Tips for editing exterior photography in Affinity Photo with Quinn Ballard
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- เผยแพร่เมื่อ 19 ธ.ค. 2024
- Nashville photographer Quinn Ballard has over 10 years of experience in architectural and interior photography. In this creative session, he runs through his top tips and tricks for editing exterior photos in Affinity Photo, sharing plenty of nuggets of wisdom for anyone wanting to get the best from their images and speed up their workflow.
If you’d like to follow along, download the supplementary free content, “All Kinds ‘o Clouds” - a selection of images for replacing skies in your own photos - here: affin.co/QBFC
Quinn will be available on TH-cam’s Live Chat for this session’s premiere on Friday, 1 December 2023 at 4pm GMT to answer any questions.
To learn more about Quinn and his work, visit his website: quinnballard.com/
You can also check out his interview with us on Affinity Spotlight: affinityspotli...
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Hi Quinn. Another entertaining and informative tutorial. Question: You have the Colour Picker mapped to a shortcut key. Within the context of architectural photography, how exactly do you use the picker in your editing process? What other function(s) are you using it in combination with that you need to know the exact colour of something? Many thanks.
Hey! The main way I use the color picker is when I am color correcting a wall or surface that has a weird / not ideal color cast on it. So if there's a space where the walls look too blue or too orange or green (even after color correcting as much as I can), I'll use the color picker tool to select a color from another part of the wall that is the correct color. Then, I'll make a new layer, set the blend mode to Color, and brush or fill over the incorrectly-colored wall with the color I just sampled. I usually make a selection first to keep the edges clean. This keeps the light and dark values of the wall intact, but helps even up the color. I'll play around with the opacity and then maybe add some curve adjustments, but it can be a pretty effective fix! Let me know how this goes if you try it out!
@@quinnballard Thank you for the detailed reply. After playing around some, what you described makes complete sense. Taking it one step further, it looks like you can duplicate the selection / fill layer and change this layer's blend mode to luminosity. Using both, you even out not just the colour but also the brightness (such as might be caused by an out-of-frame light fixture. I'm feeling rather chuffed having learnt something new. Many thanks again.
@@fredwilsenack8634 Wonderful - that is so great and I love the luminosity tip, too! So glad this vid was helpful and thanks for sharing your trick!
Thanks for your time in making this informative video as I picked up a few tricks along the way. I have also been using Affinity Photo for my interiors and architecture work for many years and the V2 addition of luminosity range mask was a big step up for Affinity. I wish there was an Affinity plugin for the Lumenzia product which would add the final touch to perfect blending for me. If you have any tips on luminosity range mask tool then please do a short video on this as I believe this is the most important part of interior and architecture photography.
Thanks for your comment, we do have a tutorial on Luminosity Range Masks from our Product Expert James Ritson - you can watch it here: th-cam.com/video/1l__kqWHqqQ/w-d-xo.html&ab_channel=AffinityPhoto
Yes, that tutorial Affinity linked is great! Whenever I am using luminosity masking (like for an interior image where I want to bring in the outside exposure through the windows), I aim to keep the midtones of the "outside the window" layer match up with the midtones of the main interior exposure image. That way, after I use the luminosity masking to bring in the exterior windows exposure, I can then brush around the window area (revealing the outside exposure) with a very low flow and opacity to help blend all of the exposures together. If the luminosity masking ever ends up looking too harsh / not realistic, check the midtown values on the histogram of each layer and that'll help tie stuff together if you need to manually brush in on a mask ◡̈
Great session ! I love your approach, simple and effective. I'm taking away using levels on the alpha channel
Hey, thank you! I'd love to see how you use the alpha channel stuff! I love how it can make selections really sharp and clean
we need powerful update
exceptional video, super interesting, creative, and with a mastery of masks and colors.
Well that was a rollercoaster... Picked up some nice tips though! Loved the idea of feathering the mask and playing with levels on the alpha channel.
Awesome, yeah the mask feathering + alpha channel stuff has been a lifesaver for me. I'm curious to see stuff you've found it helpful for
:22 I'm just thinking about the confused potential property buyers.
🙃
Good video, but now there is no sun in the sky, and there is a lot of sun on the right side of the home!
Do you ever use global cloning in your workflow?
Hey, I have a few times, but I don't go the global route much. Sometimes I feel like global cloning is kind of working blind, or I have to make sure that the other image that I'm using as the source is a perfect match for whatever I'd be adding into the pic I'm working on. For me it's easier to manipulate stuff that I've cut out/copied/pasted into the actual pic I'm working on. Are there times when you've found global cloning to be useful?
Thank you. Have a nice weekend. F.
You're welcome and you too!
the only affinity problem is that it doesn't have the option to delete the background with just 1 click
We have been asked to support the right-to-left language since V1 and not any kind of support provided, You just provided a third-party 30$ app as an idea, and after buying it it was full of issues. After buying V1 & V2 i really think to switch back to Adobe.
Too fast!
Still no gradients along curves, no blend mode, no vectorisation. Features your users are begging for since 1.x times :/
No. 1: The Blend Tool, the absolute essential tool.