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  1. Whenever I drag the controller to left, the color tone gets into terrible error color tone. It was only happened with Shadow tonal range. I tested with several photos and got same problem. You can check the issue by watch the attached video. Is there a way to fix this or I should wait the upcoming update? I just upgraded to V2 and I can't believe that V2 has some frustrating bugs 😢 A little bit disappointed Update: Disable OpenCL compute acceleration will fix this. Affinity Photo 2 - Color Balance Adjustments Bug.mp4
  2. Hello. I would like to propose a feature that would allow the user to copy and paste raw adjustments to multuiple RAW files from develop persona. I believe currently this is not possible. This feature will make the applying adjustments much faster and easier for many kinds of workflow including timelapse. And additionally an option to export multiple selected RAW images at once. This two features will be a game changer for affinity as a whole. I believe this could be a great direction for the software. This could increase the interest of lot of people considering RAW editing is now considered a standard for most. I hope affinity will place this higher in the priority if possible. Thanks.
  3. I purchased Affinity Photo months ago. Ever since then, I have been having a few issues with the software. The issues I'm having with the software are the layers are blurred or something like that for a few seconds when I use Effects. When I used the text or a specific type font or do anything with the text, like change the size of the text, duplicate the text, and move the text, the transparent canvas would show up (some of the transparent canvas would show up). Also, when I open up a file, the layers, adjustments, layer effects, and live filters become blurred for a few seconds, then go back to normal. Now, I'm going to tell Affinity support about the issues I'm having, but I just want to post it in this forum to see if anyone else is having the same issues, as I am. Also, if someone could help me solve these issues.
  4. Hi there, I'm not able to find answer anywhere but I bet it's something easy to figure out. On my MAC I see Curves Adjustments like this: But my colleague with a PC with the same document sees curves like this: Why is that? How can he see the same? Document is in sRGB as well as pictures. Thanks 🙏
  5. Greetings, With the latest version released, I would have expected to see the tiling of windows made possible. I often work on multiple images at one time, and I often use Affinity to compare documents side by side (in a technical imaging capacity, not creative). This is so elementary. And, when I float everything, trying to tile docs myself, if you bring a window near an edge, it automatically snaps to full screen. I don't don't know if you can turn this off, but I couldn't find it. In the end I waste so much time just trying to get a pair of windows side by side, and at the same size. And that's for two windows, I don't even try for four. Annoying. PLEASE fix this, it is a badly needed feature. Also, in this latest version, with two windows side by side, you can't tell which window is active. Normally you click on a window and the frame color "saturates", indicating it is the active window. In Affinity, nothing. Am I missing something? Also, now in adjustments, I used to click on the bar to popup an adjustment, now I have to click on the "default" thumbnail below the bar. What is the rational of this change? Also, there is no way to examine a previous adjustment. There is nothing that allows you to pop up the old curves to see what you have invoked previously, or maybe I am missing something? I am new to Affinity, so maybe I am missing some of the basics, but certainly the windows tiling is something that needs to be addressed. Thanks, Bob
  6. After making adjustments using levels or curves strange artifacts appear as lines on random parts of the image. I have tried this on various different images and the same problem occurs. The problem occurs after merging adjustments. Below I show a sample of what is happening. I have circled the artifacts in red. This is incredibly annoying and makes the software virtually unusable. I am using windows 10 and latest version of Affinity.
