Roger C

Now I'll never get any work done.
... Ever again!
But what a wonderful place to visit.
Lovin' it

We are pleased to announce an update for the Windows release of Affinity Photo, version 1.9.0
Changes in this build
A highlights explanation can be found here: 5 things you should know about Affinity Photo 1.9
The changes in Affinity Photo for Windows 1.9.0 (made since the last release Affinity Photo for Windows 1.8.5) are as follows:
New Features:
Live liquify layers (learn more) Linked layers (learn more) Pattern layers (learn more) Stacking for astrophotography (see tutorials here) Divide blend mode (learn more) Path text added (learn more) Windows hardware (GPU) acceleration (for users running Windows 10 (April 2020 update or later) with a Direct3D feature level 12.0 capable card) (learn more) Studio Presets for the UI layout to save your favourite workspace setups for different tasks, explained here Studio panel combinations (also learn more) Create brushes from current pixel selection (learn more) Linked images and Resource Manager (learn more) Use filters on masks Edit spare channels as layers Added per-layer antialiasing controls in the advanced blending menu Added export preview panel (for raster types) Support PDF passthrough to ensure perfect representation of original PDF when exporting, without the need to have embedded fonts installed Benchmarking option to measure speed of your device Content sync of store purchases (requires registration)
This feature is explained in more detail here Sync your Affinity Store resources with your Affinity 1.9 apps Fixes & Improvements:
Improved “Serif Labs” RAW engine including native CR3 support Elliptical marquee automatically creates from centre Hierarchical view (learn more) Configurable bleed and margin guide colours Import multiple LUTS (learn more) Placed scale for all placed files, which allows scaling to be reset to 100% Snap to pixel selection bounds Added curves adjustment to the tone mapping persona Added JPEG-XR 101010 import support (useful for screen captures from Xbox, etc.) Added support for 12bit grayscale TIFF files Added “Duplicate spare channel” to right click menu Blend modes now work on “alpha only” layers (masks, adjustments, live filters, etc.) Gradient map adjustments now support global colours Filter effects now work properly with global colours The Curves adjustment now has numeric field controls for precise positioning Unable to use CMYK/LAB/GREY equations in a Live Procedural Texture More filters now work on masks / adjustments / spare channels (Add Noise, Perlin Noise, etc.) LUT adjustments can be exported directly from the adjustments panel, and batch imported from files Added Canvas Rotation option to Preferences Fixed Changing between RGB and CMYK sliders in Colour Chooser panel gives incorrect values Fixed Moving a mask from a layer to the live stack group crashes the app Unable to open .heic if there is a special character in the file path Original file name no longer saved as "Title" in PDF, after renaming the file TIFF file handling improvements Fixed Tools getting stuck in the hand tool cursor after using spacebar + alt and click to zoom out Hue shift slider background should not move with the slider Creating or adding pixel selections from other layers to a selection also selects the respective layers Various stability improvements Help and Localisation improvements  
UPDATING TO THIS VERSION (Free for existing customers)
The software version can be seen on the splash screen and the About dialog (in Help > About Affinity Photo).
If you’ve purchased from the Affinity Store— each time you start the Affinity Store software it will check for updates and offer any available update. The latest update will install over the top of any earlier version, with no need to uninstall. You can download the latest installer by logging into the affinity store here and find the order in your account and use the "Download" button in there. Alternatively, this new release (and previous versions of Affinity Photo for Windows) can be downloaded from this link. (that installer is NOT for Windows Store purchases and needs a product key).
If you’ve purchased from the Microsoft Store— Microsoft Store updates are done automatically by the operating system (each time you start the application). If this does not happen for you, open the Windows Store app and click the three dots in the top right corner of the app and then go to Downloads and Updates. Click Get Updates. This should hopefully force the update to show.

Try LUT.
https://affinity.help/photo/English.lproj/pages/Adjustments/export_3dLut.html
Your original file + adjust LUT (Infer LUT = your original file + Dive output file).

