Emrebel

I've just found that you have to rasterise before inpainting into transparent corners (and after canvas stretch).
Process:
Layer/Rasterise…
Select/Alpha Range/Select Opaque
Select/Invert Pixel Selection
Edit/Inpaint
Select/Deselect
Macro to do this in one click attached.
Dave's Alpha Inpaint.afmacros

So you've just rotated your image and now have four nice transparent triangles in the corners. So what do you do? Here's a way of handling it:
Select/Alpha Range/Select Fully Transparent Select/Grow/Shrink... (Radius 1px) Edit/Inpaint This should select the corners and give AP the opportunity to apply its Inpainting algorithm. At best it's a perfect fix. At worst, it's a start and you can clone bits that are not inpainted so well.
 
You do need to do the Grow, by the way, as without it you can get missed pixels and an inpaint that is not fully opaque (I think these are bugs and have reported them - until the fix, you need the Grow).

Great job, but you could have done more to match the skin tones, they don't go together that well.

Hi Everyone,
In the need to understand the sometimes complex subject of Color Models, Color Spaces and Color Profiles better, I found it hard to find a nice to read and complete source on the matter. So after I did a deep dive into the subject I decided to share what I've learned about it by writing a tutorial blog about it with illustrations and interactives. Yesterday I published part one about Color Models and color basics, to pave the way to Color Spaces for the next and last part of the article.
Although not directly Affinity related, I figured this could benefit other Affinity users too in understanding Color Spaces better and when to choose which in Designer and Photo. And making Color Spaces a little less confusing to understand. Of coarse all graphics-work for illustrations and interactives in the tutorial are made in Affinity Designer.
The blog is available in both Dutch (https://www.wigglepixel.nl/blog/wat-zijn-color-models/) and translated in English (https://www.wigglepixel.nl/en/blog/what-are-color-models/).
Hope you like it and if this makes others understand the subject better and as enthousiastic as I am now about it after this, I reached my goal!
Maarten

Here's another illustration I did on my iPad.  Also puppy themed.  I may be slightly fixated.  Love to hear what you think.

I am adding another image made with AP Focus stacking . @John Rostron
Subject: A very small moth with total head size less than 1mm.
Stack: 160 images
Lens: Microscope objective-PLAN Achromat-10X Magnification
Camera: Nikon D3100
Field of view : 2.5mm x 1.5mm
Software: Only Affinity Photo used.
Remarks: The performance and rendering of AP is very good. The halo and general quality is related to original image. Use of an APO objective will make the image much better. No special care has been taken during shooting . The shooting setup is completely homebrew and not commercial macro rails which has electronic controls and stepper motors.
Note: To view full size, please click on the image. When a + sign cursor appears, click again to open the image in a new window. In the new window, press once again. The image will go full size and cursor will become - . Pressing again will bring back to "fit in window size". Its a toggle.

 

For giving an idea on the DOF, one image of the stack is below.

The same idea but mocking up a paint scheme for a frame he's going to work on this time using a photo. 

My brother's started to get in to painting bike frames and I thought it would be nice to create some templates that would show potential designs in a slightly more realistic way.  Often it's just a flat drawing which doesn't give you quite the idea of what it would look like all finished and shiny.
So here's the first two I've done, road/track frames with fairly random default paint applied. The highlights and shadows are blend modes so will work with any colours. They're not extremely detailed but enough to give you a better idea.

Gran Turismo Sport now allow users to import SVG files for the in-game livery editor. The only thing is, the SVG file has to be below 15Kb in memory, which is pretty tiny.
It's a nice challenge though, to chop away as much unneeded information as possible, but to still get a good quality image. I created this vector file using Affinity Designer, which I then exported as the SVG file. 
I then used the livery editor to give my bog standard go-kart a new design.

The Gran Turismo screenshots are in game. I'm just showing them to illustrate how the decal design looks on the go-kart!

From a bunch of characters I made in 2016.
Have a nice day.

Thanks to Serif I officially pulled the plug on Adobe. 

Best to avoid during the rainy season...
 
 
 

Here's a way to quickly perk up a sunset, using just blend modes.
Let's start with a basic sunset picture. This is a view over Madrid a couple of weeks ago.

Now duplicate this layer twice (Ctrl-J, Ctrl-J), then turn off the top layer (check mark on right in layers panel).
Select the middle layer. Invert it (Ctrl-I). Change Blend mode to Luminosity (drop-down box at top of layers panel that says 'Normal').

Hmm. A bit strong. Turn Opacity (top of layers panel) down to 50%.

