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  1. Hi all ! There are 4 essential things missing: - The possibility of rotating a document with a keyboard shortcut (which can be configured), but it is not always possible unfortunately. - The ability to select the element and have it select the whole subject like Photoshop (but I wish you were better and more powerful than Photoshop). - Saving a mockup in PSD and when you drag the PSD file, it becomes all white or all black. No visibility of a layer, rendering, nothing! It's time to fix this problem. The only thing possible is to save as an Affinity Photo file to work on it again. - AI recording is missing. - It lacks the ease of selecting vector elements, at the moment it's not as simple as Illustrator and it's annoying ! There you have it, the list of missing duggestions to add.
  2. Hello, these are some title pages from web site shopping mall product presentations created in APublisher. Thanks. https://www.behance.net/gallery/170509823/Graphic-Design-Product-pages https://www.behance.net/gallery/170510013/Pen-Case-Graphic-Design-development
  3. Hey everyone, This is a bit niche and I have not checked if a topic like this already exists. What I'm looking for is a compatibility guide with workarounds for creating macros. For the past few days I have been trying to create macros but keep getting stuck because its so unbelievably cumbersome. One big PIA is the level selection. It’s a mess with all its confirmation prompts – just select the damn level I clicked on already! Anyway, I already got used to that by now, that’s not the issue. These two are my current questions, and I haven’t found a solution for it, maybe some of you have ideas? Creating a fill layer and changing its colour It's just not possible, you'll get this warning and the colour will be reset: Select all (as in an unspecified number) layers (to group them or similar) There's no keyboard shortcut or menu item that does this, as far as I know. Anyway, for some reason I didn't notice the option in the menu. It even has a shortcut! 🤦‍♂️ Solution: Select → Select all Layers or ⌥⌘A Do you have similar questions? Is there maybe already a place where questions like these get asked and answered? Does someone know how to get these operations to work or how to work around them? Have a nice weekend Dennis
  4. Greetings, I know what you're thinking - "this guy didn't search the forums before posting"…. I actually have been researching extensively for several weeks now, including several similar posts in this forum, and I've concluded that either my situation is unique or I'm just more dense than your average user (these may not be mutually exclusive lol). So, as the title suggests, I am searching for guidance on color correction on underwater photos. I'll preface by stating I am NOT a photographer, so my knowledge of post-processing technique is frustratingly minimal. It is for that reason that I had previously just written off my failures, just accepting really dismal diving photos. That changed when I was recently introduced to an iOS app called "Dive+". On a whim, I decided to run its color correction function on several shots I had on my phone, and I was blown away by the results! In more than one case, I actually "discovered" fish and corals in my photos that were previously invisible! The ease with which the shots were transformed has inspired me to re-visit touching up many of my underwater shots, but as you can imagine - iOS is certainly not the best or most efficient environment to do it. Re-visiting all the tutorials and articles on the topic, however, has brought me right back to where I began - slightly less crappy photos and a lot of swearing. It seems the majority of the methods described in tutorials (even those for photoshop or other editors) just don't produce similar results for me as they do in the examples shown. For instance, the vast majority of underwater correction guides suggest beginning at adjusting white balance. In the examples, adjustments produce immediate color and contrast improvements, while my photos simply turn from "all blue" to "all green". Additionally, suggested techniques using levels invariably begin with minimizing black levels and maximizing white…. In all my photos, these positions are already selected (and moving them in opposite directions only worsens the output). While I'm certainly willing to tackle a mild-to-moderate learning curve, I have no aspirations of professional photography. What's nagging me is the ease with which this free phone app is able to drastically improve my photos, as well as my inability to determine exactly HOW it corrects the images so I can replicate the process. Below is a random photo from my collection that I hope will better clarify what I'm attempting (and failing) to achieve: This is my original photograph: This image shows the output from the Dive+ iOS app: Applying "Auto" White Balance to the image in AP makes no discernable difference. When manually selecting a neutral area (white dot indicates the area I selected) using the white balance "picker" as most tutorials suggest, a green overlay appears as shown below: This final image shows my sliders for the Levels adjustment layer. Note that the sliders for black/white levels are already at opposite extremes, negating the ability to adjust in the way most tutorials have suggested. The sliders for master/red/blue/alpha all have identical positions. I've attached the original photo in case anyone is feeling gracious enough to play around with it. The edits described above are certainly not the only ones I've tried - I've been playing with pretty much every setting I can find in photo, develop, and tone mapping personas. While I am able to make some minor improvements to my underwater shots, they still don't compare to the difference I get with one tap on the iOS app. Furthermore, the results are very inconsistent compared to the app. For instance, I have freshwater dive photos that have a green saturation in place of the blue shown in this example. Results from the app on those photos are equally impressive, yet the only similarity in my manual edits is the lackluster result. I'd love to know what type of algorithm this app is using so that I can create some type of similar macro or workflow for editing in AP. Heck, I'd even gladly pay to add Dive+ to my workflow if it were available on the desktop, but it is iOS/Android only. If anyone can offer guidance on what I'm doing wrong, or direct me to any tutorial resources that are Affinity-specific, I would greatly appreciate it! Sincere thanks in advance for any advice you have! Best, Kirk ***NOTE: I have no affiliation with the Dive+ app, nor any software mentioned. It is not my intention to present Dive+ as an alternative or competitor to Affinity Photo; my impression is that the latter is a much more capable product in the hands of a knowledgeable user (which I am obviously not!).
