Jump to content

Search the Community

Showing results for tags 'Affinity photo'.

More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Affinity Support
    • News and Information
    • Affinity Support & Questions
    • Feature Requests & Suggestions
  • Learn and Share
    • Tutorials (Serif and Customer Created Tutorials)
    • Share your work
    • Resources
  • Bug Reporting
    • Report a Bug in Affinity Designer
    • Report a Bug in Affinity Photo
    • Report a Bug in Affinity Publisher
    • (Pre 1.7) Affinity Range Bugs Forums
  • Beta Software Forums
    • Affinity Designer Beta Forums
    • Affinity Photo Beta Forums
    • Affinity Publisher Beta Forums

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





Website URL







Found 2,083 results

  1. Hi, Just recently discovered Affinity Photo and so glad I have. Been working in Photoshop for many, many years and was wanting a change. i.e., a desire to move away from Adobe's subscription based business model. Digitally hand crafting a painting with AP is pure Magic! This image started as a graphite/pencil drawing which I scanned into AP. As you can see, I flipped the image and made some anatomical and perspective corrections to the head with the liquify persona and then went to town hand painting the image. Initially, I used some of my favorite PS brushes which I imported but soon began to discover that the Default brushes that come with AP are far superior to my PS collection of brushes that I collected over the last 15+ years. So I completed the painting primarily with the default brush selections. Here are two images. 1. the final painting 2. the image as it developed. Let me know what you think. All the best
  2. jef goldblum


