Ulysses

It often takes time and patience to get a reply, especially if the originators of the post provided this information a year or more prior to our questions.

I have no doubt that the techniques required actually exist within Affinity Photo, even if the specific tools are located in a different place than in Photoshop. Ultimately the technique might even be easier, as is typically the case with Affinity Photo.

Very well done, particularly with this being your first attempt at it! You also ensured that your approach to gear and the images you wanted to make were doable and well-planned. 
This eclipse was my first one, also. I now know that I was either TOO ambitious in what I was trying to accomplish, or should have trained some additional hands to help out, or I should simply have rehearsed even more. Still, I accomplished more than I hoped. I will share some of my results when able.

This is my contribution to the discussion about how to edit eclipse photos.  This was also my first attempt at photographing a total eclipse and it was the shortest 4 minutes ever! I used a Canon 70 D and set it for a 5 shot bracket using the Programed setting so the camera would center on what ever it saw at a “normal” exposure.  The eclipse was high in the sky and no clouds (I was west of Hot Springs at a campground on Lake Ouachita, very near the center line). I used a Sigma 150 to 600mm zoom.  I think I set the focus to auto since the focus changes when zooming and all the photos I took were in focus.  Once I got framed up I just keep shooting burst after burst and changing the zoom from 150, 335, 451 and 600mm.  I took a total of 69 photos.  For my first edit attempt I picked a group of images taken at 1:49 local time at 600mm, using 6.3 to F-7.1, 1/400 to 1/10 sec., ISO - 200.
I also wanted to show detail in the Sun’s Corona and processing was aimed at that goal.  I used a fair amount of sharpening, brightness and contrast and what ever looked like it could help.  The solar provenances ere edited with a heavy hand just to get them to show up well and I’ll tone that down on my next attempt.
I spent about 4 hour on just this image and started over about 4 or 5 times.  I don’t know Affinity 2 real well and it was a bit frustrating because I know there are features that would help me but I didn’t know how to use them effective and just finally stopped when I got an image I thought was good but not optimal.  I found this site and was hoping for additional input from the uses here.
Look like I'm having problems getting the photo to download!  I'll keep trying.

Right now I am working on trying to do the Diamond ring(s) and the Bailey beads and such. 
I would like to see if I can get those "extracted" out of the images I have.
I have noticed that next time I need to try a little harder on getting things in focus a little better. Specifically on the A7IV and Sigma 150-600mm setup...
I wish they were a little sharper (if even possible, to be honest...).
Although that might also be the result of the slight breeze we had throughout the day...
Still, I am not too unhappy with the various results so far.

Thank you. Ulysses.
Sorry for the late response. We were pout doing touristy things yesterday...

I actually had two setups going:
The one for the landscape (trees in foreground) composite:
- My Sony A7III, with the Sony Vario-Tessar T* FE 16-35 mm F4 ZA OSS (SEL1635Z). I had that set to 21mm, F/8, ISO 100. Manual focus. Stacked ND 1000 and ND64 filters.
I took a bracketed shot (9 brackets @ 1.0 stop) every 4 minutes. Starting from C1 all the way through Totality and out past C4. Took off ND filters at C2, totality and put them back on at C3.

The one for the clos-up shot and close up composite:
- My Sony A7IV, with the Sigma 150-600mm F5-6.3 DG DN OS | S (Sony E). I had that set to about 570-ish mm, F/8, ISO 100. Manual focus and re-framing like every other shot.
I took a bracketed shot (9 brackets @ 1.0 stop) manually Initially every so often, with solar filter on. After that (almost) continuously without solar filter, starting from right before C2 all the way through Totality and out past C3. Then went back to filter and every so often until after C4.

This was ALL my first time EVER trying a solar (or any) eclipse...

Yes, I LOVE C1 and Affinity. Still learning Affinity, but have been suing C1 for about 5 or so years (if not longer).

Hello All,

Thank you for the feedback, but has ANY of you had a chance yet to experiment with the editing of the corona shots in Affinity Photo?
So, the best detail I have managed to "concoct" out of my RAW editor (Capture One Pro), is the attached image.
Haven't even tried to improve on that in any other editor (Affinity Photo or any other ones...), to see if I can get more out of it, like the Russell Brown versions.
I know there is much more potential in it than this... 
I just can't seem to get more out of it right now.

I have also added couple composites I tried my hand on.

Anyway, very interested in seeing all-a-y'all's efforts...