  5. Hey all, Is this behaviour intentional and if so, why is there no difference between the content types? Scenario: I'm working on a design I started in Designer with multiple artboards. I decided to add some pizzazz with a raster brushes on a designated pixel layer – either in Designer's Pixel Persona or via File → Edit in Photo (either works, behaviour is the same). I add a pixel layer and draw something. I realise that I have made a mistake and want to clear the layer and start again. I usually do this with a short succession of shortcuts: ⌘+A (in the History palette this is called »Raster select all«) to marquee the whole (visible) canvas and backspace or delete/⌦. Expected Result: The (visible) content of the pixel layer is removed. Issue: In my case, for some reason, the shortcut ignores the fact that I am currently working on a pixel layer, and instead of creating a marquee selection of its contents and deleting it, it selects the parent pixel layer itself and deletes it. Now this might not be a big deal if it's a single layer, and you might argue »Why don't I just delete the layer and create a new pixel layer (⌘+⇧+N)?« And I'd say »Sure, that might work for single, regular layers.« The real problem is that this also works (or rather doesn't work) for linked pixel layers. If a single linked layer is deleted, it's not so easy to fix afterwards and involves copying, pasting, positioning if you've placed them in several different groups, shapes and so on – a bit of a PIA. I also considered »Invert Pixel Selection« (Select → Invert Pixel Selection or ⌘+⇧+I) as a different approach, as this works with photo documents. But to no avail. But I've noticed that this behaviour works for new documents, so I'm not sure why it doesn't work for my existing document. Any help with this? Am I doing something wrong? Is the document somehow corrupt? I’ve attached my document, feel free to try the scenario, try to select the whole pixel layer content and delete it with the designated shortcuts while maintaining the linked layer/s itself. Cheers Dennis Raster_select_all_bug.afdesign
  6. Hi there, today I came (again) across a weird phenomena. I blacked out some parts of my current bank account statement. To prevent, that the recipient is able to remove the black bars by simply importing the document into a program like Affinity, I exported the PDF using these settings: The part "Inklusive Ebenen" means "Including Layers". Unfortunately, the exported PDF still includes all layers and hence the function seems not working. Is there anything I do wrong, or is this a bug? Version Number: 1.10.6.1665
  7. I've been encountering a recurring issue with RAW development, but the issue happens inconsistently and seemingly at random. After loading a RAW file, I make some of the color and lighting adjustments I want to make to the file. But then I click "develop" and the edits are not preserved, leaving me with a developed image without any of the RAW edits I made. I use the same process for developing images every time, but the results have been inconsistent. Perhaps I'm experiencing a PEBCAK problem, but I'm not sure what exactly I would be doing wrong that causes inconsistent development results.
  8. This pic is just an example photo.. But I am trying to cut a woman out of a green forest background. How do you cut out the hair without taking some of the green glow with you? And is it possible to recolour the green parts back to the hairs natural colour with adjustments or too difficult to get it right? I've tried selecting the green bits and playing with sliders but just can't seem to get it right. I have also tried using the background remove brush over the hair but it either doesn't delete enough or it deletes some of the hair too. Any tips? Cheers!
  9. Greetings, in Aphoto V1 can you turn a selection into a shape? Thanks to everyone who will read me...
  10. I'm using Affinity Photo and I'd like to stroke a rectangular or circular (or any other selection) shape. I haven't figured out how to do it… I've made the selection with the rectangular marquee tool. In Photoshop, this operation is really easy but I'm stuck in AP. Thanks for your help.
