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Found 132 results

  1. Is there a way to find out where the one or more focal points are on the pictures you work on in AP?
  2. Hello! Not sure if it's a bug or me not understanding how it works, but I have an unexpected behaviour when I try to add a shape (in this case it's a text frame (shape converted as a text frame) that I can add to the assets panel by "add from selection" but refuses to be added by drag and drop. The shape moves" behind" the panel instead. All the windows (studio panels and canvas) are docked. I have even recorded a small video! Maybe I misunderstood the help files though.... Assets.avi
  3. Hey all, I'm struggling to create and export an Alpha Channel from Affinity Photo (v1.7.1.404) to a CMYK .TIFF image. The image has been masked out and I'm trying to make a named Alpha Channel to be used as a Spot Colour for digital print in an Onyx RIP (To be names 'Spot 1' which refers to a Spot White Ink). Please see the attached screenshot for the masked out area which I'm talking about. I've followed several other posts and YouTube/Vimeo video's and it's just not clicking for me. The image will export as a .TIFF but it won't export an Alpha Channel no matter what I try. Methods I have tried: 1. Mask out areas, on the 'Selection raster Alpha' channel, right click, and 'Create Spare Channel' and name it 'Spot 1' 2. In the layers under Adjustments, create and Channel Mixer and pull up the Alpha slider. What am I doing wrong? Thanks for your help!
  4. Dingdong

    Astro Photography

    Hi everyone I have recently expanded my photographic hobby into astrophotography. Some time ago I watched a tutorial on the stacking feature in Affinity and thought I would give it a crack with some images I've taken in the last three or four weeks. I have to say that I am very happy with the the very first images I took and ran through Affinity. The process is somewhat quicker than dedicated stacking programs for astro but the results (for me) are very very satisfying. I thought that perhaps those that are interested could post their images and discuss different processing techniques that they have used. So I guess I'll get the ball rolling with my first astro edited with Affinity Clear skies D
  5. I've just made the move from Photoshop to Affinity and have had some odd difficulties. One was just resolved thanks to this forum and a new one has popped up. I'm learning to work with raw photos and in develop persona the basic panel is stuck in the middle of the window. When I open a new file to develop that's where the panel is and cannot be moved. Any clues?
  6. This is long time bug. I think it affect only users that are using extra monitor time to time. I guess Affinity softwares think second monitor is still available and missing tools and toolbars are parked right there, behind the MPB monitor space. Resetting corrects the problem but it is nonetheless not good solution if you have to do it daily.
  7. Hi I am trying to prepare a photo to print as above. The actual available size is more like 9.5” x 7.5”. I want to be able to crop the photo using the rule of thirds, add my own frame image on a separate layer, plus signature, etc.. my starting file is a developed .orf file. I am printing onto A4 paper on a Mac using a Cannon Pixma printer. I want the finished photo to fill the mount size. I have tried everything I can think of and am getting nowhere. As you can probably guess I am a newbie to this so hope someone has the patience to help me. If needed, I can supply more info. I have searched but not found anything, as yet, that will unravel the wool over my eyes! many thanks in anticipation....
  8. The mam_tor.afphoto views as locked and can not be exported as described in the Affinity Workbook page 151, while the file seems not to be locked in the MacOS finder. How may I unlock this file (I didn't find anything on this on Help nor Forum ...)?
  9. I hesitate to post in this august place, but I think one of my selection techniques has not been explicitly described before.. This video is aimed at real world outdoor photography which is often taken under less than ideal conditions; and where we need to cheat because there was not a camera there when we wanted one.. This image is a composite. It was constructed in Affinity Photo. The video is a workflow demonstration - it is not good enough to be called a tutorial. Outdoor activities can often be difficult to photograph. My pastime is sailing, and I now have a motorboat. It is surprisingly difficult to get images of your own boat at sea. So you have to use what you can beg, borrow, or steal. The video is about using a photo taken by a friend, taken from a moving platform(another boat) under less than ideal weather conditions. We take the image and transform it so it can be used in an entirely different context. I have used three techniques described in official Serif Affinity videos by James Ritson. They are "Bringing Out Water Detail" <a href="https://vimeo.com/202899215" rel="noreferrer nofollow">vimeo.com/202899215</a> "HDR from one exposure" <a href="https://www.youtube.com/watch?v=Ar6CZvfyFvk&feature=youtu.be" rel="noreferrer nofollow">www.youtube.com/watch?v=Ar6CZvfyFvk&feature=youtu.be</a> "Making Images Pop" <a href="https://vimeo.com/178575803" rel="noreferrer nofollow">vimeo.com/178575803</a> The first part of the video deals with enhancing the basic image, including two different applications of tone mapping. The second part deals with four different approaches to selection, to deal with different aspects of the image and how to combine them. I have not seen the use of the pen tool to create fine detail precise selections before, but maybe I did not look far enough. So far as I know, it is a first. The same problems apply to a lot of outdoor activities including windsurfing, climbing, motocross, horse riding. Wherever there is equipment, wild background, fine details (such as reins or ropes) then complex selection may be needed so you can blag an exciting picture. Please view
  10. Dean Reardon

