From Newsgroup: comp.lang.mumps

<div>Clipping paths crop part of the artwork so that only a portion of the artwork appears through the shape or shapes you create. You can create clipping paths to hide unwanted parts of an image, creating both a path for the image and a frame for the graphic. By keeping the clipping path and graphics frame separate, you can freely modify the clipping path without affecting the graphics frame by using the Direct Selection tool and other drawing tools in the toolbox.</div><div></div><div></div><div>The graphics frame displays the color of the layer it appearson, and the clipping path is drawn in the inverse color of the layer.For example, if the layer color is blue, the graphics frame willappear as blue, and the clipping path will appear as orange.</div><div></div><div></div><div></div><div></div><div></div><div>clipping path image download</div><div></div><div>Download File: https://t.co/cfzE0sxxdD </div><div></div><div></div><div>InDesigncan crop an imported EPS, TIFF, or Photoshop graphic using the clippingpath or alpha channel saved with the file. When an imported graphic includesmore than one path or alpha channel, you can choose which path or alphachannel to use for the clipping path.</div><div></div><div></div><div>Specifies the darkest pixel value that will define the resulting clippingpath. Increasing this value makes more pixels transparent by extending therange of lightness values added to the hidden area, starting from0 (white). For example, if you want to remove a very light dropshadow when using Detect Edges, try increasing the Threshold untilthe shadow disappears. If light pixels that should be visible areinvisible, the Threshold is too high.</div><div></div><div></div><div>Shrinks the resulting clipping path relative to the clippingpath defined by the Threshold and Tolerance values. Unlike Thresholdand Tolerance, the Inset Frame value does not take lightness valuesinto account; instead, it uniformly shrinks the shape of the clippingpath. Adjusting the Inset Frame value slightly may help hide straypixels that could not be eliminated by using the Threshold and Tolerancevalues. Enter a negative value to make the resulting clipping pathlarger than the clipping path defined by the Threshold and Tolerancevalues.</div><div></div><div></div><div>Many times I have to work with JPEG files of product shots on a neutral (mostly white) background, that have one or more embedded clipping paths. Opening such a file in AP does show me these paths and I can clip (or blank out) the white background. So far, so good. But Affinity Photo doesn't seem to be able to save (or export) JPEGs with these clipping paths. Or at least, I can't see the logic behind it.</div><div></div><div></div><div>I have a background and want to place (import) a product shot on that background. I'm choosing a JPEG with embedded clipping path. But when the image is placed, it has a white background, and I can't find an option to use the embedded clipping path, to remove the white background. The only way I found to do that, is to open the JPEG separately in AP, then chose the path (background is now transparent), select the main object by clicking on it, copy it to the clipboard go to the composite image and paste it.</div><div></div><div></div><div>As you can see in the first two screenshots (German version), the image has two masks. In the export dialogue I tried every possible setting, but when I check the exported file in photoshop, there is no path embedded. (See screenshot number three.) Therefore, I can not work with it in InDesign, because it always has a white background.</div><div></div><div></div><div>This is a big problem for me too.. i can't switch to Affinity Photo because of this only point. (JPEG must have clipping path inside the same file) Please let me know as soon as it will be released and you get a new client..</div><div></div><div></div><div></div><div></div><div></div><div></div><div>Clipping paths are not really part of the JPEG standard. Photoshop implements them as one of a multitude of possible Image Resource Blocks (a type of metadata) stored at the end of the file. The Path resource format section of the Adobe Photoshop file specification hints at how complex this resource can be, & even that Photoshop itself may ignore some of this metadata.</div><div></div><div></div><div>So while it is possible that Affinity might someday support reading & using some of this metadata, it is not likely it will be anytime soon or that it will ever support all the path resources as well as Photoshop does.</div><div></div><div></div><div>So while it is possible that Affinity might someday support reading & using some of this metadata, it is not likely it will be anytime soon or that it will ever support all the path resources as well as Photoshop does.</div><div></div><div></div><div>In this case, all depends on how Affinity Publisher will handle JPEG and paths from Affinity Photo. In the moment, this issue makes Affinity Photo for me unusable in 50% of my work. I alway have to start up Photoshop CS6 to create JPEGs with work path, that can be selected in InDesign.