Now we have (a) interesting colours in sky and, notably, (b) grey elsewhere (the invert turns darks into lights which turned down are grey). So we can use a contrast mode blend which ignores greys. So turn on the top layer (box at right of layer) and set blend mode to Hard Light.

Ole. A perkier sunset. You can play with the blend modes of layers. The middle layer, for example, is also good with Colour Dodge.
If the result is a bit too colourful for you, you can always add a HSL layer above and turn down the saturation. So it looks something like this.

This shows something of the joys of using blend modes. To get something similar could take a lot of twiddling, while this was a few seconds (well, actually a bit longer first time as I was just playing around to see what happens).

Herewith a little document containing mono and colour examples of blend modes in action. I find it useful to see relationships between different/similar blend modes. Also how weird transitions can happen!
Monochrome blend is gradient black to white, from top to bottom above left to right. Colour blend is trickier, with green over red, with both fading differently to each edge (to black, white, grey and transparent). Top (blend) and bottom (base) layers are shown on the first page.
Enjoy!
 
Blend modes -- 2D visuals.pdf

I did some macros for a 5-level luminosity mask set here:
 

I've recently started making tutorial videos for Affinity Photo, putting them up on YouTube. The channel is 'InAffinity'. There's already nine videos there.
The focus is mostly on short, specific 'how to's, including 'How to do X in N different ways'. Mostly because that's what I like. I'm an old engineer, photographer and educator, and have a tendency to seek detail and then share it. Once I get going, I'm usually pretty persistent. My 'other site' is ChangingMinds.org, which I've been writing for over 15 years.
For the technically curious, I'm using Camtasia as a recording/editing system, capturing at 1920 HD.

DEPRECATED THREAD
The Photo tutorials listed below have been refreshed and moved. Please see this new thread or use the Affinity site Photo Desktop tutorials webpage
 
In support of our fantastic photo editing app, please use this comprehensive and structured set of videos for accelerated learning!
The video tutorials are available on Vimeo and YouTube via these links:
 
Vimeo - http://affin.co/PhotoVids
YouTube - http://affin.co/photoyt

We now have a specific Beginners Series of videos tailored to absolute beginners, with a more manageable pacing and focus on concepts and straightforward procedures. They all include subtitles to aid understanding.

The tutorial set includes:

