loukash

@currentuser, some recommended reading on the topic: https://duckduckgo.com/?q=understanding+dpi+ppi+lpi+resolution

This would be certainly very odd. For me, it saves the intermediate scan into a /private/var/folders/(…) subdirectory which is for temporary files. That's on MacOS Ventura. Haven't tried on newer OS though. I don't think so. I'm the owner, too. That said, I vaguely remember having seen similar behavior before as well. But I don't remember in which context it was or if it was with Affinity or another app. Some 3rd party apps can definitely get confused by the MacOS "app package" concept and treat them as regular folders.

You must be a genuinely lucky person if you perceive this as "real pain"… Place the Image Capture app in your Dock and then: Because clicking an existing icon in your Dock will cause you about as much "pain" as navigating to the File menu in APh and selecting the "Acquire Image" menu item anyway. Then follow the setup procedure I've linked to. If you don't want Image Capture to live in your Dock, set it up like this: This complete workflow can be run by a few keyboard shortcuts. To set it all up will take you a one-time investment of a few minutes which will be worthwhile if you…

Even better than Dropbox: pCloud allows you to select any individual local folders and link/sync them to any individual folders on pCloud. Whereas the virtual pCloud Drive is more or less a "bonus" for adding even more folders and files that you explicitly don't want to store and sync locally. But given it's a virtual drive, they are in fact stored locally as well, albeit hidden (on Mac) in the ~/.pcloud/Cache/cached disk image. At least that's how I use it. It's a very flexible concept.

Sho 'nuff. They all are already sitting in their interstellar spaceships, launching as we speak, because thanks to the Astrophotography Stack mode, they knew in advance that the Earth is going to be hit by an asteroid in three, two, o…

Of course "it isn't" because you've just made this up. Please learn to quote properly rather than spreading misinformation. ^ emphasis mine. I, for one, am not a "professional photographer", but I surely am a "creative professional". And so are allegedly millions *) of other Affinity users. Vive la grande différence. *) Disclaimer: That all said, I'd also take the "millions" claim with at least a small grain of salt. A few years ago it's been publicly reported that there were at least 3 millions Affinity licenses sold, but how many "millions" of them actually are "creative professionals" remains anyone's guess. But that's how marketing works in general.

Yep, I came to the same conclusion.

It seems that something has changed in v2.6.x (as opposed to v2.4.2 which I'm mostly using): To make it work, do not group the adjustment layers. Place them in a blank Layer instead. Then you'll get the result as described in the old thread.

You're in Designer, so you have activated the Vector Crop Tool. This will crop single objects, not the canvas. It has no adjustable attributes in the context toolbar. Confusingly, the Vector Crop Tool uses the same icon as the canvas Crop Tool in Photo. Duh. The Vector Crop Tool does basically the same thing as if you simply nest objects inside a plain rectangle shape. Nothing more. (For the record, I haven't ever used it since I got Designer some 10 years ago… ) In other words: User error, not a "bug"…

Well, even at 1000000 dpi, a 100×100 px image will still remain a 100×100 px image… In other words, if you need more pixels, make your artboard larger. Also, View→View Mode→Pixels setting is your friend, even before you export.

Well, no offense, but in that case it all reads as if you'd like to eat the cake and keep it, too…

Yes, there is. I think Affinity even supports them, but it doesn't display them. So is there even such a high end CMYK printer where you could even tell, say, Y23.5 from Y23.6? Let alone such a "high end eagle eye" that can spot it in print…?

Hardly, when usually we work with integer values from 0 to 100 per CMYK channel…

No. Why? You don't need the resource anymore if you copy the content into your layout directly. For what it's worth, this how I've been working e.g. with 3rd party vector logos since decades: Often I'd be receiving some bloated or malformed EPS files (at best, because it could get worse than that). Then I'd "crack them open" via Illustrator, clean up, save a backup *.ai, copy the curves into my InDesign layout, and save them into my custom ID library (which would "translate" as Assets in Affinity). Like this, I'd be using the logos as native InDesign objects, with all benefits that it has. In Affinity, I'm doing basically the same. (Except that it gets harder to "crack open" 3rd party EPS or AI files without having access to my old MacBook with Adobe CS5.5…) Anyway… Do you have an example of such a "tedious" workflow that you could upload? I'm genuinely interested.

To be able to edit "in place", simply copy the content of the linked/embedded document and paste it. Then you'll logically have a set of native layers for live editing. Otherwise, how should a document know that you're currently editing content of a different document? Besides, this very separation of contents is the exact feature here, not a "flaw" or something.