Nekodificador

Hi, I'm Nekodificador, visual artist and content creator from Spain. I have a Youtube channel where I show my workflows, secrets and teach retouching and compositing throught tutorials.

I fell in love with Affinity Photo but when I wanted to change from Photoshop it took me a while to learn it, so I did a video where I show how to do a few things in Photoshop and how to "translate" them into Affinity Photo. It is in spanish, but I hope it will be useful for everyone.
Btw, it seem like we have new brothers in our community after this video. Oops hahah
 

Please please please can you let us edit the Alpha channel, make dodge and burn work, as well as curves. I'm a Lead Matte Painter in the Film and Tv VFX industry and i've seen the gradual decline of Photoshop over the years. Affinity is so close to becoming the main 2D workflow in Visual effects houses around the world, ilm, Framestore, Cinecite, etc etc. You guys and gals just need to sort this out. Until you do we will continue to use Photoshop which many of us dont want to do anymore, but can't make the change to Affinity unless we can edit in the Alpha channel. Its not just Matte Painters, its 3D artists, its game designers. we all need to edit the Alpha channel quickly and easily. Yet again i will have to save what im doing in Affinity and move it into Photoshop to finish off my shot

The ability to easily edit masks without workarounds, please.

A hotkey / modifier (like pan or zooming) for flow control would be a great addition to the software.

This feature request is about dodging & burning the alpha channel. It's a basic task in image compositing and I use this technique aaaaaall the time in professional work. 
 
 

Hi! It'w be a super if Affinity Photo has Ability to use tools Burn, Dodge, Sponge for mask. Using the Dodge and burn on a mask layer is handy when using to affect only shadows, midtones or highlights.
Thanks for attention

Yes, use a linear colour profile for your document. These are available when you make a 32bit RGB document.
Hope this helps,
Andy.

Hi Affinity,   As a member of the Affinity converted with Designer and Publisher, I have used Affinity software for my digital agency and there are presentations of mine in the exec offices of some global automakers. This work used to be done with InDesign but I switched over to Designer two years ago and used multipage artboards to work on my projects. When Publisher Beta came out I was on cloud nine, and then when StudioLink came out I really needed psychotherapy to cure my OCD with Publisher. Such an amazing, groundbreaking workflow.   I also took a very deep dive on Photo, the latest store version and also the beta. I have a collection of thousands of Photoshop files and many of them opened up flawlessly. I also love the refined UI. And now rotating brushes are amazing! I seriously don’t know why Photoshop hasn’t done that yet, but consider that it took them many years to enable CMD-Z. You guys had live preview first but they soon adopted that, so it is clear they are watching what you are doing. I would like to come over 100% to Affinity but I have several issues that prevent me from doing so. Also, I do realize that this is a monumental task - Photoshop really is Adobe’s flagship, more so than any of their products. It was easy to switch over to Designer from Illustrator, really easy even with features missing (perspective warp please! - although doing that in StudioLink). Right now I am adept enough at Photo as and use it within a StudioLink context but not standalone and here’s what’s preventing me:   Smart Objects. Before I begin, I know Adobe is never going to let you in on Smart Objects. PSD documents that include them will open up with these layers rasterized. But let’s consider that your embedded documents are pretty much there. I can add a Photo or Designer file to Photo or Designer or Publisher and I can edit the document just as I would a smart object, and see live updating on the master document - which is ahead of Photoshop in that regard.  Also if it’s a Designer file in Photo I can edit in Designer without leaving Publisher or Photo.) In Photoshop you can only edit a vector with Illustrator). Then with the embedded document I can add a few live filters such as Distort>Perspective - which is a favorite in working in a mockup scenario. As a live filter I can go back and change the settings. I can also add some live blurs and a few other things.  Sadly, the other Distort live filters don’t work as they have no effect on the embedded object. If you apply a non-live filter then the embedded document rasterizes, and then this gets destructive especially when placing a vector in a Photo document. I don’t mind converting my Photoshop PSB files (smart object files) to PSD then placing as embedded documents.  This way I can have my entire core design and logo files standardized as Affinity vector and raster files, but the inability to do pinching and liquifying and other types of warping and shading stops me from doing this.  Also there is no way to take a group of layers in Photo and convert easily to an embedded document. I really love how this works in Photoshop. It’s essential to my work, and this is the main thing keeps me on Photoshop. Hopefully Affinity can continue development here.   Brushes. While I was praising brushes in Photo there is one simply itsy bitsy thing that is absolutely essential to my work. I need the brushes labeled with their actual names, as they are done in Photoshop. Photoshop has brush flyout panels - if you extend the panels. I have over two thousand brushes and it’s just too difficult to know what’s what in Photo.  Even if there are groups, I can’t tell what the individual brushes are if there are two many.  I can hover over the brush and then see if I’ve selected the correct one - this works well if you have a few brushes but not if you have so so many.   LUTs. I love the live presets on LUTs. But honestly it is a chore to import them as presets.  Also it takes too long to load the adjust layer presets. Photoshop allows you to add all the LUT files to the programs preset folder. Restart photoshop and they are all there.   Pattern fills. Oh pattern fills. I keep reading in the forum that this is a badly needed feature and so I am throwing myself into this group. Yes I can work around this and have done so… but why? It’s so easy in Photoshop and I have a library of so many .pat files that I would love to use in Photo, just as I have converted my brushes, color files (with online converters) and gradients.   Blend Options. I love your layer blend options UI - really easier to use than Photoshop.  But shouldn’t it be part of Layer Effects?  I want to add color fills for instance and select the blend options right then and there, so I can see what I’m doing as I can in Photoshop.   Feathered masks. If I want to feather a mask in Photoshop I simply go to the mask properties and then adjust the feathering. In Photo I can’t feather a mask that’s been applied to an adjustment effect directly. I have to move the mask to a layer above, then apply a live filter, and then move the mask and its filter under the adjustment effect.  I have to do these things all the time and this seems oddly cumbersome.    