    So I opened up a RAW file into Affinity. It went straight to the Develop Persona, everything was being fast and good. Then I hit the "Develop" button and it took about 10 minutes before I had to quit it because it was being so slow. Why is this happening??
  3. Here’s some of my photo manipulation done in my love: affinity photo for iPad dont challenge me here, because I care less if your work is better than mine, rather I care if you yourself like your work as well as mine to share with me and all who feel the same describe your techniques, how long it took, anything original about your workflow... leave SE your raw assets if you want, let’s create a discussion about improving how we use affinity
  4. I was trying to prepare images for a print job and ran into a problem when converting to CMYK. In AP I added a Soft Proof layer, chose the CMYK ICC profile in question and made all my adjustments. Then I unselected the SP layer, converted to the ICC profile and saved the result as a TIFF file. The first screenshot shows the RGB stage, the second screenshot shows the resulting CMYK converted file. There is a significant colour shift/desaturation between the softproof display and the actual conversion. Any ideas what could have gone wrong here? I ended up going back to Photoshop for the CMYK separation and ran into another problem: the CMYK TIFF file from Photoshop displayed as blank white when opened in AP or AD. I had to export to PSD in order for AP/AD to see the file.
  5. I saw this today and it would seem a great idea for Affinity Photo. Possibly in the develop persona where it's more about interpretation of greyscale data than RGB data.
  6. Before applying the vignette After applying the vignette What ist the reason for this behavior and what can I do to avoid it? Thanks.
  7. With many of the tools in Affinity Photo, the assistant will automatically switch the layer to rasterized for the tool to work. Could this be done for the inpainting tool? Twice now I've sat there thinking, why doesn't this work? I'll switch to the clone brush and the assistant changes the layer to rasterized and then the inpainting tool works. I've now learned my lesson, but others might not be so quick to catch on that the layer needs to be converted first.
  8. Hey guys, Some months ago I saw a redesigned Apple Music, I liked the idea, so made my own. To check out all the story behinds it, I made a huge publication on medium, with images and screens all made on Affinity Designer and Photo. would love to you guys check it out! https://medium.com/@gustavoantoniogonalves/i-saw-a-redesigned-apple-music-so-i-kinda-redesigned-it-again-8b3dfb5c5abf?source=linkShare-92ff1568a988-1507110699
  9. I've searched here, but don't see anything on how best to go about dealing with grainy old photos. Does anyone have suggestions on how to clean up those old grainy photos in AF Photo?
  10. Hello everyone, I want to print a picture, but I don't know how to get rid of the color flare around the top of the gate. I would like to know how this is call, if possible what cause it and could it be repair? It has been work on Lightroom and Affinity photo and the original seems to have disappeared in all the process. At the time I was new to Lightroom and Affinity . I now always make a virtual copy of my work . Thank you for your help and time. Italie.tif
  11. I have always had affinity photo on both my laptop and iMac. The iMac has been updated but my MacBook Pro doesn't show an update is pending for the program to the latest version. Both of my computers have had the previous updates coming in without a problem but for some reason my MacBook Pro is not showing an update waiting on the store to download. Both of my computers are current with their latest OS updates. Can someone help me obtain the update for my laptop. It has always been available up till now. Thanks Lee
  12. Dear team, I am using DrawPlus X8 ( to create printed materials like flyers. Now I am working on a new flyer, which must be exported do PDF X:3 format without transparences in CMYK color space. But, I want to create „look like“ transparent. For that purpose I drew a rectangle and set it as a background with CMYK (0-0-0-25) color. At the same time, using Affinity Photo, I created one picture with the same CMYK (0-0-0-25) background color, added some other lines into it and exported to TIFF. However, if I insert TIFF into DrawPlus, both CMYK (0-0-0-25) are not the same! Please help!
  13. I have a lot of photos form a shooting. I am now editing them and finally want to export sections (details) of the images for use in a webshop and on facebook. So I need to export a square image, and one in the h:w ratio that facebook requires. Obviously, I want to define the location and size of the slices for each photo individually (because I need to decide on the detail I want to show), but all the slices should have the same aspect ratio (and export pixel size) for all photos. I thought the export persona is great for this, but it appears quite clumsy to 1) create a slice in exactly 476x714px, then 2) scale the slice frame to fit my desired detail, then to 3) define the export width as actually 714w so that the exported image results as 476x714px. I thought there must be smarter way to do this for each photo. Can't I create some kind of template that has a 476 : 714 aspect ration slice associated with a 714w export? I noticed a menu called "create template for export settings" (translated from german), but it is grayed out. How would you tackle this?
  14. When editing a document on 2 machines, it would be nice to have an option to embed all used fonts into the document or a function which collects all related files into a single folder to give them along with the document. -- Harald
  15. Hi folks, Sorry if this has already been requested, I couldn't find a thread showing that it had so hopefully I am not duplicating. Are there any plans to introduce a feature to Affinity Photo (Or even create a stand alone app) that would offer the same workflow management that Lightroom (Sorry I know it's a swear word) has? I would love to use Affinity Photo as my go to software for all my photo edit work but it would be handy if I could arrange and sort all of my shots from a shoot within Affinity Photo and not have to use a third party app to manage them such as the Macs native photos app etc. It would also be VERY handy to be able to apply edits across multiple photos at the same time. Cheers folks Mark
  16. Hola, Quiero compartir este nuevo tutorial Salva tu Foto. En el veremos cómo salvar una foto sobreexpuesta mediante modos de fusión de capas y Asignación Tonal. El cielo quemado lo seleccionaremos con ayuda de una Capa de Umbral y aprenderemos cómo eliminar el molesto halo que se origina al reemplazarlo. Un saludo,
  17. I’ve been having a lot of fun playing around with the different features of AP and AF. One of these days I’ll stop enjoying myself and do some proper work. But not today ... today I’m going to make use of (i.e. ‘play around with’) perspective projection, which you can find on the menu bar at Layer > Live Projection > Perspective Projection. You’ve seen those outdoor events where they project images or movies onto buildings? I thought I’d have a go myself and paste this first photo onto the second: I’m going to call the overlaid image the source and the laid-on image the target. (If you’re wondering, btw, the first is Norbury Old Manor in Derbyshire, and the second is a big posh garden somewhere in Bedfordshire that I've mislaid the name of.) Putting an image on a flat ‘surface’ is pretty straightforward, so I searched out something a bit more awkward: this one will have to spread over four different walls at an angle to one another. All we have to do is split our source image into four and stick each bit onto the target image one at a time. Easy-peasy? Yes ... and no. we’ll use the Export Persona’s Slice tool ... Now, you cold guesstimate the widths of the slices, but we shall do it the hard way for this one. We’ll have a little excursion from our workflow. If you’re not happy with a bit of arithmetic you can skip this part, but I’ll try and keep it simple. What we really need here is an aerial photo of the house … and thanks to Google Maps, I’ve found one; it’s not very big, but I’ve blown it up and straightened it. The target image photo was taken from the direction of the bottom left-hand corner, so we want to measure those sides of the building. I’ve drawn two rectangles to line up with the edges of the building. Now we can read off their sizes in pixels ... ... as we adjust the corner nodes: you’ll see them displayed next to the cursor. (I couldn’t capture this in a screen shot – but you’ll see when you do it yourself.) Working from the upper left side, the measurements come out as: 141, 23, 41, 335 pixels. (This looks very accurate, but given the rough image I was measuring from, it’s more of an educated guess! Still, nothing ventured…) Quick check: the first side looks roughly half the width of the fourth; the second side looks roughly half the second; and the second & third together look roughly half the first. The numbers agree with that. Roughly. Now for a few Hard Sums. You’ll have spotted that our source image is 1,000 pixels wide. This is a happy coincidence, as it saves us a bit of calculating. What we have to do is work out what fraction of the source’s width each side is. We add up the total pixels we measured just now: 141 + 23 + 41 + 335 = 540. Get your calculator out (Windows has one built-in; I presume Mac OS does too.) Divide each dimension by 540 and we get (after rounding up) 0.261, 0.043, 0.076, and 0.620. Quick check: add these up – they come to 1, so we haven’t made any mistakes. Now, since our source image is 1,000 pixels wide, we can easily work out that the slices will be 261, 43, 76, and 620 pixels wide. (If it hadn’t been a nice round figure, we’d have had to multiply each decimal by the actual width to get the required results. I apologise if (a) you are not very good with numbers or (b) you are very good with numbers, but you feel your intelligence has been insulted.) If you skipped the last bit, carry on from here. OK, back to the Export Persona and Slice. Open the source image file. We’ll turn on snapping to make slicing a bit easier. Starting in the top left-hand corner, click & drag a rectangle down to the bottom edge (it will snap) and then rightwards until the width is 261 pixels (or your guesstimate). The slice will appear in the Slices panel. You can select the export format here, but we’ll leave it as the default as this is just a demo. Now click somewhere on the top or bottom edge to create the next slice; drag the left-hand edge up to the right-hand edge of the first slice and snap them together; now adjust the width to 43 (you may need to zoom in to see the figures). Again, the new slice appears in the Slices panel. Do the same for the third and fourth slices, and click on Export Slices: AP will ask for the name of a folder to save them to. As it stands, it will also export a copy of the source image, unless you clear the tick/check box in the list; we don’t actually need it here. This is what we have in our slices folder: And now we’re ready to set up the perspective projections. Open the target image file, and from the menu bar select Layer > Live Projection > Perspective Projection. (You can do this quicker with the Perspective Tool, but you can only do one plane at a time, and you can’t edit the different planes’ alignment if you do; our method is non-destructive, remember.) First of all, save the target image as a new file so you don’t overwrite the original. Create a new pixel layer above the Background. Now go to Layer > Live Projection > Perspective Projection to apply a perspective plane to the layer. Drag the corner nodes to match the left-hand wall. (I’ve turned off snapping here, because the nodes keep trying to align with one another.) Although one corner of the wall is hidden by bushes, we can use the brickwork to help align the grid correctly. Now click Add Plane and match the new grid to the next bit of wall. It may help to zoom in so we can see more detail in the source image. We need to position the left-hand corners to the right-hand corners of the first plane; if they’re still hard to see, turn off the background layer while you line them up. Warning: do NOT make the background layer active, because it will remove the perspective planes, and you can’t get them back with Edit > Undo. If you need to adjust the other plane, just click on it to make it active. (You’ll have noticed there’s some barrel distortion in my target, giving a slight curvature to the edge of the wall where the two planes meet, but I’ll get round that later with a sneaky trick.) Now we’ll add two more planes and line them up, then we’ll be ready to start adding the source image slices.. You can turn snapping back on now. Open the four slices and copy (Ctrl+C) slice 1, then go to the target image, click on the first (left-hand) plane, then click on the Move tool. (The grids disappear. Don’t panic! The active plane has transformed itself to fill the whole frame.) Paste (Ctrl+V) the slice ... ... and drag the sides until it too fills the whole frame. Now click on Edit Live Projection and click the next plane; and repeat the steps until all the slices are copied. When you’ve finished go to Layer > Live Projection > Remove Projection. It’s probably a good idea to save everything in afphoto format now, if you haven’t done so before. All we have to do now is to clean up the source image layer and find a suitable blend mode. We’ll apply a mask to the source layer and use a big brush with Hardness of zero to soften the edges and uncover the bushes and stonework and stuff that should be “in front” of the source image. And I’ll use my sneaky trick, which is to just let the quoins, the corner stones, show through; I’ll also uncover that drainpipe in the corner to put that in front too. It’s helpful to reduce the transparency of the top layer to see the target layer’s features. As we’re using a mask, we can paint black onto it to show the target, or white to hide it and make corrections. Finally, I’ve just tweaked the source layer’s Blend Options and reduced the layer opacity slightly to let the bricks and other details show through. (I’m not going top talk you through these, as there are some much better video tutorials on these things.) Et voilà!
  18. hello, I just update to ios 11, and some of the functions like drag and drop didn’t work. So I removed A.Photo and downloaded againt. Now I can’t export to camera roll. Here’s the screen recording:
  19. bodobe