 
Is possible save as Preset. 

To create Dive preset I recommend trimming/deleting additional "Dive+" text/logo from Dive output file, which then affect correct color conversion.
Edit: And, ideally, the best quality files (lossless).

@Pšenda I owe you both an apology and immense gratitude.  I completely misunderstood the suggestion you provided, and thus had originally dismissed it.  The ability to use existing images as inferences to create LUTs is something I was completely unaware of; I agree with your suggestion that this method is likely the easiest for applying general color corrections inspired by the Dive+ algorithm!
For anyone else that may have missed the brilliance of Pšenda's suggestion, I'll attempt to "dumb it down" to my own level of inexperience:
1. In order to mimic the Dive+ output, I needed two source images: the original, unmodified photo and the color-corrected variant output by the Dive+ app (for reference, we'll refer to those images as "V1" and "V2", respectively).
2. With the unmodified image (V1) opened in AP, I selected LUT from the adjustment panel.  In the setting dialog, I clicked "Infer LUT", which prompted me to select two sources (V1 & V2).
3. [Presumably] using the differences between the two sources, AP applies a LUT that mimics the adjustments between the source images you selected and applies them to the current image.  The result is astoundingly similar to the desired output of the Dive+ app...

4. I saved the new "custom" LUT I had created as a present, allowing me to apply the same correction to other photos with once click!
5. The source photo above was taken in the Caribbean.  Not surprisingly, the new LUT did not have the same results when applied to photos from the soupy North Atlantic!  To remedy this, I simply repeated the above steps using new source files from the murky environments.  Again, the LUT inference did an amazing job of replicating the Dive+ output:

Obviously, there's some additional "tweaking" that could further improve the output, but this by far the best result I've seen in replicating the Dive+ color correction on a desktop.  Thank you!
 
@donheff I've attached a few variants of the custom LUTs for you to play around with.
Dive+ Caribbean.look Dive+ Quarry.look

The Live Layer Adjustments have a grouping that in general make sense.
The Layer Adjustments options appear to have been compiled by someone in a passive/aggressive mood who was being perverse just for the sake of it!
Standardising on the Live Layer Adjustments layout across the board wouldn't hurt at all.

Yes! Part 4 just went live, and it has some pretty interesting stuff and things you might not expect... but really happened! 😎
Enjoy it everybody, hope you have as much fun reading as I had researching, writing, illustrating and programming it! 
After this part there will be two more parts (up to six in total). Collect them all 😉
English: The History of Interactive Computer Graphics - Part 4
Dutch: De Geschiedenis van Interactieve Computergraphics - Deel 4

 
@Alfred @Madame @Roger C @GarryP @Wosven @A_B_C @WatcherMagic @John Rostron @Renzatic @dutchshader @CLC @SrPx @haakoo @telemax

Yes!! Part 3 is just freshly published in both English as well as in Dutch! 😊 Hope you like it! In the end there will be 6 parts in total. Collect them all ! 😉
This time a very interesting time period with a lot of technical graphics innovations, a steady foundation of 3D graphics, techniques we still often use today, some things you might be surprised by, the beginning of the home console and PC market and more! Enjoy!
English: History Interactive Computer Graphics - Part 3
Dutch: Geschiedenis Interactieve Computergraphics - Deel 3

 
@Alfred @Madame @Roger C @GarryP @Wosven @A_B_C @WatcherMagic @John Rostron @Renzatic @dutchshader @CLC @SrPx @haakoo

Isabel...You can stop practicing now;
Mission accomplished!
Your Behance gallery is a delight.