    Landscape Panorama

    Here is a landscape panorama photo of Yellowstone National Park. This was made from 7 RAW images (hand held) all stitched together in Affinity Photo. I must say that AP did a fantastic job of stitching these together! I then made a number of adjustments in the Affinity Developer. I need to get my monitor color calibrated because I can't really tell when I develop them, if they actually look good. Nonetheless, below is the panorama.
  11. Did You plan to make the same great menu for adjust brushes by clicking on the mouse2. Especially important is the tool that I highlighted with the arrow. These are very useful and important settings. Roundness is very important setting, you partially implemented it in your option Shape, but it work only for basic brush, so sad. Please add this window like in Photoshop on screenshot* You made a lot of settings for brushes, but many useless and no basic major setting.Thanks for attention and great app AD%)
  12. Hi there, Filter / Live-Filter "Clarity" does not work properly. Also the values are now displayed in % and not in px. Best regards Puck iMac mid 2010, High Sierra
  13. Hi there, the latest beta version crashes when you copy multiple Live filter layers from one file to another via the clipboard. iMac mid 2010, High Sierra Best regards Puck
  14. koskow

    Kid Flash

    I'm having some troubles with the Define option under the wand tool... still having a photoshop --> photo learning curve. Anyways, this is my first Affinity Photo manipulation. Starting to get the hang of it. If anyone is willing to walk me through some advanced methods for defining masks, please let me know.
  15. I have some kind of zoom/redraw bug in both Affinity Designer 1.6.5.123 and Affinity Photo 1.6.5.123. In Designer, I can create a new document A4, 300ppi. Draw a rectangle shape filled with black, and stretch it in all directions so that it snaps to the document bounds. Now if I zoom in and out with the scroll wheel, at various zoom levels the rectangle appears as if it does not quite meet the document bounds on random edges. For example the top and left sides appear to have a 1 pixel gap and are white or show the transparancy grid beneath. If I change the zoom level the edges with the 'gap' will sometimes be on the bottom or right and back to top and left. I have tried toggleing snap and pixel alignment on/off but it makes no difference. Also when I dragged the edges of the rectangle to snap to the document bounds, the green//red lines appeared, indicating that it was snapping to the document edges. A very similar problem exists in Affinity Photo - this time with a new blank canvas, choose File > Place. Select a relatively high resolution photo and drop it in the middle of the canvas. Now drag the edges and snap them to the document bounds. When I zoom in and out the "1 pixel" white/transparant edge randomly appears on various edges of the canvas at various zoom levels. Even at 100%. It makes it difficult to know if there is actually a 'gap' or not. In the screenshot below (Designer) you should be able to see the white 1 pixel 'gap' i am talking about. In the one below that (Photo) you can see the transparancy grid along the top edge. If I zoom in the gap is not there, but might be on the left edge instead. I have tried turning off the graphics card as the default renderer in Preferences > Performance. The only other option is WARP but it has the same problem.
  16. Hello dear people, I'd like to retouch a bunch of photos (resize/crop/contrast), all in the same way, and then export them efficiently (like not one by one). Is there a trick? With file->New Stack, I managed to do the retouching-part, which gave me a "Live Stack Group" in the layers panel. (Is this a "normal" layer with childs?). Now I am searching a way to export all single images from this Stack Group. efficiently. like not one by one. Is this even possible? Or maybe you would know a different way to go about it? TL;DR : Who knows a way to export several layers as independent pictures with "one move"? Thank you!!!! EDIT : I think I FOUND SOMETHING that works, via export persona and using the layers as slices... looks promising. sorry for the fuzz
  17. Hello, I have When attempting to rasterize the "image" layer, AP (AD probably also but I have not tested) destroys bitmaps and blurs them. This significantly hinders work. Is there any way to avoid this problem? I would like to be able to use the clipboard and not worry about the program spoiling everything when attempting to rasterize layer. maybe you can detect that there is a bitmap in the clipboard and use an algorithm that will keep the data intact? By the way, what is the purpose of pasting bitmaps from the clipboard into the "image" layer. If you want to be able to work normally on it (cut or copy selected areas) you have to rasterize it in the end. I do not want to save every bitmap to hdd and then open it. This extends the working time terribly. Pasted bitmap: And after "Rasterize":
  18. First, I apologize that I have different aspects of this problem in different topics. Summary of Problem: On my MacBook Pro 17", to which a Thunderbolt Display is connected, I have developed a RAW file in AP Develop and specified the ROMM RGB for output. In the Photo persona I changed the Document | Colour Format to RGB (16 bit), setup my adjustment layers and live filter layer, then export the document as a JPG, 100% quality, using the ROMM RGB profile, which should be embedded. When I compare the exported file and the document in AP, both at full size, both either on the laptop display or on the Thunderbolt display, the JPG is much darker than the document as displayed in AP. Both displays have been calibrated using basICColor display and an X-rite i1 Display Pro. I have several color profiles for each display, D50 L* 160 cd/m², D50 2.2 160 cd/m², D65 L* 110 cd/m², etc. Regardless of which one I use, the JPG is alway much darker than the AP document when both are viewed at full size on the same display. Only when I set the color profile to the factory default does the document in AP become as dark as the JPG, which does not seem to change much. (☚ Thanks to @owenr for the suggestion after doing some valuable tests!) Clearly, the take-home message cannot be, so just use the factory profiles, especially given the ages of the laptop (late 2011) and the Thunderbolt display (bought second-hand several years ago). Testing my Understanding: For some time I have been assuming the the export must be the culprit, but @owenr graciously tested my .afphoto on his (her?) Mac and verified that the JPG as displayed by Preview is identical to the document as displayed by AP. My understanding is, on Mac's applications don't need to worry about monitor profiles, that is the job of the OS. So AP only needs to worry about the working color space, described by the ROMM RGB profile, when rendering the document, and the target space when exporting, which, in this case, is the same. And, since Preview is color profile-aware, I should be seeing identical images, regardless of the monitor profile. But perhaps AP is doing something else when displaying the document? Or, not for the first time, my understanding is faulty. Can anybody explain what I am seeing and perhaps suggest how I can profile the monitor(s) so that the JPG and the document in AP are identical? For anybody interested, the .afphoto, a .jpg and a .tiff are here: https://www.dropbox.com/sh/l5oaidwrbn4xiot/AADQ32NVF14neGoV_fqEYV8Xa?dl=0 . Thanks
  19. It has been happening since a day that whenever I am trying to change the fonts and I go to the dropdown menu in text options Affinity Photo freezes...on Mac High Sierra. The beachball goes on and on and I have to force quite and restart the app but even after several attempts it hangs as soon as I touch the fonts selection dropdown either in the floating window or the the top shelf. This has made it unusable. Has anybody else experienced this? Is there a solution to this bug?
  20. Hi, what is the best way to convert rgb images to cmyk for print with Affinity Photo? Thanks
  21. Mensch Mesch