    Water Lilies

    Hi Folks & Friends, a new work with aphoto, do you like this? Looking forward to any feedback Best regards http://b-bertuleit.de/water-lilies/
  20. hey, for some reason when i make a document below 1000 ish px the quality doesn't seem that good (im a complete noob, sorry if this is a dumb question) This is a 512 x 512 px document and when i make a shape and fill it, it looks fuzzy around the edges (this happens when i add a picture too but the whole picture is fuzzy instead of just the edges) These are the settings i used, did i do something wrong? or is it supposed to be like that Sorry again if its a dumb question, thanks
  21. Hi, I'm using AP from time to time so I'm pretty new user. Before, I could use all the personas, Now I can't click any of them - the're inactive. I wonder if it's a bug or maybe, there must be some conditions to be made in order to use them? I googled some and couldn't find nothing. Thanks in advice.
  22. After ios 11 update on ipad pro AFFINITY PHOTO wont import cloud files, no mater the type of file I choose.
  23. Perhaps, some kind soul might be able to help. I have been uploading much up my work to 2 cloud services, Dropbox and pCloud. This afternoon I attempted to download several photos RAW and Jpg, only to see them download into the ether, never showing up on Affinty. What few images that I have on iCloud, no issues, but these two other sites don’t seem to plat well with Affinity. Am I missing something or screwing something up? Any help would be most appreciated.