![]() However, after placing selections on new layers and making adjustments, they don't seem to blend in well with the original image. I have experimented with Affinity's quick selection tool (and earlier the flood selection tool in Paint_Dot_Net) in other images to isolate certain areas and play with all of the various settings, so I know how to use them and what they do. I'll be happy to learn it in depth, but not if it only provides limited value. Is there a screenshot I can grab for you? RawDigger has a sale that only runs for another few hours, so if the data I provided is useful to you or anyone else, please let me know so I can purchase it at the discounted price. I'm unable to attach the CSV file from RawDigger because it's not an image. Generally, I found the videos at to be the best ones: short ca. I googled a couple of AffinityPhoto topics just to make sure that they were available. This option allows you select areas bounded by edges by clicking on points (for example corners). Richt-click on the lasso tool and the polygonal lasso option is shown at the top. My go-to selection tool for this is the "polygonal lasso". But sometimes more precise selections are needed for areas (such as windows, etc.) that have edges. Often, applying adjustments to selected areas by "painting in" white areas on a black mask works fine. You can further adjust either the curve or (more usually) the opacity of the adjustment layer to the level you want the adjustment to apply. Using the paintbrush tool with the color white, you can then 'paint on" the mask to select the areas of a photo that you want the curve (darken/brighten) to apply. If you select the mask and then select "layer", then "invert" then the mask turns black. By default, masks are set to all-white so that they apply to the whole photo. In one layer, I would drag the curve downwards slightly and call it 'darken' and in the other, I would drag the curve upwards and call it 'brighten'. So in your example, my preference would be to add 2 curves adjustment layers, each with a mask. modify the mask (black/white) to apply adjustments only to selected areas - see 'selections' below add adjustment layer: levels, curves, exposure initially, this will apply to the whole image You should be able to adjust levels, brightness/contrast, exposure, shadows/highlights (and probably gradients) using just a few AffinityPhoto tools: I rarely look at histograms other than when shown in an adjustment layer. I don't use AffinityPhoto but it looks very similar to Photoshop which I do use. It may not be the best way to adjust sharply defined areas.īy the way are you sure you posted the correct image? I don't see the china cabinet referred to. This is how I do darkroom style dodging and burning, using a large, fuzzy brush at low opacity. It's probably best to use shadow / highlight as it's a relatively gentle adjustment, using levels or curves can cause obvious edges.ģ) Make a new overlay layer filled with 50% grey, and paint over with white to lighten, black to darken. Adjust the selected area using shadow / highlight, levels or curves. Use a layer mask or the erase tool to make the lighter version show through where required.Ģ) Select the area to be lightened and feather the edge. Put the original and lighter versions on different layers. I don't use Lightroom, these are how I use Photoshop CS5, I think Affinity has the same tools, perhaps under different names.ġ) Use the RAW processor to create a lighter version of the picture. These are the methods I use, others may disagree or have different approaches they are comfortable with. There are a number of ways of lightening or darkening areas of an image. The rendering of this data and the reduction of dynamic range is from the JPEG engine that isn't handling the DR data that does exists as well as we can from the raw! Another reason to capture and render the raw data, assuming you care about how the image is rendered! This compression can clump midtones as much as 1 stop while compressing shadow details! People incorrectly state that raw has more highlight data but the fact is, the DR captured is an attribute of the capture system it's all there in the raw but maybe not in a camera proceed JPEG.Ī raw capture that's 10 or 11 stops of dynamic range can be compressed to 7 stops from this JPEG processing which is a significant amount of data and tonal loss! So when we hear people state that a raw has more DR than a JPEG, it's due to the poor rendering or handling of the data to create that JPEG. The JPEG engine that processes the raw massively clips and compresses highlights. If you shot JPEG, that's the start of the issue! Ideally, you want to stick with the raw data. If you shot raw, we can't even start discussing exposure without access to the raw and viewing a raw Histogram in something like RawDigger.
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