[DimC]

This is my first picture processed only with On1.
Im slowly learning how to work quickly and efficiently with this program, and despite some flaws I reckon it's becoming a great photo tool. I hope the team will continue to listen to the community and I'd like them to add support for Pixel Shift in the future.

[johnhilvert]

This is my first picture processed only with On1.

Great pic and your post-processing rocks.

I like how you sidestepped the composition rule of thirds and even moderated the fad for adding vignettes.

Im slowly learning how to work quickly and efficiently with this program, and despite some flaws I reckon it's becoming a great photo tool. I hope the team will continue to listen to the community and I'd like them to add support for Pixel Shift in the future.

There's a lot to like with ON1. There's more interest in Pixel Shift, with Fuji and Sony offering their versions of it. Maybe that'll influence ON1 developers.

[madbrain]

you can stay in the develop module. you can either press an arrow or if you go down to the bottom left there is a way that a film strip pops up and you can move to another image. Also you might need to clear some catche? Cause when I switch between the two it takes less then a second and my computer is not over clocked, granted I'm not sure if the amd has anything to do with that though

Thanks, that works. It takes about 3 seconds to switch between develop and browse on my system, as far as I can tell.
And unfortunately, in the film strip view below, it also takes about 3 seconds to switch from one picture to another, too, which is just not acceptable.

Edit: actually 4 seconds each time, timed it with my cell phone stopwatch. Really not sure why it is so slow. No other photo app I have used has ever been so slow on my machine.

[Paul the Sunman]

I still do most of my editing in LR, but find ON1 very useful when I want to evoke a particular mood.

[Fcsnt54]

Thanks, that works. It takes about 3 seconds to switch between develop and browse on my system, as far as I can tell.
And unfortunately, in the film strip view below, it also takes about 3 seconds to switch from one picture to another, too, which is just not acceptable.

Edit: actually 4 seconds each time, timed it with my cell phone stopwatch. Really not sure why it is so slow. No other photo app I have used has ever been so slow on my machine.

Glad i was able to help. Yeah i found working with On1 less of a pain in comparison to LR/photoshop which would take a long time if it didnt crash when i processed with that software granted it was before adobe had the recent update with the supposed speed increase. Im still not sure why yours is slow because your system seems better then mine. Granted i probably dont pay as much attention, or ever really thought about it until you mentioned how long it took you to load a file.

[madbrain]

Glad i was able to help. Yeah i found working with On1 less of a pain in comparison to LR/photoshop which would take a long time if it didnt crash when i processed with that software granted it was before adobe had the recent update with the supposed speed increase. Im still not sure why yours is slow because your system seems better then mine. Granted i probably dont pay as much attention, or ever really thought about it until you mentioned how long it took you to load a file.

Maybe the fact that I have a 4K monitor has something to do with it being slow. Actually 3 monitors, two of which are 4K. But ON1 is only running on the one middle monitor.
Anyway, ON1 is fast enough in browse mode when switching between pictures. It's in develop mode that is slow. Or toggling between browse & develop modes.
I'm used to Aftershot which is very fast with everything. But unfortunately does not support the RAW files from my Samsung Note 8 smartphone. And it also does not the RAW files from the Panasonic DMC-GX85 MILC I received yesterday. Really strange because Corel Paintshop Pro supports them both ... Edit: actually I was able to download a RAW profile for the DMC-GX85 for Aftershot Pro. So it's only missing the RAW profile for my Note8 ...

ON1 supports all of the RAW files I need. Really wish it was faster.

[DimC]

Great pic and your post-processing rocks.

I like how you sidestepped the composition rule of thirds and even moderated the fad for adding vignettes.



There's a lot to like with ON1. There's more interest in Pixel Shift, with Fuji and Sony offering their versions of it. Maybe that'll influence ON1 developers.

Thanks John,
I dont like the halo effects around the trees, maybe I went overboard with the polarized sky I dont know.
ON1 is getting better every iteration, can't wait to see their next update.

[Tas]

Thanks John,
I dont like the halo effects around the trees, maybe I went overboard with the polarized sky I dont know.
ON1 is getting better every iteration, can't wait to see their next update.

I agree with both you and John, it's a cool pic but the halo around the tree sucks.

To address the haloing, you can try a couple of approaches. Please disregard if you've used them, but it's worthwhile mentioning as this type of image should be an easy fix regarding the halo.