  7. This is my first post I'm new to this forum. Ive tried and looked for hours to find out how to save all my adjustment layers to Preset(s). From my understanding you have to save each layer and label it. For example, adjusting and then saving the Vibrance as a preset and naming it. After saving each layer preset on my finished picture and labeling them, I opened up another photo, which I want to have the exact same adjustments. I clicked on all the custom layer adjustment presets I just made but the picture doesn't turn out the same in the end? Even though when I click on each preset (in the new photo that I want to look like the previous) it says its tweaked the same as the one I saved, but the photo still looks drastically different? Do all NOT adjustments transfer over? Am I doing something wrong? Is there a better way to do this? (and im not talking about the background people photoshopped out, im aware of that) THANK YOU for reading this, this is so frustrating and it makes me want to switch back to Lightroom. (the picture without people is the look i want, the picture with people is what happens when i click on all the saved presets for the finished picture)
  8. Hey, everyone. When adding an adjustment layer the presets expand underneath it. I almost always begin from 'scratch' on my adjustments, so don't often use presets. But more significantly I find that the auto-expanding presets just get in the way of my UI by making the adjustments panel list much longer and shifting everything down significantly, requiring more scroll-and-search because things are moving around. Is there a way to toggle the adjustment panel's expanding presets action off, as I really don't want or need them showing up every time I add a new adjustment layer. Also, if I want to add a second layer of the same adjustment type, say, 'Brightness / Contrast', (not a copy of it, but a second and different adjustment) I can't just click again to add one, or even double-click. If I even just click once, it resets the adjustment I just carefully tweaked, erasing my changes. I have to deselect the 'Brightness / Contrast' layer I just added, then click once on the adjustment which closes the expanded presets, then click to add a second Levels layer. Surely I'm must be missing something? Any help would be appreciated.
  9. Most (if not all) RAW processing software I have worked with so far have ways to remember settings and later continue the RAW processing with these settings or perform adjustments to these settings if the final outcome (e.g. final JPG image) proved to be not perfect. There are two aspects here which imho need improvement to make this iterating process less frustrating: 1. Saving photo-specific RAW settings (e.g. to sidecar files) Currently Affinity Photo has only one rather cumbersome way to achieve this: You have to create a Preset for each tab where you changed settings and if you re-open the RAW file later you have to load all these presets again. (Affinity Photo shows them selected, but this is irritating since they have not actually been applied. Only after switching to another preset and then back are the changes taking effect. - A small bug I'd say.) Most other RAW processing software either automatically stores or optionally allows to store a small sidecar file together with the (unaltered) RAW file so that if the RAW is later opened again, the user can continue where it left off. An alternative is Affinity keeping an internal database about the settings of each RAW file, but this approach usually fails if images are moved to a different folder or archived (which happens to all my images after processing) and Affinity doesn't know about this. 2. Allow switching back to real RAW processing from Photo persona Also when I developed a photo and then switched back to the Develop persona (without doing any edits inbetween, I should note), I found myself not editing the original RAW file, but applying further edits on the already processed image. This was a big disappointment, as it defies the benefits of working on the RAW file. This means for example that If I found out I applied too strong noise reduction or too strong highlights clipping then switching to Develop again does not help, because what is lost in the developed image cannot be recovered. Please offer the user an easy possibility to apply changes to the originally processed image afterwards. (Which means, that the application must remember the RAW settings at the time the image was last developed). Matthias
  10. howdy :) is this a 'feature' or a #bug? with more than one photograph open, & i select & try to edit the selected image with let's say text, the edit does not occur on the selected document instead a non-selected document becomes selected & the one which is suppose to take the edit deselects. this behaviour forces affinity to not be able to work with multiple images opened at one time. is this a feature or a bug? to reiterate, with multiple photographs open, a selected photograph never takes an adjustment, instead an unselected photo (document window under selection) becomes selected to take the edit. (an unselected photograph — not the intended one — becomes selected.) any ideas? thank you in advance macos 10.13.x affinity photo 1.8.3
  11. I have a question please about width and hardness adjustments in Affinity Photo paint brushes. I know dragging the cursor side to side changes width, and up and down adjusts hardness. But when I rotate the canvas (as seen under View>Rotate Left or View>Rotate Right) to work on a piece from different angles, the required motions to change brush width & hardness seem to reverse. They don’t remain constant relative to the user once the canvas is rotated. Is there an option somewhere to keep these motion commands consistent, relative to the user, for any given working angle?
  12. I bought Affinity, but I have a suggestion: Make it available on Persona Reveal Reveal (Develop) the possibility of saving the adjustments we made to the photos, as in Photoshop's CameraRaw (save file XMP). So, every time I open the same photo, I can review or modify the settings instead of having to start the adjustments from scratch as it is today. Here is the suggestion! Hugs,
  13. Please excuse me if this has been requested. Please consider option to change Adjustments/Filters panels to List. The panel fly outs are pretty, but take up a lot of limited space on the iPad. Thank you.
