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  1. I've muddled through two book projects. Now, I'm trying to draw up a standards documents for future projects. Can someone help me to understand the relationships between the following elements? New Document Setup Color Profile Adjustment Layers Embedded Images that contain color Conversion of color images to Grayscale Why PDF/X doesn't like Greyscale D50 color profile During the first two books, I didn't know about adjustment layers. Browsing the forums today, I learned that color images can be turned black and white. This would save me the step of converting images to grayscale before embedding them into AP. I want to be certain that no color appears in the PDF.
  2. Currently, when I add a (child) adjustment layer, it appears in a collapsed position. I would like to add an adjustment layer in expanded position automatically. AP2 Thank you.
  3. I apologize if this has been mentioned before, but I couldn't find it in a search. I have had a problem fairly often when trying to make re-adjustments to an existing live filter or adjustment layer in a document. I click on the layer icon to open a previous adjustment (Curves, Unsharp mask, High Pass, or whatever) and the adjustment window briefly blinks into view, then disappears, making it impossible to readjust my settings. I try again and again, but it always vanishes, at least once this problem surfaces. Other adjustment layers in the same document may open fine for re-adjustment, but the layer in question won't allow me access. I've tried repositioning the layer as a child layer, a parent layer, or and individual layer with no parent and child, all to no avail. The only solution I've found is to delete the layer and recreate it. Sometimes, I need to shut down AP and restart it, then it works fine for a while. This usually happens after working with the program for a period of time. More often than not, reopening and readjusting layers works fine, as expected. But, this problem happens often enough that it is very irritating and forces me to delete and recreated the layer, or reboot the program. I don't know if that is a bug in the program itself, or whether there is a conflict with other programs, utilities, the O/S, etc. I'm running a 2017 MacBook Pro, 15" Retina display, OSX Monterrey 12.6. BTW, I've held off installing OSX Ventura because I have read of some issues with v2 software. I'd like to upgrade to Ventura. Is the Affinity Suite working okay now with Ventura, or should I continue to hold off? I don't want to upgrade the OS if it will cause more trouble. Thanks, Lou
  4. Hi, I'm rather new to Affinity Photoshop- I'm not amazingly experienced in Adobe Photoshop, but I'm way more familiar with that.... I recently began shooting color negative film and dislike the color correction in my scanners software and the Vuescan software and wanted to learn how to do it myself in photoshop. I found a tutorial online, however, I cannot figure out how to do the "Levels Clipping Mask," ...here is the tutorial: https://petapixel.com/2017/02/01/edit-color-film-negatives-photoshop/ Basically, I know from the Affinity help page that I can press the "alt" key when I'm adjusting the Black and White levels when I'm in specific colors such as red or blue, but it just turns my image either all black or all white, and I'm not sure how to make it actually work like it's supposed to? It seems to do the job when I do it on the Master for the RGB levels, but not any specific color? Am I doing something wrong? I hope this makes sense! Thanks! -Jenny
  5. I'm using designer for Vector graphics (Illustrations / animations) online. So I was surprised to see some features generate base64 images inside the SVG fileformat while a lot of times it shouldn't be nececary; Why does the 'Outline' Layer effect use rasterisation on vector objects? I would expect this to generate another vector-shape while exporting to SVG that is slightly larger than the object Why does 'Color Overlay' layer effect use rasterisation on vector objects? I would expect this to change the color of a shape fill, or intelligently generate an overlay vector-shape while exporting to SVG. I'd say that could work? Why do the color-changing Adjustment layers rasterize while exporting to SVG? I would expect the fills and stroke colors to be changed according to the adjustment color results while exporting to SVG. For example: changing the levels in an Adjustment layer on top of a white rectangle should only change the color of that rectangle while exporting to SVG, but now it generates a base64 rasterimage within the SVG. Perhaps even blend modes could be calculated during export to SVG (by some intelligent way of slicing vectorobjects and stuff), although a lot more work for the developer Although I personally don't really need thisone, this would definitely be a huge step forward in creating artful graphics and a step ahead of Adobe ! I'm working with a lot of SVG files on a daily basis for illustrations and animations online. So I'm always looking for ways to keep images as sharp and small in filesize as possible and optimize. It would be great if, where possible, effects could generate vector-outputs if possible. So affect vector-colors (intelligently calculating where needed) instead of generating base64 images inside the SVG. Thanks!!! And keep up the great work. This program is briljant!
  6. I have noticed that Affinity Designer is missing some tutorials about Adjustment layers. I wonder why they can't record some videos passing through all the adjustment layers by applying them in a photo manipulation tutorial created by an affinity designer expert. I swear that all the affinity community will agree with me and they will love the idea. Please take my suggestion into consideration. Really you don't know how much I will feel happy when it becomes real.