If anyone had asked me short time ago what would I go for if ditching Photoshop for digital painting, my normal answer would have been "Affinity Photo". But then one day I found myself painting in Designer's pixel persona and loving it too! I'm faster every time and understand a bit better the brushes, which for whatever the reason have always been a bit of a hard to handle and tame subject matter for me in Serif products.
I am currently researching on different species for better and more effective workflows when it comes to science communication and illustration. This is an attempt to improve painting fur... More to come!
Full project including time-lapse here: : https://www.behance.net/gallery/93107969/Scientif-illustration-Mammals

 
UPDATE ON RESEARCH>  
So, now I am trying to replicate this craziness with the so called vector brushes in the Designer persona. I reckon the guy on the left needs a comb! hahaaha!!
Anyways.. one step at a time, I'll get him one. The one on the right is for comparing both versions side by side.
Brushes galore!!
 
 

A lady across the road asked me to help her produce an omega watch face which is to be printed onto edible paper for a birthday cake, and seeing as I have no work on, I thought I'd have a go at illustrating one from scratch so I can add it to my online portfolio http://www.bingercreative.co.uk , Im pretty happy with how it's turned out so thought I'd post it 

I run a household moving company... Not the most exciting topic for pics/adverts. So I use my logo in fun ways for the industry. Happy with my 45rpm vinyl image today. Thought I'd share.

This has been a work in progress for seemingly ages and thought I would post and it might jolt me back in to trying to finish it! As usual just the pen tool.

Welcome to the forum,
Draw a rectangle select the node tool Select a brush Adjust the width of the stroke and if required remove the fill If you want to have the brush wrap completely or at least tighter Convert the rectangle to Curves Select the node in the corner in the gap and use Break curve from the node tools context menu. Another option instead of step 7 is to adjust the brushes head and tail offsets. Continue to use Affinity 😉
Yes, this is Affinity Voodoo lol!

When I changed my username I was certain there couldn't be any downside - but I forgot about 'tagging' users! 😅
You're certainly very kind and we appreciate your presence here on the Forums as much as you appreciate ours - Affinity is only as good as our customers help make it.
I personally think this community is wonderful, and I'm very proud to be a part of it 😊

With the artistic ability of a flea, and an elderly and very shaky camera hand, but also as a very-retired publisher and author, I have had the most glorious time since early 2017 with first: Photo, and then -- starting with the Betas -- Publisher; and last with Designer.   With Studio Link it seemed the fun thing to do to learn all three at once.   Maybe "you can't teach an old dog new tricks" and I am most certainly a very elderly specimen, but I have still learned so much and have had a glorious time in the process.  It could not have happened without the wonderful people at Affinity who have not only created these beautiful Applications, but who have also been consistently patient, extraordinarily courteous, and so quickly responsive to the questions I (and many others) have posted in these forums.   So thank you, @acapstick, @AdamW, @Andy Somerfield, @Ben, @Callum, @Chris B, Dan with the duck, @Dave Harris, @DWright, @Gabe, @James Ritson, @Jon P, @Lee D, @MattP, @MEB, @Patrick Connor, @Pauls, and @stokerg.   If I can learn -- anybody can!!
There are also so many Forum members who have taught me so much, either by responding to my howls for help, or by helping others.   So here is a feeble attempt to create a valentine for you all, using my trusty inpainting brush tool to rid the water of various and sundry floating stuff, one of Multi4G's 80 LUT's (Shade King's Ink at 100% opacity with a blend mode of Pin Light) to alter the swans' originally too-bright orange beaks and to mute the water color, a Live Filter> Unsharp Mask with a radius of 2 px, a factor of 0.5 and a blend mode of Normal to draw out the swans' neck feathers, and most of all, v_kyr's extremely generous envelope.afphoto file, which was so kindly shared with us in the Resources Forum.  I know that my image won't fit inside the envelope, by the way.   It was fun flipping back and forth between the three apps! 
Perhaps this is progress, after my original Designer donation over a year ago and about 5 minutes after I purchased that app!.  Anyway,  thank you everybody, and Happy Valentine's Day tomorrow to you all!