  14. Hello there, today I stumbled upon curious problem. I made a few adjustments to final layer and whenever I put those adjustments into group final result is changed. Is this intended or I don't know... ? See gif below Using latest version of AP (
  15. I have a layer containing several vector objects. On top of that is an adjustment layer. I need to merge the adjustment layer with the vector objects but the "merge" button in the adjustment layer settings doesn't do anyhing. I also tried adding the adjustment as a child of the object layer or to a single object, but it still doesn't work. I have attached a simple file as an example. How do I merge the layer? Adjustment Example.afdesign
  16. 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.
  17. I don't know if this has been suggested but I use curves a fair bit and particularly LAB for those really powerful wide gamut adjustments. The current graph only has a four by four grid which isn't anywhere near enough to lock in really fine changes. It would be really handy if it were possible to size these graphs too. It's something I'm used to in other software so I was expecting to see it here and (I assume) that changing the reticule is a five minute job for an intern. Resizing is a different matter because that carries other problems … but pretty, please with knobs and bells on (and a cherry on top)?
  18. Hi I am trying to use the adjustments in affinity photo for Windows 1.6 desktop. When I click on the adjustments I seem to get 3 options rather than the panel with the adjustments. For example when I click HSL adjustment I get default, desaturate and invert hue, but not the panel with the sliders. It is the same with Levels-instead of the sliders for levels I get default, darken or lighten. I can't see where to alter this setting. Any help much appreciated. Thanks in advance
  19. This has been an issue for a while now. The blur brush tool adjustments in the tool bar (opacity, hardness and flow) don't seem to be doing anything. I've been using affinity photo now for about 7 months now. This never used to be an issue - the opacity, hardness and flow sliders would all have an effect on the blur brush tool. However all of the sudden, one day they stopped working and the blur brush tool is stuck on max blur! Can anybody tell me why or how to fix this? Note: these adjustments work just fine on paint brushes, burn/dodge brush tools etc its only an issue with the blur tool.
  20. Hey there community and Affinity devs, some time ago I asked the developers via Facebook if there's an option to keep the adjustment presets like gradient maps, imported and saved LUT files, levels, curves – pretty much everything in the "Adjustment"-palette/tab that you may have generated and saved there over time. Back then (August 2015) you would need to save them separately, because you'd loose them with the next update – at least that's what happened to me twice – after that I was more cautious about those files. Anyway, I got a pretty helpful response: I was told there's a file called adjustments.propcol in the directory /Users/<USERNAME>/Library/Containers/com.seriflabs.affinityphoto/Data/Library/Application Support/user/ and it would contain all of my adjustments – and it's true! You can save that file and put it back there after each update to preserve your custom presets. Tough I guess it's been solved since a few updated ago because I haven't done it after a couple of times. Last year I purchased the Win-version of Affinity Photo as well and just now I'm starting to wonder: How to transfer adjustment presets from one system (Mac) to another (Win) and is this possible in the first place? So if anyone knows the answer or a workaround that doesn't involve loading everything manually I'd be pretty thankful. Greetings Dennis
  21. I need the software merely to make text adjustments, not to create artwork. I followed the tutorial on Vimeo on how to change text in a pdf document, but unfortunatelly I was unable to get the text panel to display as shown in the video tutorial, and I was unable to figure out how to make the text changes. The video mentioned that there are other ways if this does not work, but where are the other ways? How can I make text changes of pdf files? Which tutorial covers this? Or was there a bug in the newly downloaded test version of Affinity Designer because it did not give me access to the panel displayed in the tutorial video.
  22. Create Macro to Export photos Ctrl-Click on any adjustment takes it back to zero Tools should not change when you use a shortcut to call them. Example: I use the brush tool, then switch to another tool, then press B to bring back the Brush tool, but now I find it being changed to the Color Replacement tool. I would like the adjustment size of the brush tool to be in exact increments of 5, not 5.1, etc Make the default setting of the Sharpen Brush to Unsharp Mask instead of Clarity Support for ProPhoto RGB
  23. When the raw output format is set to 32-bit (HDR) format in the Assistant dialog, are there any differences in making image adjustments (exposure, brightness, colors, white balance, shadow, highlight, ... etc ..., except noise reduction) within the Develop Persona compared to Photo Persona? In other words, what are the advantages in adjusting image parameters in Develop Persona? If there is no difference, wouldn't this method be partial workaround to the histogram bug in Develop Persona?