  11. It's rare I do painterly works solely through Affinity. I'm usually using some other program, so I don't normally post in this section. This is a work using a brush set by Frankentoon Studio that is free via this tutorial/process. Unfortunately the Youtube video for it apparently just went private (!), but the free brushset ("Frankentoon Placard Brushpack") is still at that link. I followed along loosely using another image and this illustration is inspired entirely using this new process. It is not my "typical" style or process, so I wanted to challenge myself. I got a bit more painterly with the surely not Dr. Teal's bottle. Couldn't resist. I like that this forced me to restrict myself more to laying flats.
  12. Just now updated from 2.0 to 2.0.4 this evening. Was really hoping they'd fixed that brush menu double-click lock-up bug. It's really quite nasty, and makes the software basically unusable. It's like walking into a booby trap. I'm able to deal with basically being forced to work in tabs, but this brush menu bug is a show-stopper. When double-clicking a brush in the scrolling menu to bring up the width/etc adjustment panel, Photo throws up the spinning rainbow beach ball and goes for a lie-down, requiring me to force-quit. The clumsy UI design decision re: the Big Frame That Won't Go Away And The Non-Detachable Toolbar is something I can work with, but this bug makes V2 pretty much unusable. Will this ever be fixed? Here's part of the bug report transmitted to Apple, if it means anything: Date/Time: 2023-05-04 21:39:57.623 -0400 End time: 2023-05-04 21:41:48.369 -0400 OS Version: macOS 12.6.2 (Build 21G320) Architecture: arm64e Report Version: 35.1 Incident Identifier: 025B1725-F537-4813-AA9B-58C905D248BD Data Source: Stackshots Shared Cache: BE7FE6AD-4560-3AE2-883E-432F78B45062 slid base address 0x1b07cc000, slide 0x307cc000 Shared Cache: 075C518A-CD16-346D-A539-3A4D45B847A6 slid base address 0x19932c000, slide 0x1932c000 Shared Cache: DF545CF0-AB3D-34B5-900B-63364D9C86AB slid base address 0x7ff80fce8000, slide 0xfce8000 Command: Affinity Photo 2 Path: /Applications/Affinity Photo 2.app/Contents/MacOS/Affinity Photo 2 Identifier: com.seriflabs.affinityphoto2 Version: 2.0.4 (2.0.4.326) Team ID: 6LVTQB9699 Architecture: arm64 Parent: launchd [1] PID: 2744 Time Since Fork: 224s Event: hang Duration: 110.75s Duration Sampled: 1.90s (process was unresponsive for 109 seconds before sampling) Steps: 19 (100ms sampling interval) Hardware model: Macmini9,1 Active cpus: 8 HW page size: 16384 VM page size: 16384 Time Awake Since Boot: 45707s Time Since Wake: n/a (machine hasn't slept)
  13. Hey community! The title actually says it all. I've been using this incredibly useful little feature ever since I learned it decades ago (when I was working with Adobe applications), and was very happy to find it right from Affinity’s first ever release (?) in the shortcuts menu: »Set Fill to Black and White«. It's particularly useful in Designer when you need to quickly reset the base colours of your shapes, but also in Photo, especially as all the apps in the suite work so seamlessly together. However, using this shortcut in Photo with an active Fill Layer in the layers panel completely breaks it, like … irreversibly. Not even the »Revert defaults« button (if added in the toolbar) can revive its initial state! ☹️ Steps to Reproduce: Set up a shortcut under Shortcuts → Miscellaneous → Set Fill to Black and White. Note: There's no menu item for this option at all, it's only accessible via a keyboard shortcut, factory default is D. Create a Fill Layer. Select Fill Layer (if not already active) in the layers panel. Use the designated shortcut previously assigned to Set Fill to Black and White. Expected Behavior: I’m actually not sure what I expected. 😅 Probably a reset to white? But I'm not sure about the stroke, since a fill layer is practically borderless. And I suppose that might be the reason why it breaks. Current Behavior: The Fill layer turns transparent and stops responding to any changes of color or other fill. As mentioned, Set Fill to Black and White completely breaks the layer irreversible. You have to delete the layer and create a new one. I'm having the same problem on MacOS and Windows, but as I'm sitting in front of a Mac at the moment (and since the forum is lacking a thread for bugs that affect the application regardless of OS), I'm going to post it here. Can someone verify this? Cheers Dennis aka The Guy With All the Fill Layer Issues 🥲
  14. This photo manipulation artwork is "The Rest Of The Moon". I want to give a break to the moon that works the same routine always~ "The Rest Of The Moon" speed art : https://youtu.be/AcqqmanKBRM?list=PLaYwL68IKsHT621IiqxrLp3tVp2xYHc7W
  15. The deform filter in Affinity Photo is nice, but in addition to that it would be awesome with a proper Puppet Warp tool similar to the one in Photoshop. In addition I just want to say that I can't state how much I appreciate the great work you are doing with the Affinity Suite. Love it!