@SrPx: too true, also PS wasn't intended for digital painting (not as much as Corel Painter was), but look at what it has become. I'm sure Photo will get there, once it fixes some aspects. I'd love if it implemented rulers like CSP (I used it a lot for inking, in various projects) , maybe just turning the paths in "traceable" , and it made the brush category sorting better, but it is on its way. I've found some interesting workarounds, and there are aspects I use a lot for painting that I find more intuitive (such as clipping and its live filters). And Designer...just one thing, and then it is up there and I won't need anything else - free transform, perspective transform etc. (oh yes, perspective grids for both).  Then I'll be the happiest user Affinity has!
@Roger C It is!
Speaking of which, here is some more of the combo, I did earlier last year when in Tokyo
 
 
 

Quite a few Procedural Textures, Effects and Adjustments used in this for things like banding, static, ‘rainbowing’ and ghosting.
I’ve attached a small copy of the original image for comparison.

Yes! We all know that. Affinity's suite integration is about the smoothest I've seen in a suite. I also (deeply) agree on the advantages of using a tool similar to Photoshop for digital painting, even if not PS, neither Photo have been designed with that as a main focus. That fact has not stopped legions of very high end professionals to use PS, outstanding concept artists and many other profiles, all over the globe. Yep, it still needs certain corners polished, but I do believe it can be already used. I have not transferred fully my workflow in painting (I still use CSP in a significant degree), as much as I have done so in Designer with my vectors' work, but I plan to do so in a big extent, at least. The light weight of these apps vs other suites' apps is another attractive characteristic of Affinity.
Kudos on whatever the self improvement journeys, and your art looks great, as always.
Photo has seen strong improvements for painting in some of the latest betas, so, I'm quite optimistic. 
My workflow with Designer, tho, keeps being helped by Inkscape (it has allowed me also to reevaluate (again... as I've used it as main vector tool at several jobs) the surprising depth of that free app) for the features yet to be added to Designer. All in all, am quite happy, with both tools.
 

Dreamy combo!

Anyway, sorry all for being away, I've been focusing so much in these last few months on self improvement, experimenting and all sorts of things. And my workflow has become very much an organic exchange between Designer and Photo. I've always wanted to explore how much Photo can be an alternative to Photoshop for digital painting (Designer kills Illustrator in my opinion), and the fact I can switch so easily between the two programs has urged me to find solutions for digital painting as well. 
It is getting there, there are a few things that should be addressed, but I'd say that one can do about 90% of things that one can do on Photoshop, but with the bonus of this Designer-Photo synergy, without considering costs etc. I hopefully will expand more on this later, but I'll start with the "end" - as it is a style I've been trying out lately. 
Here we have a balance of say, 7% Photo and 25% Designer. More soon, as this forum means a lot as I know that people know what I'm talking about in terms of cross-software use, which means a lot to me!
 
 

Thank you very much Roger C! As I see you missed it I leave here a link hehe https://affinityspotlight.com/article/a-designer-on-a-mission-isabel-aracamas-quest-to-teach-the-world-about-affinity-designer/

Excellent eye popping images!
Surely Affinity Spotlight will be asking you for an article sometime.
Just Delightful.

MxHeppa: The stripes are a Procedural Texture and the ‘frame’ is a rounded rectangle cut from another rectangle with a Lens Distortion Effect applied.
Fred: Strangely enough, when I let the video run on for a few seconds, and the camera moved round to the right a bit, we can see something come into view just before the feed cuts out. (The man behind the taxi doesn’t seem to have spotted it as he’s still walking slowly towards it.)
On this version I also added some basic interference/glitch effects. Not exactly pro-level work but they’ll do for this.

Glad you like it.
One thing which I found more difficult than I first expected was to find a good image that was taken from CCTV camera height.
Most photos are taken from somewhere outside of the 3m-to-30m-from-the-ground range and, therefore, don’t look very natural for this kind of thing.
However, using the same sort of effects with other types of images I can get a reasonable ‘bad camcorder still’ without too much effort.

Created these two last week as part of a current project I'm working on. It's done fully on Affinity Designer with a mixed workflow of vectors and bitmaps.