  7. This was done on the same weekend as the robin. Again the light was failing and it wasn't warm either, but the posing livestock was too much to resist. Red-eye effect is sometimes worth keeping, when the flash goes off. I used the same editing technique, to improve the dullness. We_are_the_robots.afphoto
  8. What started as a hunt for a decent picture of red kites (because they all took off and flew off) turned out to be a photoshoot of my partner's amazing handy work, a multicoloured acrylic scarf. A wing like pose, to make up for the lack of avian interest. Another cloudy and chilly day: at least it was dry. Paparazzi allergy perhaps? I wouldn't mind; but this field is home to two dozen of the flying-road-kill-diners. Crochet 1: Ornithology nil. Shy_as_a_kite.afphoto
  9. A rare sunny day: Easter bank holiday and all! That blossom really shone in the warm sun. Spring_blossom.afphoto
  10. Nothing to see here, move along...hope the ladybird doesn't see me; hope the ladybird doesn't smell me either! A_ladybird.afphoto
  11. peter

    A fly?

    "No thanks. I'll stay in and go for a walk instead." This was another one of my point-and-shoot-without-using-the-screen pictures. Not bad eh?
  12. For a while, the Semi-pro bike race came to Peterborough and did a few laps of the town centre. The events were held in Spring and after the shops were closed, typically 7pm starts. So as you can imagine the lighting was always tricky: some years were more photogenic than others.
  13. This is a brilliant piece of graffiti, found near the Grand Union Canal, near Milton Keynes. Just where the aqueduct crosses the river. The sun was burning hot (remember that?) and this was hiding on the North facing wall. That's why there is some burn out on the wild grasses. Otherwise a perfect picture I think. Fox_on_the_wall.afphoto
  14. Despite the fact the light was lousy, I managed to get this lil' chap in focus: if he could stay still long enough. All settings were auto on my camera. Added to the fact that he was only 10 feet away, he was well hidden within the bright orange barrier mesh and it is one week away from Easter A quick tweak in APh, by adding several adjustments one by one and voila. A half decent pic.
  15. Hi, I'm loving getting to grips with the Affinity apps, but I have two problems. I wanted to apply the same adjustments to a number of scans of old photos. I read through this very helpful post - 'Copying attributes adjustments to other images'. https://forum.affinity.serif.com/index.php?/topic/66953-copying-attributes-adjustments-to-other-images/ I had a Curves child layer adjustment, plus an HSL and 'Brightness&Contrast' Adjustment at the top of the layer stack (It probably should have been just the Curves, if I'd got it right, but not to worry.) . I could not move the child Curves adjustment out to be above the pixel layer. So I added a preset to the Curves, used the Assistant to 'add new adjustment layers as new layer', and chose my new preset as a new top level layer from the adjustments panel. I was then able to delete the child adjustment and group and select all my three adjustments.I could then copy and paste them to new images. This worked OK, but I think it would have been better to directly move my child adjustment out to the top of the layer stack, rather than use a preset. So, Question 1. Please can you tell me how to do this, as I imagine it's possible. I saved an aphoto file, which includes the three adjustments, so I can reload that and copy/paste the adjustments again. But walt.farrell, in the post mentioned above, also suggests adding the (grouped) adjustments as an asset. I think this is a much more elegant solution. It works fine in Designer and Publisher. But I have a problem. Question 2. I cannot see / find the Assets Panel in Affinity Photo. It is visible in Designer and Publisher, but not in Photo. All the other panels can be turned on and off as usual in AP. I thought it might be because I had no assets, so I downloaded the Rainbow Overlays and Ink Stamp Textures. Still no Assets Panel. I have reset the Studio to default, turned the Assets Panel on and off a few times, restarted the program numerous times and finally uninstalled and reinstalled it - all to no avail. Is it me? Where / how does the Assets Panel appear in the default Studio in AP? I would be grateful for any help any forum member can give. Thanks a lot, Geof
  16. When trying to paint with Paint Brush Tool on the Adjustment layer it does not paint Screen shot enclosed. No impact of the mask painting on the adjustment layer
  17. Please see the attached file and the screenshots. --- Affinity Photo 1.8.1 macOS 10.15.3 (19D76) clipped-curves-layer-bug.afphoto
  18. With Affinity Designer, I'm making a visual health cue of a bipedal figure, separating the torso, arms, and legs so that each section can independently show a health status with a color. This means several copies of each section's image layer with a different color (green means 100%, red is 25%, etc). I've isolated each section with a layer mask so I have to decide between adding a Layer Effect>Color Overlay, or Adjustment Layer>Recolor (or HSL) to each group of layers, or to each individual layer. Also wondering if it's more efficient to add the layer effect or adjustment layer to the group layer or to each layer individually. I just want the program and my computer to run as smoothly as possible, been noticing the fans getting a little louder after adding a Color Overlay Layer Effect to each group. Just want to know if that's the best option or if there's a better one that's less taxing to my pc. I'm on Windows 10, with an Asus ROG laptop which has an Nvidia GTX1070 with 6 or 8 GB dedicated graphics. I've attached a pic of how I've organized the groups. I opened the 100% group so you can see what's inside each group, and all the other percent groups are organized the same.