Thank again, Eric

marcr1230, keep at it.  I worked on my images several times to exhaustion & would stop for long periods & come back to them.  Took maybe 5 try before I figured out what works.  The breaks help refresh you & encourage insight that leads to new progress.  I've done lots of astro but nothing comes close to the demands of processing a eclipse @ totality. 

Solar prominences are completely visible to the naked eye in white light. They’re visible on the Sun’s limb when the much brighter disk of the Sun is completely obscured by the Moon during a total solar eclipse. In this configuration, the solar prominences aren’t competing against the rest of the Sun’s comparatively brighter disk. No dedicated H-alpha telescope required.

With the 2024 total solar eclipse, there were several large prominences easily visible to the naked eye even without the use of a telescope or telephoto lens. My unaided eyesight is poor, so when a nearby 10-year-old child asked, “What are those pink things around the Sun and Moon?” I was thrilled! When my eyes finally focused—much more slowly than the child’s—I could also see these large pink spots. So the prominences this year were unusually large and plentiful. I counted maybe four or five of them. Three are particularly big ones.

Thanks Chris,
Actually, I really think an Astrophotography sub-topic would be helpful - simply because its one of the main sub-features of Affinity Photo.
IMHO - developers would get a lot of valuable feedback and it creates focal point for thoughts on this aspect of Affinity Photo's capabilities .. that is the main reason I bought it after all
Gary

@Alfred, my friend, believe me—no one is kicking me harder than I'm kicking myself over this. The cruel irony is that I actually have one in my camera bag!! 😭😅

However, traffic was even more horrendous than we anticipated, and the crowding by other eclipse chasers was over the top. By the time we got to our destination and I got most of my equipment set up for my multiple projects, I completely forgot that I even had a remote shutter release—which I'd actually rehearsed using over and over again.

I learned a lot from this first-timer eclipse experience. Everything that can possibly go wrong probably WILL go wrong if you don't have enough time to set up prior to the very brief moments of totality.

It sounds as though you need to treat yourself to a remote shutter release!

Reset Studio to the rescue!  
It's even open upfront by default:

In the help files for v1, this note is apparently missing: https://affinity.help/photo/en-US.lproj/pages/Panels/adjustmentsPanel.html
And the panels are slightly buried in the View → Studio submenu.
So if @toonybrain is still using v1, then fair enough, it is slightly "less easy" to find.
Although… wasn't the Adjustments panel enabled by default in v1? (I don't remember, I rarely ever use this panel anyway.)

Agreed. Sometimes what is familiar can be confused with what is intuitive. From the same Help topic: "You can also apply an adjustment layer directly from the Layers panel instead of starting from a preset."
Applying an HSL layer can be accomplished in any of several ways in both a Mac and in a Windows PC:
From the Adjustment panel From within the Layers panel and tapping the Adjustments icon at the bottom of this panel From inside the menu (Layers > New Adjustment Layer > HSL) Keyboard shortcut: Command + U (Windows: Ctrl + U) Here is a screenshot of how to access HSL adjustment from within the Layers panel in Affinity Photo 1.10.8. It's only a click away, and it works essentially the same in Affinity Photo 2.x.

Is there anything wrong with the good ole simple HSL adjustment…?
https://affinity.help/photo2/en-US.lproj/pages/Adjustments/adjustment_HSL.html

Those are for imported files, not for the newly created/modified document content.  In the case of RAW files you have the option of linking to the existing RAW file, for example, instead of copying (embedding) the RAW data into the Affinity Photo file.  This helps to reduce consumed disk space by not storing an extra copy of the data, but also means that there is a dependency on the existing, external file to be present in order to make use of the document (afphoto file).
 
That is going to happen anyway; even if Affinity Photo did save your RAW development steps in an XMP it would not be usable in anything else anyway since nothing else would reproduce the same processing that Photo would have done on the original RAW data.  About the only thing you could really trust to be usable would be metadata (author/copyright info, etc.).
 
This is already possible as long as you use a RAW layer instead of a pixel layer when developing.  The crop tool in the Develop persona can be reselected to regain access to the previously cropped data.  If you use the crop tool in the Photo persona after developing, you need to check the Reveal checkbox on the context toolbar to see the hidden parts of the image which were previously cropped out.
 
There is a split view available from the main toolbar in the Develop persona which compares the current image with the image as it was when you entered the persona.
 