</div><div></div><div></div><div>You will find the clipping path(s) in the Paths panel if you open the JPG in Adobe Photoshop. Conversely JPG's with clipping paths saved in Photoshop will open as vector masks nested to the image layer in Affinity Designer/Photo.</div><div></div><div></div><div>For a jpeg file originally created in Photoshop, does this support or preserve all the 8 possible path records the clipping path might have, & somehow take care of the byte order difference between Windows & Mac records?</div><div></div><div></div><div>I understand how the method you described works with clipping paths created in Designer or Photo, but the original question involved jpeg files that already have one or more clipping paths embedded in them, presumably by someone using Photoshop.</div><div></div><div></div><div>following this steps almost worked for me. The exported JPG file has the path but is showing a gray background</div><div></div><div>after open it. When i do this in Photoshop the file looks like a PNG file. The background isn't there. Even looking the</div><div></div><div>preview image in finder is not showing any Background. Using Photoshop for this is not a option for me. </div><div></div><div>Thanks in advance</div><div></div><div>J.A</div><div></div><div></div><div>I fully understand sonorman situation because I was looking for it as well, but will explain why what he is trying to is imperative in my usage. When image files with transpariences are used in a file, on my many RIPs it will either cause them to fail or lock-up. So, instead of using files with transparencies we would use a clipping path and allow the clipping path to cutout that image (so to speak) and the RIP will not have to read the image file transparencies instead of us having to create the file and convert the file to .jpg so it will be a flattened file for use through a (i.e. KONICA) RIP.</div><div></div><div></div><div>I do have a product image on white background and a grey drop shadow, in a flat jpg file. No transparencies are involved, neither on layers nor as alpha transparency on pixels.</div><div></div><div>In photoshop, with the path palette, i draw a vector path (path palette, not masks!) and name it "clippingpath123". This path just lives "in" the image with no visual effect in Photoshop (it's not a vector shape that is visible as an object, and it's also not a mask applied on a layer but the image as a whole). I draw that path so that it lies around the object without the shadow. Saving that file as jpg keeps that vector path inside the file. I assume this is some meta data if it's not within the jpg specification? (exactly the same thing goes for tif files, this works with them equally.)</div><div></div><div></div><div>Background: We get these jpg images from our photographing agency / customers. It's far faster for them to create clipping paths than doing real alpha transparency for the shadows. We have catalogues of thousands of these images from past projects and new ones coming in.</div><div></div><div></div><div>Now, if i place that image in Indesign, the image is visible with its white background as a rectangle.</div><div></div><div>I can now go to Object > Clipping Path > Options > select "photoshop path" > select the path by its name given > apply.</div><div></div><div>Now, the image (the main object) is shown within the path shape, everything else is clipped away (including the shadow).</div><div></div><div></div><div>Now I duplicate that image and send it to the background, then remove the clipping setting again for the copy only, and set that object to multiply.</div><div></div><div>Now if i have something else in the very background that is not white, the whole image (including the shadow) of my image is multiplied on that background (making the shadow pseudo transparent). If i then place my first copy (with clipping, and no multiply effect) on top of that, i preserve the main content (the object) without multiply effects and keep it in its original color. Both grouped together means i finally get a clipped object with a multiplied shadow on a background.</div><div></div><div></div><div>In shorter words: in Indesign, i have two copies of the same image: once with a clipping applied, and once with "multiply" applied. stacked upon each other and grouped, i get a transparent shadow and maintain the main image intact.</div><div></div><div></div><div>If i place THAT Aphoto-clipped jpg in Apublisher, that clipping is not applied though ... it's always a rectangle. If i double click that image to "edit" it within publisher(?), i see the clipping path applied though. If i save / close, it's gone in publisher layout again. If i open it that way, copy that clipped layer, close it, and then paste that copy into the layout, i get the clipped version. But that's quite a drag to place it exactly on top of the first copy, so ... not really an option(?)</div><div></div><div> df19127ead</div>
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