  19. Here's a common operation I've done in the past with Photoshop: 1. Create a mask for a layer 2. Extract the mask as a regular pixel layer by copying the mask channel contents to a new pixel layer 3. Use filters and adjustments to refine the pixel layer (I find that Levels does a great job of uniformly hardening edges, for example) 4. Select all and copy the refined pixel layer 5. Paste the clipboard contents back into the mask channel, thereby applying the refined mask I'm trying to adapt this workflow to Affinity Photo, and I've noticed that adjustment layers can supposedly be applied to pixel mask layers by making the adjustment layer a "child" layer to the mask. However, I'm not seeing the adjustment affect the mask. This leads me to two questions: 1. Can adjustments, filters, and adjustment layers be applied to pixel mask layers, as if they were a non-mask pixel layer? 2. If not, would you consider a feature request to have adjustments, filters, and adjustment layers (when dragged onto a pixel mask layer, thereby appearing as a child layer to the pixel mask) operate on pixel masks in this way? 3. Is there some other way I may be able to accomplish this workflow already? My one requirement is that it doesn't involve re-selecting and filling the selection on a pixel layer; while this is possible, it's far too error-prone in my opinion. Thanks, Joe P.S. For clarity, I've attached a screenshot of what I mean by making an adjustment layer a "child layer" of a pixel mask layer. Unfortunately I'm not sure what the correct terminology is for this is.
  20. Hey guys, why doesn't anyone talk about the lost adjustment presets after the update? I can't be the only one missing all his presets, can I? Since the update about two weeks ago I have had massive problems recovering any of my adjustment presets. (Screenshot of the palette is attached in case you're wondering what the hell I'm talking about. Yes, I opened a photo and clicked on the labels – they're empty.) Under the section LUT alone there were 35 presets that I personally saved and collected over months and years! I already had similar experiences with older beta versions of the apps, where certain folders could be copied so that all user-defined settings are available again. But it doesn't seem to work this time. To be honest, this situation makes me more and more disgruntled. I wonder why this palette, which was included in the programs from the beginning, has no export function yet. Damn, even the crop tool has a function for exporting defined ratios. Even later implemented functions like macros or assets can be exported! Why not curve or white-balance presets?! Now excuse my little psych-out. Fortunately I have a Time Machine Backup, but even if I recover the data from it, I can only work with the penultimate officially released version – but that's obviously not a solution, who wants to work with an outdated version if there's a shiny new release with better features? This btw. isn't just related to Photo, but also Designer. And it's not only on Mac, but also on Windows – I checked. So if anyone has a solution to this problem, please - please- share it with the community! Or just let me know if anyone else has this problem. Cheers MrDoodlezz
  21. I just noticed this feature in 1.7! I love doinh that in Lightroom so I am so excited that Affinity now does this! I checked to see if 1.6 could do this and it appears that it can not. This is very quick editing if you have a photo shoot all done in the same place and all photos in the shoot need to be adjusted by about the same amount.
  22. This one is probably more for the photo team, but since I've found this in Publisher and haven't had a chance to test the new Photo beta yet I'm posting this here in case it's Publisher specific. Option+dragging a slider in the Levels dialog in the RGB setting always shows a completely black image for me when dragging the black point and a white image for the white point instead of accurately showing the usual clipping preview image with a threshold effect. In LAB mode, Option+dragging the Luminosity slider shows a black image with some of the chrominance information on top. Dragging the slider does not change the clipping preview image at all. Double-clicking a slider to reset it also doesn't work, but I'm not sure if that feature was ever there in the past. Moreover, there seems to be no way to use precise 8-bit/16-bit or floating point values in the numeric input fields, only a percentage. This might be required when images need to comply to a precise standard such as broadcast limits, old-school screen printing processes that don't work with ICC profiles, or when performing operations that need to be reversed exactly by a layer on top (say, when trying to preserve detail when using a third-party 3D LUT that has an excessive linear contrast operation built in) and so on.
  23. Hi all Affinity Photo friends, two questions: Is there something like a Clipping Mask as in Photoshop? It seems to be, that the tweaking made in Effects tab has zero effect on e.g. Masks and Adjustment Layers. In case I don't do something wrong or just couldn't figure out how to do it: This must be urgently added... Need to blur a mask non destructively all the time. If there is a possibility, please let me know, many thanks in advance. Appreciate any reply!
  24. I am working with a photo. I added some adjustment layers for white balance and brightness. Then I copied and pasted some sections of the photo to hide some problems in the background. Those new sections don't have the adjustments applied, so I want to add the same adjustments to those new layers. When I try to adjust just the single new layers, it readjusts my original adjustments instead. I can't create a new white balance and brightness layer for the new layers only. I've tried adjusting from the adjustments panel and from the layers panel -- both with the same result. The instructions from the help menu make it sound like I should be able to apply adjustments to a single layer, but it's not working for me. Help, please! Thank you!
  25. Am I the only one who thought that if I made a "marching ants" selection, opened an adjustment layer dialog, & before applying the adjustment I chose the Select menu > Deselect item, then the adjustment would be applied to the entire layer, not just to the now 'deselected' (?) selection? I have been using Affinity Photo since it was first released for the Mac, but I never thought Deselect worked like that until I started working through one of the first enthusiast projects in the Workbook (convinced that I would learn nothing new from it) & was surprised by a tip that suggested doing that so the effect of adjusting the parameters of the adjustment was easier to see.
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