An Affinity Photo document is not a RAW file.  It is more like a Photoshop document.
When you open a RAW file it lands you in the Develop persona to develop the RAW data, and the "Output" setting on the context toolbar defaults to a pixel layer.  If you leave it that way, when you develop the image and return to the Photo persona, the RAW data is thrown away at that point and you are left with a non-RAW image ready to be further modified.  If you change it to a RAW Layer instead, then the RAW data is retained and the layer containing the RAW image is a RAW layer, which is indicated if you hover the mouse over the left edge of that layer in the Layers panel (where most other layer types have an icon to indicate what type they are, for some reason the RAW layers seem to have a blank icon right now, at least on mine).  As long as you leave it as a RAW layer, you can go back to the Develop persona to further adjust it, but most of the editing tools in the Photo persona will not work on that layer without first converting it to a pixel layer, at which point it loses the RAW data and the edits become destructive.  (You can place other types of layers over top of it, however, including adjustment layers and live filters, and any of those layers can have masks to adjust selected areas, so in the end the available functionality when working non-destructively with RAW data - which is what the RAW layers offer - is similar to that of the tools you mentioned, but without the benefit of catalogs or an image browser of any kind to assist with culling or with working between multiple images).

Hello, hopefully the following will help. I wrote this functionality a few years ago when we were developing the Windows versions of the Affinity apps. It's actually behaviour for the in-app help viewers which has been ported across to the web version. It detects the operating system and sets an appropriate stylesheet with the OS modifier keys. Therefore you may blame me!
As has been mentioned above, the typical user experience is to be browsing the help with the same OS that they are using the Affinity apps on, so this is generally a sensible behaviour. If you need to see the modifier keys for the other OS, however, you can use Alt/Option and the left and right arrow keys to toggle between the two. Make sure you are focused on the topic window and not the TOC (a single click over the topic area will suffice).
The above modifier is not advertised publicly since it was implemented as a development tool, but there is no harm in exposing this I believe. Having a web version-only toggle for macOS/Windows would be a sensible approach. Another would be to simply list both modifiers side by side with platform clarification, which would likely serve to frustrate both sets of users and create additional 'noise' in the topics—we receive enough criticism about this with the video tutorials where both modifier variants are always mentioned. Any decision would however be up to the documentation team.

£90 quid for all three apps on multiple platforms plus all the v2 updates in the future, I'd say that was a damn good deal, you'd spend that having a meal, you spend that and more on a night on the town and not bat an eyelid. Sometimes you need to gain a little perspective and I think you will later regret the refund and the missing out of the 40% offer on the table at the moment, but, it's your choice.

I'm a bit confused. What did you apply the filter to? If you applied it to the entire page, wouldn't you expect it to also affect the Bleed area?

I guess 'Publisher' in the title of your post should have clued me in to that. 😂

Me, not him, he's just more handsome, than me, so I used his picture

Yes, you can batch process RAW files, follow the link below...
No, not directly. You can copy/paste all the layers from a V2 document into a V1 document but some of the V2 features will be missing or flattened in the V1 document
 

Yes, although once you have developed a whole bunch of files you still need to get them out into individual files. Use the export Persona if you want TIFF/JPEG files. Or if you want a bunch of Affinity Photo files you will need to do the laborious copy and make a new document from the clipboard for each one of the layers.

The issue isn’t really your computer, but rather the desire to stick with OS X Mojave, right?
I get it. My Mac is on Mojave, too. But the reason I stick with it is because I’m one of the surprisingly common professionals who wants to hang on to Photo$hop C$6 for a few isolated tasks that I can’t do with the Affinity Suite. Upgrading to OS X 10.14 would allow me to also upgrade my latter, but I’d completely lose the ability to use the former. It’s an unpleasant spot to be in.
By the way, my otherwise very smoothly running Mac is so old that Catalina is the final OS upgrade I can possibly perform on this machine. 
😅😂🤣

The issue isn’t really your computer, but rather the desire to stick with OS X Mojave, right?
I get it. My Mac is on Mojave, too. But the reason I stick with it is because I’m one of the surprisingly common professionals who wants to hang on to Photo$hop C$6 for a few isolated tasks that I can’t do with the Affinity Suite. Upgrading to OS X 10.14 would allow me to also upgrade my latter, but I’d completely lose the ability to use the former. It’s an unpleasant spot to be in.
By the way, my otherwise very smoothly running Mac is so old that Catalina is the final OS upgrade I can possibly perform on this machine. 
😅😂🤣