Mft

Create cool filters like you see on Instagram and TikTok using gradient maps! This simple tool can add a “Wow” factor to your photography and art. In this video, we’ll look at spicing up your photos with cool filter effects and even see how to transfer styles from one photo to another.
 

James:
Ive always enjoyed the Affinity Photo Video Tutorials. You do a much better job than A@0&3! When you brought out V2 I updated. Yes, you've added some valuable shortcuts and streamlined tool layout.
For around 5 years your customers have been begging for a DAM product. I was sooooo hoping AP V2 would at least bridge some of that gap. I often shoot in my  studio using the same backdrop, same exposure and same studio light set up. Prior to moving the AP, I would make adjustments across a group of raw image files using something like Bridge. Adjustments like exposure, file info (metadata edits, copyright notice, etc) saturation, white balance and the like. I still don't see anyway to perform these initial camera raw edits to multiple files at once in AP V2.
I've explored the File/New Batch Job tool. Although it allows for the use of Macros, who wants to write a custom macro overtime editing a group of Raw files? What am I missing? Sure appreciate your insights.

Try this
Select the first path name you want to delete
Hit the "Tab" key and the button "Add" should get highlighted
Tab again and the button "Remove/Delete" should be highlighted (but you won't see it, because it is off screen)
Hit the "Enter" key to delete that path
 

Hi @JayR,
Thanks for your report!
I can confirm I've been able to replicate this issue here and I will be logging this with our developers now - for any other users experiencing this in the meantime you can either use the above suggestion from Carl, or you can use the left/right arrow keys to scroll this dialog screen, allowing the Remove icon to be shown:

I hope this helps

Attached is a PDF explaining how the key tonal correction tools in Affinity Photo work. I previously had some confusion about exactly what each tool or adjustment did, both in the Photo and Develop Personas of Affinity Photo. My searches made it clear I wasn't alone. For example, what is the difference between Exposure and Brightness in the Develop Persona? I've answered that question and more in the attached PDF.
I spent a full day playing with the main tonal correction tools in the Photo and Develop personas of Photo v 2.0.4. I now understand what each tool does. More importantly, I know which tools I plan to use in each persona and why. This exercise cleared up a lot of confusion for me, so I thought I'd write up my findings and share it. I hope it is clear and helpful. 
Happy editing! 
Tonal Controls in AP.pdf

Overtones Harmonic Color Grading
Color grading is an art, and it is one that I confess I have not mastered. Nevertheless, it remains inspirational. I have a collection of LUT’s that I occasionally use, but these are “one trick ponies” – you either like the effect or not, but you can’t change them (other than by adding adjustments after the fact).
I took some inspiration from a video about a Photoshop panel called “Infinite Color.” Specifically, there is a portion of this panel that allows the user to color grade photos based on a variety of color harmonies. While the availability of plug-ins and panels is on many a wish list for Affinity Photo, I am submitting these macros which attempt to accomplish something similar.
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I am including a set of macros for color grading images. Each macro is based on a specific color harmony, and they include (i) Complimentary; (ii) Split Complementary; (iii) Triadic; (iv) Square; (v) Tetradic; (vi) Analogous; and (vii) Monochromatic. The chart below should explain the color wheel angles used for each of these harmonies.

The macros are attached as a Macro Category, and can be imported into the Library panel. (Do not try to import them into the Macro panel; this will fail.) The macros were created in Affinity Photo version 1, so you should be able to import them into either version 1 or version 2 of the application. They can also be imported into either version of the iPad app, although in my testing they are still a bit glitchy on the iPad.
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To use the macros, click on the macro that corresponds to the desired color harmony. You will be presented with a number of choices, which can tailor the result as desired. Change the hue by setting the desired angle (using 0 as red on a standard color wheel). You can change the Saturation, Luminance, and overall Strength of the effect within the same dialog box. Click “Apply” when you’ve reached a result you like.
There are two additional macros in the category. “Delete Existing” will look for a group named “Overtones Color Grade” and will delete the group. You should be aware that each of the macros has a “Delete” function among its first steps; if you have tried one color harmony and want to replace it with a different one, you can simply click on the macro for the new harmony and the original color grade will be removed.
“Rename Existing” will also look for a group named “Overtones Color Grade” but will rename it to “Color Grading.” This latter choice allows you to stack multiple harmonic color grades, if you desire.
Shown below is an example. The photo on the left was treated with an Analogous color grade, using the settings shown. The Original and Color Graded versions are noted.

I’ve attached a small PDF file that explains the macros in more detail, and includes images of how they are best used. Keep this as a reference, if you like.
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As with all of the macros I have submitted over the years, please remember that I am one person with one computer (and one iPad). This allows me to test on a limited number of images. There is no way to have foreseen all possible scenarios. I believe (but obviously cannot guarantee) that you will be happy with the results.
If you like the macros, please keep them and enjoy them. They are yours to use freely. What I ask in return is simply this: leave a comment below, letting me know if you’re using the macros and (hopefully) that you’re enjoying them. Remember that we users benefit from each other’s knowledge. Never forget to “pay it forward” and contribute to the forum in whatever ways you can.
Have a wonderful 2023. Stay healthy, contented, and fulfilled.
 