Firstly, it's reasonable to expect some blooming in the centre of frame as you've captured the sun. Use this to your advantage. For example once you've got the halo sorted try using a natural sunshine filter, use the gear icon to open the application and protection options and test the image with the options you have for how it is applied and what is protected. The Sunshine filter will increase overall contrast so it's a matter of balancing this light to prevent highlights/darks blowing out. Check on this using the Loupe view and click on one of the arrows located in the top right or left corners. be aware that this filter has some default glow that will soften things so often I apply it with a mask or turn off the glow. You may not like or need a Sunshine filter, you may already have applied one but again thought I'd mention it.

For the halos, there are two elements that can assist with this, I will cover the 'Color Enhancer' approach first. In FX you can use the colour channels to selectively darken parts of your image. You can do this in Develop but as FX provides masking you have much more control on how a filter is applied. And adjusting the colour often helps keep a scene natural whilst making the most of the colours present. This approach will allow you to darken the blues and aqua colours relevant in the sky around the branches. I often do this colour balancing prior to any other PP work so the colours are correct in saturation, tint and luminance. You may not need anything else to fix the halo as the trees are a different colour and will not be affected by darkening the other colour channels. Try lightening the yellow, red and orange channels for luminance changes that may impact the tree branches. You might get to lighten them whilst darkening the sky, but be subtle to avoid blooming. To reset any slider adjustments just double click the slider name and it will return to it's default setting.

The best approach out of the options available to you is via a luminance mask.. This can be done using the local adjustments panel or the 'Tone Enhancer' filter in FX. I'd recommend using the Tone Enhancer as it will allow you to use curves which is I think a better way of managing contrast and luminance values. However looking at your image I'd suggest you've darkened the sky with a masking brush. If so you could tidy up your current image by selecting the perfect brush with a high opacity and low feather. As you commence brushing from the sky press the CTL key or if I have it right for Macs, the CMD key. This will only change the parts of the image that are the same as that first selected. This will mean no impact upon the tree branches. It is possible there'll still be some haloing unless you want to zoom in and take your time getting the details correct.

A faster way would be to grab a Tone Enhancer filter, click on 'Curves' at the bottom of the panel and click and drag down the line at the centre. This will darken the entire image. Click on the mask then select 'lumen'. Select 'View' and check where this is applied, ensure the mask view is set to 'Grayscale'. Now below the masking box you have four sliders for applying the luminosity mask. You can also use the colour picker, but using the sliders should work due to the contrasting luminance levels of the sky and trees. The entire image is affected to various levels in the default setting with more applied to highlights and less to the dark areas. try the 'Window' slider and see if that will allow you to isolate to the sky only. This maybe all you need to do, if it looks right turn off view mask by clicking 'View' again. If that doesn't quite work you can then go to the 'Levels' slider and adjust these to get the desired look. If it still doesn't look right turn off the Window slider adjustments and just rely on the levels slider. With a bit of trial and error you should get the image without the halos. If there's areas affected that you don't want affected by the mask you can use the brush to mask them out too.

Hopefully I wasn't going over stuff you know, and the above will help avoid halos in the future.

Tas

[johnhilvert]

I agree with both you and John, it's a cool pic but the halo around the tree sucks.

To address the haloing, you can try a couple of approaches. Please disregard if you've used them, but it's worthwhile mentioning as this type of image should be an easy fix regarding the halo.

Firstly, it's reasonable to expect some blooming in the centre of frame as you've captured the sun. Use this to your advantage. For example once you've got the halo sorted try using a natural sunshine filter, use the gear icon to open the application and protection options and test the image with the options you have for how it is applied and what is protected. The Sunshine filter will increase overall contrast so it's a matter of balancing this light to prevent highlights/darks blowing out. Check on this using the Loupe view and click on one of the arrows located in the top right or left corners. be aware that this filter has some default glow that will soften things so often I apply it with a mask or turn off the glow. You may not like or need a Sunshine filter, you may already have applied one but again thought I'd mention it.

For the halos, there are two elements that can assist with this, I will cover the 'Color Enhancer' approach first. In FX you can use the colour channels to selectively darken parts of your image. You can do this in Develop but as FX provides masking you have much more control on how a filter is applied. And adjusting the colour often helps keep a scene natural whilst making the most of the colours present. This approach will allow you to darken the blues and aqua colours relevant in the sky around the branches. I often do this colour balancing prior to any other PP work so the colours are correct in saturation, tint and luminance. You may not need anything else to fix the halo as the trees are a different colour and will not be affected by darkening the other colour channels. Try lightening the yellow, red and orange channels for luminance changes that may impact the tree branches. You might get to lighten them whilst darkening the sky, but be subtle to avoid blooming. To reset any slider adjustments just double click the slider name and it will return to it's default setting.