  24. I know that you can attach Curves and Levels adjustments to masks and set their target channel to Alpha instead of Master. This is great feature that allows us to change a mask non-destructively, but we should be able to attach all adjustments and filters to a mask as if the mask was a regular grayscale pixel layer. Also currently in order to attach Curves or Level adjustments to a mask you have to create it and attach it manually to the mask. Would be nice to be able to select the the mask - add the adjustment layer (or live filter) and have it link automatically to the mask. Hope all this makes sense. Cheers!
  25. The current Gradient Map feature is quite basic like the one in Photoshop, but in many ways, it could be a much more useful tool with the following additions: HSL Mode: Instead of going based only on Luminance, this would use the input hue or saturation as the lookup index. In combination with HSL blend modes, this would allow for some fantastic workflows like basically warping the color wheel to taste, similar to the "HSL Wheels" feature in Magic Bullet Colorista (Note: don't be fooled by the name of the feature, this is NOT referring to the three-way color corrector). Just use a gradient of the HSL spectrum and drag or re-define stops, set the result to "Hue" blend mode, and you have an extremely powerful color correction tool that gives you results that would be difficult to achieve in any other way. Circular Editor Option: Like the Colorama filter built-into in After Effects, this makes it easy to work on maps that are supposed to start and end with the same color. In combination with an input for a number of revolutions (cycles) to use, this would also make it easy to create gradient effects where a few stops are repeated multiple times across the spectrum (like, say, alternating black-white-black-white). This would also massively improve usability in conjunction with the HSL mode option suggested above. Access to swatches: This would make it easy to re-use gradients by defining them or recalling them from swatches as an alternative to using Adjustment Presets. Interpolation control: Sometimes the transition from one color to the next needs fine-tuning – this is something that Affinity's gradient editor already supports, but not in the Gradient Map dialog. A Constant Interpolation setting where the color would just be constant up until the next stop would also be useful since it would eliminate the need for duplicate stops in the same position, which are really hard to select. Possibly, the curve editor could also be re-used to define falloff using a Bézier or Catmull-Rom-Spline. Duplicate Stop option: Often, it is necessary to use the same color multiple times in a gradient. Adding a button for this and/or enabling Option+Drag to duplicate would be useful. Photoshop aggravatingly always inserts new stops with the same color instead of the color that is already there at that position in the gradient, but the (better) implementation of this in Affinity had the side effect that duplicating stops became harder. On-image sampling: While the dialog box is open, it would be useful to highlight the value under the mouse pointer in the gradient display to be able to place a stop exactly at the desired position. Clicking in the image would insert a stop. On-image highlighting: Conversely, when editing/dragging a stop in the gradient editor, an option to highlight the affected pixels in the image would be helpful. The options could be:off (nothing) all pixels that have exactly the value represented by the position of the stop (similar to focus peaking) the zone that will be affected in the image. The overlay would start at 100% intensity at the value represented by the stop and fall off to 0% on each side until the position of the next stop respectively, taking the falloff into account (see "Interpolation Control" above). Optionally, two different colors could be used to represent each side of the stop. Resizable dialog box for more precision: When editing 16-bit images or editing falloff from one stop to the next or when placing stops very close to each other, it would be useful to have more room to work with. Making gradient editor dialog boxes in the application resizable would alleviate this problem. Snap to Luminosity button: Sometimes, it is useful to place stops exactly at the point in the gradient that corresponds to their luminosity, especially when they are defined by selecting swatches from a color palette. Adding a button that moves all selected stops to that position would make this really quick. For instance, tinting an image with two tones while keeping black and white intact could be achieved very quickly by selecting a black-to-white preset, then adding two stop, selecting a color from the document color palette for each, and clicking that "Snap Selected Stops to Luminosity" button. Ability to move start and end stops. The values before the first stop and after the last one would simply use constant extrapolation. This would eliminate the need for duplicate stops, which take longer to create and are harder to edit since all operations need to be performed twice.
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