    FLOWER POWER Brushes

    Hey folks! I've created a little collection of some flower brushes for AP and AD (Pixel Persona). Hope you like it. You can download the brushes here: FLOWER-POWER-by-MENSCH-MESCH.afbrushes.zip [12.3 MB] Installation: Unzip the downloaded zip-file. Install the FLOWER-POWER-by-MENSCH-MESCH.afbrushes file in your brush panel. Keep on drawin' Norbert
  22. Hi, I have the latest version of Affinity Photo running on a MacBook Pro 17" under macOS 10.12.6. When I use a Soft Proof adjustment layer to soft proof my edited photo before printing, I check the box to show the out-of-gamut areas. The tutorial leads me to believe they should be grey, but they seem to be black on my setup, and, depending on the photo, it takes a lot of playing around with the Curves adjustment to get rid of most of them. Is there a special meaning to black areas, as opposed to grey? While I'm at it: Where can I read up on curves, gamut, etc.? I've never used such a photo editing program before, not even Lightroom or Photoshop. Thanks.
  23. So i've taken quite a few pictures with my camera ready to be stitched into nice panoramas. Except, I cannot drag and drop the files from windows explorer into the New Panorama window of AP. Have I missed a setting or is this simply not possible? It's a bit tedious to search through thousands of photos to find the series i want to stitch. Any Ideas?
  24. HELP! Please I am getting blue artifacts when developing RAW (.dng) images I get bring the DNG into the develop persona and develop as per the screen shot attached When I apply the development I then duplicate the background layer and go sharpen - high pass (7.5px mono) and change the layer mode to soft light The navigator shows lots of blue areas yet the master image doesn't - on exporting I get an image the same as the navigator image with blue all over it. The same issue occurs with live filter If instead of softlight I use hard light or overlay there is no issue. In 16bit mode there is also no issue As I prefer to keep images in 32bit until final export is there any way around this issue Thanks
  25. Jangbu

    Osprey in B&W

    I seldom use B&W for nature photos, but, in this case, like the result. After receiving a tip that a pair of nesting ospreys had taken up residence atop a telephone pole beside a busy local highway, I managed to capture a few images. After conversion to B&W, I adjusted the individual tone curves to blacken the blue sky and produce a range of grey tones. Applied a bit of contrast and sharpening for the final result.
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