The best approach out of the options available to you is via a luminance mask.. This can be done using the local adjustments panel or the 'Tone Enhancer' filter in FX. I'd recommend using the Tone Enhancer as it will allow you to use curves which is I think a better way of managing contrast and luminance values. However looking at your image I'd suggest you've darkened the sky with a masking brush. If so you could tidy up your current image by selecting the perfect brush with a high opacity and low feather. As you commence brushing from the sky press the CTL key or if I have it right for Macs, the CMD key. This will only change the parts of the image that are the same as that first selected. This will mean no impact upon the tree branches. It is possible there'll still be some haloing unless you want to zoom in and take your time getting the details correct.

A faster way would be to grab a Tone Enhancer filter, click on 'Curves' at the bottom of the panel and click and drag down the line at the centre. This will darken the entire image. Click on the mask then select 'lumen'. Select 'View' and check where this is applied, ensure the mask view is set to 'Grayscale'. Now below the masking box you have four sliders for applying the luminosity mask. You can also use the colour picker, but using the sliders should work due to the contrasting luminance levels of the sky and trees. The entire image is affected to various levels in the default setting with more applied to highlights and less to the dark areas. try the 'Window' slider and see if that will allow you to isolate to the sky only. This maybe all you need to do, if it looks right turn off view mask by clicking 'View' again. If that doesn't quite work you can then go to the 'Levels' slider and adjust these to get the desired look. If it still doesn't look right turn off the Window slider adjustments and just rely on the levels slider. With a bit of trial and error you should get the image without the halos. If there's areas affected that you don't want affected by the mask you can use the brush to mask them out too.

Hopefully I wasn't going over stuff you know, and the above will help avoid halos in the future.

Tas

Great tips, Tas.

I find using the opacity slider can help mitigate some halo effects.

I'm getting a lot of useful guides from Morganti's mastering ON1 series, as well. His last one on details and noise reduction helped me a lot with my recent efforts.

[DimC]

I agree with both you and John, it's a cool pic but the halo around the tree sucks.

To address the haloing, you can try a couple of approaches. Please disregard if you've used them, but it's worthwhile mentioning as this type of image should be an easy fix regarding the halo.

Firstly, it's reasonable to expect some blooming in the centre of frame as you've captured the sun. Use this to your advantage. For example once you've got the halo sorted try using a natural sunshine filter, use the gear icon to open the application and protection options and test the image with the options you have for how it is applied and what is protected. The Sunshine filter will increase overall contrast so it's a matter of balancing this light to prevent highlights/darks blowing out. Check on this using the Loupe view and click on one of the arrows located in the top right or left corners. be aware that this filter has some default glow that will soften things so often I apply it with a mask or turn off the glow. You may not like or need a Sunshine filter, you may already have applied one but again thought I'd mention it.

For the halos, there are two elements that can assist with this, I will cover the 'Color Enhancer' approach first. In FX you can use the colour channels to selectively darken parts of your image. You can do this in Develop but as FX provides masking you have much more control on how a filter is applied. And adjusting the colour often helps keep a scene natural whilst making the most of the colours present. This approach will allow you to darken the blues and aqua colours relevant in the sky around the branches. I often do this colour balancing prior to any other PP work so the colours are correct in saturation, tint and luminance. You may not need anything else to fix the halo as the trees are a different colour and will not be affected by darkening the other colour channels. Try lightening the yellow, red and orange channels for luminance changes that may impact the tree branches. You might get to lighten them whilst darkening the sky, but be subtle to avoid blooming. To reset any slider adjustments just double click the slider name and it will return to it's default setting.

The best approach out of the options available to you is via a luminance mask.. This can be done using the local adjustments panel or the 'Tone Enhancer' filter in FX. I'd recommend using the Tone Enhancer as it will allow you to use curves which is I think a better way of managing contrast and luminance values. However looking at your image I'd suggest you've darkened the sky with a masking brush. If so you could tidy up your current image by selecting the perfect brush with a high opacity and low feather. As you commence brushing from the sky press the CTL key or if I have it right for Macs, the CMD key. This will only change the parts of the image that are the same as that first selected. This will mean no impact upon the tree branches. It is possible there'll still be some haloing unless you want to zoom in and take your time getting the details correct.