Básicamente por lo que cuentas lo que ocurre es que la tableta asocia la rueda a la pulsación de unas teclas concretas. Así que cambiando los atajos de teclado asociados al cambio de pinceles y cambiándolo por el de esas teclas asociadas a la rueda debería funcionar.

Yo es que directamente utilizo el atajo de teclado para cambiar de tamaño, me resulta mil veces más cómodo que estar trabajando con la rueda en la tableta.
 

I support your request for the ability to be able to dodge and burn on a mask layer. It is definately a professionals level feature that Affinity Photo should have.

The native format is very structured, I know. And that means that is very compact when saved and also when in memory.
But, and this is a big but, if it is possible to paint or blur the alpha data, then it is possible to Dodge and Burn also.
If the alpha was stored in such a way that it was not possible to darken or lighten the values (in fact, dodging and burning are simply the increasing or decreasing of the values), then it would not be possible to paint on alpha too.

CMYK images are a set of four greyscale channels, each one defining the amount of Cyan, Magenta, Yellow and Black ink.
Internally, there is no difference in the way they are stored.
So, a greyscale image is a list of values.
An RGB image is a set of three list of values.
A CMYK image is a set of four lists of values.
And an alpha is a list of values, just like a greyscale image. Exactly the same. Stored in the same way.
The way you interpret or use that set of values may be different, but they are all the same type of data, internally.
So, we should be able to use all tools in the same way in all of them.

Hi, I'm Nekodificador, visual artist and content creator from Spain. I have a Youtube channel where I show my workflows, secrets and teach retouching and compositing throught tutorials.

I fell in love with Affinity Photo but when I wanted to change from Photoshop it took me a while to learn it, so I did a video where I show how to do a few things in Photoshop and how to "translate" them into Affinity Photo. It is in spanish, but I hope it will be useful for everyone.
Btw, it seem like we have new brothers in our community after this video. Oops hahah
 

Hi, I'm Nekodificador, visual artist and content creator from Spain. I have a Youtube channel where I show my workflows, secrets and teach retouching and compositing throught tutorials.

I fell in love with Affinity Photo but when I wanted to change from Photoshop it took me a while to learn it, so I did a video where I show how to do a few things in Photoshop and how to "translate" them into Affinity Photo. It is in spanish, but I hope it will be useful for everyone.
Btw, it seem like we have new brothers in our community after this video. Oops hahah
 

Ooh now I see. Wow this is so powerful. I tried to apply filters and it works on quick mask mode. So we can transform perspective of a selection before we apply it, for example. Awesome.

OMG I was trying just this, with the same math and the same process, but I was picking the wrong blend mode. It has all the sense to let it in Normal and do all the maths. Thank you. THANK YOU.

Issue solved! This is useful to subtract one layer from the other, for example for Frequency separation.
 
So this is how I did it for a 8 bits image (16 bits should need a change in the 2 and .5 values bellow)
 
1 - Create two layers with the same image 
2 - Change the layer bellow as you like (gaussian blur, median blur or anything else)
3 - Make the top layer Linear Light (could be done afterwords but if you do it before Applying image, it's easy to see the result as it happens)
4 - Apply image with the following parameters:
Source: layer bellow modified
Blend mode: Normal
Equations: on
DR=(DR-SR)/2+0.5
DG=(DG-SG)/2+0.5
DB=(DB-SB)/2+0.5
DA=DA (no change to the Alpha )
 
A couple of explanations. In the equations:
DR stands for Destination Red an is the value of the Red in the layer you chose to Apply image (in this case the top Layer)
SR stands for Source Red and is the value of the Red in the source layer (in this case the layer bellow)
The 2 and 0.5 are based on this info: https://helpx.adobe.com/photoshop/using/channel-calculations.html (look for "Add and Subtract blending modes")
 
Hope this helps for future reference.