Beginners Series
Opening & Saving -  YouTube / Vimeo Layers - YouTube / Vimeo Adjustments - YouTube / Vimeo Filters - YouTube / Vimeo Exporting - YouTube / Vimeo  
Introduction
Discover Affinity Photo Getting Started Technical Benefits  
Basics
Document Setup Layer Concepts Layers Overview Live Filter Layers Scaling and Transforming Cutting Out Understanding DPI Accessing Help  
Transforming
Document/Image Resizing Canvas Resizing Cropping: Practical Cropping: Aesthetic Straightening Images Cropping: Golden Spiral Cropping: Options Aligning Images  
Selections and Masking
Making Selections Refining Selections Pixel Selections from Layers Quick Masks Mask Layers Exposure Merging Clipping vs Masking Vector Masking Using Adjustment Layers on Masks - YouTube / Vimeo  
Correction
Adjustment Layers Levels Curves Shadows/Highlights Split Toning and Selective Colour LAB Colour Mode Defringing and Chromatic Aberration Live Perspective Haze Removal FFT Denoise Removing Lens Flares Changing Eye Colour Graduated ND Filter Effect Salvaging Underexposed Images Dual Perspective Correction Perspective Skew Correction - YouTube / Vimeo (New: 20th April)  
Retouching
Cloning Inpainting Frequency Separation Liquify: Retouching Vector-Based Retouching Enhancing Landscapes/Architecture Vector Architecture: Worked Example Enhancing Camera Phone Photography Making Images Pop Revealing Sky Detail Bringing Out Water Detail Quick Inpainting Crooked Horizons - YouTube / Vimeo  
RAW Development
Raw: Discover Develop Raw: Developing Images Raw: Overlays Raw: Redeveloping Images Raw: Noise Reduction Maximising Raw Latitude Custom Tone Curve Raw Development Quality 32-bit Raw Development - YouTube / Vimeo Raw Colour Quality Automatic Lens Corrections Raw: Recovering Overexposed Highlights Raw: Exposure Bias  
Getting Creative
Lighting Creative Gradients Creative Black & White Sepia Images Brushes Blend Modes Blend Ranges Liquify Persona Sky Replacement Adding Borders Text: Branding/Watermarking Diffuse Glow Displacement Circular Bokeh Swirling Bokeh Simulating Ambient Occlusion Texturing with Blend Modes Creating Atmosphere Creating Light Beams Vector Lighting Simple Gradients Technicolor Emulation - YouTube / Vimeo Creative Painting Colour toning with shapes Infrared Emulation Radial Blur Regular Tone Mapping Compositing Landscapes Adding Extended Borders Creating Photo Collages Abstract Ideas #01 Abstract Ideas #02 Enhancing Low Light Trails Light Painting Compositing Tone Mapping Portraits HSL Tonal Separation - YouTube / Vimeo Orton Effect - YouTube / Vimeo  
Design Aids
Snapshots Modifiers Designer/Photo Interworking Pixel Accurate Design Placing Documents Useful Keyboard Shortcuts Non Destructive Inpainting and Cloning Layer Creation Behaviour Layer Nesting Exporting 3D LUTs LUTs for Tonal Adjustments View Points Global Cloning Subtle Toning Multiple Colour Formats Scopes Curves Picker Non-Destructive Dodge & Burn Flexible Defringing Edge Detection for Masking Split & Mirror View Batch Processing Clone Sources Pixel Art Resize Direct PSD write-back (round tripping) Freehand Selection Tool Undo History Importing .abr Brushes Undo Brush with Snapshots Quick Toggling Panels - YouTube / Vimeo Light UI - YouTube / Vimeo Brush Stabilisation - YouTube / Vimeo  
Channels
Channels Channels for Alpha Masking Channels: Creating/Storing Selections Editing Single Channels Channels: Greyscale Blending Channel Packing  
Filters
Live Filter Layers (Also in Basics) Apply Image Apply Image: Equations Equations Filter Dust & Scratches Filter Halftone Scanlines Effect Mirror filter Diffuse Glow Filter Defeating Filter Limits  
Panoramas
Panoramas Tricky Panoramas Panorama Distortion Correction  
HDR (High Dynamic Range)
HDR: Merging & Tone Mapping HDR from one exposure - YouTube / Vimeo HDR: Tone Map Presets HDR: Panoramas HDR: Preprocessing HDR: Advanced Editing HDR: Ghosts Removal HDR: 32-bit Editing  
Focus Merging (Focus Stacking)
Focus Merging Focus Merge Retouching Focus Merging Bracketed Exposures  
Live Stacking
Maximum Stacking Big Stopper Effect Light Painting Blending Stacking: Long Exposure Simulation Stacking: Noise Reduction Stacking: Object Removal Stacking: Exposure Merging Stacking: Star Trail Effect  
Live Projections (360 editing, perspective projection)
360 Live Editing - YouTube / Vimeo 360 Advanced Editing 360 Retouching 360 Multiple Views 360 Roll Correction - YouTube / Vimeo Live Perspective Projection  
 OpenEXR/32-bit
OpenEXR Multichannel Import/Export OpenEXR Import Options Editing 32-bit 3D Renders OpenEXR: Using Alpha Channels & Association  
3D Render/Texture Work
Seamless Textures Clone Sources: Texture Creation Enhancing 3D Renders #01 Enhancing 3D Renders #02 Tone Mapping 3D Renders 3D Relighting with Normal Map Passes - YouTube / Vimeo  
Colour Management
OpenColorIO Setup OpenColorIO Adjustment Soft Proofing Printing on Mac Printing on Windows Wide Colour Profiles vs sRGB - YouTube / Vimeo  
Macros
Macros Macros: Equations Macros: Layer Behaviour Batch Processing with Macros  
Finishing Off
Sharpening Selective Sharpening Exporting Export Compression Efficiency  
Plugins
Installing Nik Plugins (macOS) Installing Nik Plugins (Windows) Installing & Using Nik Dfine  
Projects
Nature Portrait Supermoon Product Shot Retouching #01 Nighttime Architecture Workflow - YouTube / Vimeo Portrait Retouching Workflow - YouTube / Vimeo  
Bonus Content
Uplift Epic Skies (1.6 Bonus Content) - YouTube / Vimeo  
Windows Workflow videos
 
In addition to the regular tutorials, we've also got some workflow videos shot on the Windows version of Photo that cover using a variety of features to edit an image to completion. These tend to be released on a more informal basis.
Hadrian's Wall Tiled Building Portrait Retouching Monochromatic Architecture Canary Wharf Banded Demoiselle  
 
Please let us know about areas you think need covering, have problems with, don’t understand, or just tell us if we’re on the right or wrong track. Simply reply to this pinned topic.

