converted to 4 color CMYK is nearly impossible, etc. This should be remedied ASAP by Serif, as it can cause expensive headaches in pre-press and printing. Thanks for all you do, the software is amazing!
  16. I'd love to see a the following additions and fixes to the Channel Mixer feature: Ability to output to Grayscale from RGB. Currently, this is a bit cumbersome since it requires the user to set identical slider settings for 3 different channels (R, G, and B). The current Grayscale setting is only of rather limited use since it only supports Gray and Alpha as input channels. Access to "Spare Channels" as Affinity calls them. Ideally, these would show up in the Channel Mixer as additional sliders. An "Auto Normalize" checkbox. While sometimes a change in output luminosity is desired, I often find myself unnecessarily wasting time trying to manually normalize the output using the sliders once I'm theoretically happy with my balance. Use an NSSegmentedControl or similar instead of a popup for selecting the current channel (goes for multiple place in the UI). The popup requires an unnecessary additional click every time the user wants to switch between channels. When typing a value into an edit box and then switching channel without changing focus to another input field first, the value that was typed in is currently discarded and not applied.
  17. I have a document that has grayscale images and when I export it as a PDF X/4 the images are CMYK. I open it in Acrobat and preview the images to see this. I have a black spot color set and the vector object are just black. What is a solution to this problem?
  18. I have an unprofiled grayscale image that AP insists on opening in RGB color space, not Grayscale. The Color Profiles section of Preferences has different scenarios for assigning profiles, but is there a way to open an unprofiled grayscale file in Grayscale color space? Photoshop opens unprofiled grayscale files in grayscale color space as expected, why can't AP? I opened said file in PS, re-saved it as grayscale with Gray Gamma 2.2 profile, AP now opens it in Grayscale color space with Greyscale D50 profile. But what about AP opening it in Grayscale with the Greyscale D50 profile from the get go?
  19. James Rodriguez

    St. Anselm's 1978

    Hi gang, here we go again. I drew this when I was 10. A year before my 1979 Kmart Christmas illustration, recently posted here, I created this similar scene for the cover of my school’s Holiday Activity booklet. Again, among my sketches & drawings was an old printout. Recoloring my Kmart illustration motivated me to retouch this for one reason: the faded booklet contains puzzles, poems, essays and drawings from my old classmates, some of whom are Facebook friends. My plan is to mildly retouch all 12 pages and PDF it as a gift to my grade school buddies. I think they’ll get a kick outa this blast from the past with their 5th grade contributions.
  20. Hi, I miss: 1: Editing and export 32bit grayscale 2: Color Chooser with full range for 16 and 32bit grayscale 3: Moving zeroes positions in rulers 4: Drawing basic pixel lines 5: Toolbar icons for Undo and Redo 6: Switch to previous tool, after color selected with ColorPickerTool
  21. I am building a black and white (grayscale) advertisement. Final PDF for printing needs to be in CMYK with only the black ink being used. The issue I came across is when I place a (8 bit) grayscale image that has any ICC color profile (Dot Gain 20% or whatever) attached it exports as a CMYK build in the PDF and not in just the black. When I place an image with no ICC color profile it exports correctly using just the black ink. I am starting the export process with the "PDF (for export)" preset, the "PDF (for print)" seemed to create other issues. The "X1a" preset seemed to totally whack out the black tonal ranges. Not being able to use images with attached color profiles in placed images could be a real issue for print production work. I have attached three PDF's two from Designer and one I output from Illustrator. In the Designer PDFs the smaller inset photo (of the guy) uses an attached profile in one and the other is without. The placed TIFF files both came from Affinity Photo, but I get the same results from images exported out of Photo Shop. In the PDF from Illustrator the image does include an ICC profile with the image and the export to PDF worked fine. Also please notice the huge difference in file sizes, the Designer PDF files seem a lot bigger than they need to be. Let me know if you need the Designer file. There was also an issues with areas where an overlaying transparency effects was used in some of the PDF's I exported from Designer as well. But that can be for another bug report. AK-PreMedSummit Ad-AI_file.pdf AK-PreMedSummit Ad-No ICC.pdf AK-PreMedSummit Ad-ICC.pdf
  22. I'm looking for a way to apply a grayscale/black and white effect to a photo in a gradient; I.e. The top of the photo would be in color, and transition to black and white at the bottom. Is this possible?
  23. Hey! This is my first upload here, I just wanted to share a grayscale illustration of the beautiful skater Leticia Bufoni. 100% made in Affinity Designer, awesome software! I hope you like it! :D
  24. Hello folks, I've just discovered AP as an alternative for LR and PS. I'm excited, but obviously I need your help: the black/white layer (or grayscale, I don't know how it's labeled in English) doesn't apply for printing. It shows just fine on screen, but the preview in the printing interface is colored an so is the print on paper. Thanks for your help, Blumowski