A faster way would be to grab a Tone Enhancer filter, click on 'Curves' at the bottom of the panel and click and drag down the line at the centre. This will darken the entire image. Click on the mask then select 'lumen'. Select 'View' and check where this is applied, ensure the mask view is set to 'Grayscale'. Now below the masking box you have four sliders for applying the luminosity mask. You can also use the colour picker, but using the sliders should work due to the contrasting luminance levels of the sky and trees. The entire image is affected to various levels in the default setting with more applied to highlights and less to the dark areas. try the 'Window' slider and see if that will allow you to isolate to the sky only. This maybe all you need to do, if it looks right turn off view mask by clicking 'View' again. If that doesn't quite work you can then go to the 'Levels' slider and adjust these to get the desired look. If it still doesn't look right turn off the Window slider adjustments and just rely on the levels slider. With a bit of trial and error you should get the image without the halos. If there's areas affected that you don't want affected by the mask you can use the brush to mask them out too.

Hopefully I wasn't going over stuff you know, and the above will help avoid halos in the future.

Tas

Thanks for the tips Tas !
Ill try that when Im back home with my iMac where I can edit photos.

I want to frame this one but I was reluctant because of the halo effect, so Ill definitly work on tis issue using your advices.

[subsea]

I've been playing with Photo RAW 2018 and wanted to composite an image from a scan of a 35mm negative and an image I downloaded from the web. The original negative is of an image I took of a sailboat that I designed in college, taken in 1976 with a Spotmatic F, and the downloaded image is an image of Shamrock. Shamrock participated in the first America's Cup race. It took me under an hour to create this. The selection and masking tools in ON1 are unbelievable! It would have taken many hours to create this using Photoshop. It still needs work in terms of cleaning up some details and improving the quality of the image but as a test of the selection tools and masking, I was very impressed.

[Tas]

A newly released video from On1 shows some of the points I mentioned in my post above so I thought I'd add it to this thread.

Interestingly you can see how the masking was rushed and left some horrible edges that needed more work to improve but he failed to completely fix it. The luminosity masking tool is good but you have to keep an eye on the edges. In this case you can see an line along the horizon and CA around the building that wasn't really obvious before the sky mask was applied. The CA would be easily fixed by jumping back into Develop, but the edge of the mask needed more attention to detail in how it was applied. Anyhoo, that's my opinion you can make up your minds once you've checked it out.

You Tube

You Tube

Tas

[Tas]

An update to Photo RAW 2018.1.1 has just been released. They recommend the update to everyone, the changes include:

What’s New in 2018.1.1 (12.1.1.5088)

• This is a free update to ON1 Photo RAW 2018.1. It includes fixes for a couple of bugs that where(sic) not discovered earlier. It is recommended for all users.
• Panorama — We have improved the blending of adjacent frames when creating a panorama. This reduces seams in the sky.
• Improved zoom/pan experience at 50%
• Fixed a crash while opening an image in the Layers module
• Additional stability, performance increases and bug fixes

Tas

[johnhilvert]

Interestingly you can see how the masking was rushed and left some horrible edges that needed more work to improve but he failed to completely fix it. The luminosity masking tool is good but you have to keep an eye on the edges.

I think he's trying to show how quickly it can be done especially using the Luminosity for masking rather than other approaches. Luminosity is fast becoming a better approach to HDR than using HDR tools.

In this case you can see an line along the horizon and CA around the building that wasn't really obvious before the sky mask was applied. The CA would be easily fixed by jumping back into Develop, but the edge of the mask needed more attention to detail in how it was applied.

I think that's what I find most inconsistent about working with ON1, going back and forth between its various modules, especially when similar tools are available in several of them.

I am accepting it as part of the deal, but I hope the next major rev reduces this confusion.

[Tas]

I think that's what I find most inconsistent about working with ON1, going back and forth between its various modules, especially when similar tools are available in several of them.

I think the best way of looking at it is to remember that Develop is global and is really about setting up the image for applying filters in FX. The additional adjustments in Develop enable you to do basic additional adjustments globally and not use fX if that suits your work flow for particular images. Where you need to do masking in develop you of course have that option too using the local adjustments.

Personally Develop for me is just the preparatory step to allow me to use FX as the options are much more extensive in that module and the control of where and how to apply it is why I do this. Some would argue that you could just go straight into FX however Develop allows you to set exposure, black/white points, raise shadows if necessary and of course WB, NR, colour channels and lens corrections as required.

To not use Develop to set up an image can mean less than optimum results and some of the On1 videos I've seen in the Plus program have shown this and it's remarkable the difference it can make. They also show that it's sometimes worthwhile going back into Develop after working in FX as some changes may have caused for example whites to blow out, shadows to go black etc.

As you know and point out, the workflow On1 requires is quite a bit different to what people are used to with other software and it takes a bit of time. As I've been using it for years I'm accustomed to the workflow and hope that this post helps clarify how and why the modules are set up the way they are.

Tas