  16. It would be great with a more powerful grid- and perspective tool in Affinity Photo, similar to the Perspective Warp tool in Photoshop. Thanks for a great suite of products!!!
  17. Hey there people! Hope ya'll are safe and sound.. I moved onto Affinity a couple of months back and I've gotta say, it's worth every penny! My problem is that the tolerance of the fill tool in AP automatically goes to 1% when I click to fill USING HUION 640P.. and increases as I slide my pen upwards... However if I fill with the trackpad, it remains the same.. This is really getting on my nerves.. 2nd issue is that right click with the pen doesn't work at all HELP!
  18. Hi Affnity, Hi Forumers! I (ab)use Affinity Photo to edit my astrophoto, I find Affinity Photo a great piece of software! However I'm facing a problem that I can't solve: the tiff files out of AP don't work in any star stacking software. I tested Sequator, Starry landscaper, Deep sky star stacker, Iris and Siril. All report the message "unable to read files". Strange, because with jpgs everything flows. I wrote some line to the developers and that is the answer I had: "TIFF is not fully standardized. Although they are called TIFF, some formats or fields may be incompatible. Sequator uses the most popular TIFF library, but there may be still some proprietary fields the library can not recognize." Any hint, idea, suggestion you could provide? Thanks a lot for your help! G:
  19. Male worker at rest. The body itself coming from "Magic Poser", IMHO an ideal complement to AP.
  20. Hi there! Stumble upon an video that demonstated how to colorize black and white pictures… He used an site called palette.fm, this use AI to colorize, take this new colorized pictures into Affinity Photo and use this in blend mode ’Color’ to get the color information to the hiresolution black and white pictures…
  21. For a few days now I've been playing around with layer effects and some procedural filters – it's super fun and I love the results it can generate! This is the result this morning, based on my own logo and 100% pure Affinity Photo magic, and (except for the very last couple of steps) nondestructive. Maybe I'll release a macro for this sometime, if I can manage to squeeze it into a clean sequence. It'll work with almost any kind of base – images, texts, vector layers. This is what the base result will look like after the macro is applied, everything else is layer effects (and a background texture):
  22. Same computer, single-machine. Photo installed as MSI, Publisher and Illustrator as MSIX. Latter two work as usual, former refuses to launch with this: The application is not restricted by Firewall or DNS filtering at the time of activation. Pressing the green button just makes the "Please try again in a moment" blink once.
  23. Hello Community! Question regarding fill layers, selection marquee and masks (in all applications of the suite, but especially in Photo due to my workflow in that app): I often find myself in a situation where I already have an active selection marquee and need to create a fill layer to which I want to apply this selection as a mask. Way to replicate this: With an active selection marquee, navigate to Layer → New Fill Layer. Click on New Fill Layer – the active selection marquee is now gone and an invisible, inaccessible, non-editable mask (?) is created/applied to the fill layer. (Unless I'm missing something). Question: How can I access this mask/delete the automatically generated invisible »mask«? Is there any way to change this behaviour? The Affinity Help mentions nothing about it. And yes, I know there are a few workarounds for this. 😉 For example, plan ahead and create the fill layer first, or select the newly generated fill layer with the invisible mask and convert it into a regular mask, and so on. But this is not always so easy and costs at least a few extra steps that I would like to save myself. Expected behaviour: I would rather have the selection converted and applied as a normal mask to the fill layer or remain an active selection. Cheers and happy weekend Dennis
  24. Ref: Pexels or Pixabay. Started using dip pen - scanned, re-inked and colored.
  25. Dipping my toes into the muddy water of cloth shading, with lot of dodging, burning and smudging... Imagine a male in casual clothes and bright sunlight, lifting his arms for some unknown reason.
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