Round Two…
The original Zip file that was attached to this post did not actually contain the macros! Oops. I've deleted that zip file and attached the .afmacros file and the pdf as two separate downloads. Hopefully, everything works as it should. (Thanks, @Twolane for letting me know that things got upside-down and backward!)
 
Overtones Harmonic Color Grading.afmacros How to Use Overtones Harmonic Color Grading.pdf

Starting from this video, I made two macro.
https://www.youtube.com/watch?v=LdxXq0aaaXQ
In order to import them, open Affinity Photo, open Macro tab (enable it if nedeed), then click Import Macro icon (marked with 1 in below pic), after that, click on Add to Library icon (marked with 2), choose where you want to save it, change the name (if you want).
Then test it, by applying it to a picture, open the procedural text, adjust the variables, opacity and blend mode.

HDR-1.afmacro HDR-2.afmacro

Here are a few Paper Effects as vector assets (...since some new forum user recently asked me for such things).

The assets file:

paper-effects.afassets A paper effects samples file:
paper-effect-samples.afdesign  
And two curled paper sample files:

 
curled_paper_template.afdesign curled_paper_sample.afdesign  
As mostly all freely reusable, have a nice time!

I have restarted Affinity2. In Windows Display Scaling value 100%. All plugins are in the default folder listed in the dialog. Preferences box stays too narrow.

Weary with Covid and not going about, so the studio's the answer....artistically speaking.
 
Paul Warner FRPS

Just having a little more fun today to make an example how a lot of math can be squeezed into a simple LUT:

So what is the math I mentioned?
Well, first we take the red, green, and blue values of each pixel. We then convert them from the RGB color space to the YCC color space using the current Rec. 2020 method for that (YCC was originally created for color TV, so they could transfer the old monochrome signal Y to those who only had a B&W TV set, while adding the two C channels that can be used to convert that B&W signal to color). After that conversion, we rotate the C and C (generally called chroma) by the angle of 17 degrees. We then interpolate the result with an unrotated chroma, so we effectively end up with only 11% of the 17 degrees (in other words, the chroma is now rotated by about 1.78 degrees). After that we multiply the chroma by 0.7231, which cuts down the saturation to 72.31% of its original. We then stretch the Y channel to the span from the black of -0.05 (instead of the original 0) to the white of 1.1 (instead of the original 1). This increases the contrast by 15% and the brightness by 10%. Then we convert everything back from the Rec 2020 YCC color model to the RGB color model.
And instead of doing all that math for every single pixel, we now have a simple LUT which is much easier to apply to each pixel than all that complicated math.
ChromaFun.cube

And just for the heck of it, I have just tried what an amber-style LUT might do. Just look at it in a text editor to see its simplicity. Here is the result:

Amber.cube

Oh, why not. Here is the same for the 48 primary, secondary, tertiary, quaternary, and quinary colors. It should be useful for many things. I have just made it and only tested two o r three, so please let me know how they are.
Quints.zip

And just for comparison, here is the same image with Vzduch.cube, which is essentially the opposite (or perhaps the complement) of Tehla.cube:

Both work on the principle of strengthening certain colors, while leaving the rest of the colors untouched. Tehla strengthens the colors in the neighborhood of orange, which Vzduch (meaning Air in Slovak) strengthens the colors in the neighborhood of azure.
Vzduch.cube

I understand that Affinity Photo can use LUTs. While I do not have Affinity Photo (I would have gotten it recently had I not been too busy working on my fonts to notice it was 50% off, but I missed that and now have to wait for the next time they discount it like that), I do use LUTs in my video work.
Indeed, not only do I use them, I actively create them. And I go against the grain by making them small. For some reason many people seem to believe that the larger a LUT the better. That may be true occasionally, but there are myriads of color filters that can be fit into the smallest LUT possible (which is eight data lines in case of 3D LUTs), and making them bigger is actually a bad idea.
I actually created an OFX plug-in (they are used in video editing) for color grading which makes sure all it does can be fit into such a small LUT. The original plug-in is kind of small (I have learned a lot since creating it), and in 2019 I wrote a library of routines (seen here, though with no documentation yet), to rewrite my plug-in with. But then I got very sick (no, not with Covid), spent most of 2020 in medical care, after which I started working on my fonts, so my OFX plug-in has to wait.
But I still use the original plug-in, have created a wide variety of LUTs, all small of course. Just this morning, I have been playing with it, and came up with an interesting (or so I think) LUT I named tehla (which means brick in Slovak) because it sort of strengthens brick like colors in an image, making it warmer, especially in photos and videos of human faces.
So I thought I’d share the .cube version of it with anyone here who might want to play with it in their Affinity Photo (I hope .cube is the right format for it).
I have never uploaded any LUT here, so I hope I have done it correctly for you to get it from here. If not, I will just copy and paste it in the next message. After all, it is a very small LUT.
Tehla.cube

Post prosessing with Affinity Photo, added lighting, texture, LUT.

Post prosessing with Affinity Photo, added lighting, texture, LUT.

Post prosessing with Affinity Photo, added lighting, texture, LUT.

Post prosessing with Affinity Photo, added lighting, texture, LUT.

Post prosessing with Affinity Photo, added lighting, texture, LUT.

Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.

Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.

Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.

Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.

Pp with Affinity Photo, added lighting and LUT. LUT preview in Adjustment panel is quite slow.