Have fun with Affinity Photo!

Best wishes from the Affinity Documentation Team!

Thanks for sharing man!!
Edit: I see if you move the left most node up,it compresses the dark areas of image,
which is useful if you have excessive black areas in your image

So I found a free program developed by the ESA (European Space Agency) called FITS Liberator. It basically reads and stretches FITS data and saves it as .tiff files. I've also found some open source images from NASA's Hubble Telescope where they allow you to download their .fits files on some targets for education and experimentation purposes. I've been wanting to know how Affinity Photo would handle an edit like this because one day, I'd like to purchase my own astroimaging camera that can capture narrow band emissions, and so far I am liking the results. I do not however come close to the skill that went into the finished NASA image though so I have a lot of work to get to that point.
The Images here for reference were taken in Hydrogen alpha (Ha), NII and OIII
What was done: Bubble Nebula 3 sets of .fits data brought into FITS Liberator, stretched and saved as .tiff 2x (one minimal stretch to preserve highlights, one stronger stretch to bring out more nebulousness). I then brought these 6 into AP. I brought the 3 minimal stretches into their own window and the 3 stronger stretches into another window. I performed the following edits on each set individually: Selected all three layers, straightened them,and cropped the excess off. As they were all grayscale, I converted them to 16 bit RGB so I could manipulate the layers and create a Hubble false colour image.
I then selected each layer individually and mapped it to a specific colour. This is done in the channels tab at the bottom underneath layers. You select the layer you want, scroll down to the bottom where it says: Pixel Red, Pixel Green, Pixel Blue, Pixel Alpha. To isolate a specific colour, you right click on which ones you don't want and press "clear". For example, for Hydrogen alpha I cleared pixel red and pixel blue, turning the layer green. For NII I cleared pixels green and blue, turning this layer red and for OIII I cleared pixels green and red, turning this layer blue.
I then selected all three, went to the blend options and selected negation.
Once this was done for both sets of the 3 images, I flattened them and copied the stronger stretched version and pasted it into the minimal stretched version. I then made sure they were aligned and used the Blend ranges tool to blend and restore the highlights. This kept the surrounding nebulosity visible but made sure the centre wasn't too white.
I then flattened the image again and did some contrast/shadow adjustments, curves adjustment, clarity adjustment, and a tiny white balance adjustment. Flattened it again and exported out as a tiff and into LR for some more minor adjustments and storage.
All this work, and I fell spectacularly short of the NASA edit, so I have a lot of learning yet to do. I've combined the source images, my finished edit and NASA's finished edit into one image for reference. Same data, so I should be able to get it close to NASA's version with more practice.

I do have a feature request for AP to incorporate .fits files into their fold.

BubbleNebulaHubbleData by Greg Murray, on Flickr

BubbleLessonPoster by Greg Murray, on Flickr

Easier again. Take the image. Add the Curves adjustment with the pull-up-from-the-bottom tweak, then set the Blend Mode in the Curves box to Negation.

You can also darken shadows a bit by pulling the left node to the right.

Here's a novel way of lightening an image.
Start with your image. Here's my wife, making a cup of tea.

Duplicate the image. Invert the top layer.

Now change the blend mode of this to Negation. The result is all white.
Then switch to the bottom layer and add a curves adjustment. Pull right up the left hand node, then grab the middle and start pulling it down.

The picture starts to lighten. Stop when it suits you.

The effect is quite pleasing, without losing contrast or blowing out whites.

Hi everyone,
 
I just wanted to let people know that I've put up a blog article explaining what layer blend modes are, how they are grouped together and what they do. I also give an visual example of the different blend modes so you can see the effect they have on your images. Here's the link - https://theeagerlearner.com/your-big-friendly-guide-to-layer-blend-modes/
 
Hope it's of help to you,
Simon

Just another drawing similar to the Don Quixote drawing that I posted recently but it is much simpler. This is a drawing that I had done probably not long after Designer was released and I forgot that I'd done it. I used this picture as my first real project to get myself used to using Designer. I am a big fan of Albrecht Dürer and I hope that you enjoy it. I've included the outlines as well. 
 
Hokusai

So far... nine illustrations made using Affinity Photo (and a little Designer). They are to be found on my Instagram (henrystahle) and I am using #affinityphotoillustration to show they are basicly all bitmap illustrations. The latest are from my recent project, an interactive app for Android and iOS. Me as an illustrator + a coder (LUA + Corona) that also animates and such. In Affinity I can use the slicing function for exporting, that is a big thing, it makes the work work, and easy exporting... Happy for that.