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Found 24 results

  1. 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work with the penultimate officially released version – but that's obviously not a solution, who wants to work with an outdated version if there's a shiny new release with better features?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
  2. 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.
  3. 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.
  4. 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.
  5. 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!
  6. 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!
  7. 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
  8. OK, first time posting here as a relative newbie so I will try to use the correct terms... I can open an image (RAW or JPEG) and duplicate the pixel layer. I then go to adjustments in the photo persona and the first time I open a specific adjustment the dialogue box opens, however once I close it and move to another adjustment, the dialogue box doesn't open any more, it shows the preset options under that specific adjustment. I get the same in the layers menu, if I have added an adjustment, or have added an adjustment layer I cannot access the dialogue box to make any changes to the values???? Clicking on the adjustment layer only highlights it blue, no dialogue box! Help!!
  9. 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!
  10. 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.
  11. I've watched a bunch of the tutorial videos, but can't seem to find a way to do what I want. Basically, I want to create a set of healing- / cloning-type adjustments on an adjustment layer, to preserve them independently of the pixels from which they were originally derived and to which they were originally applied. I want to do this so that, for example, if I fix facial blemishes on a portrait, or clean up its background, but then decide I want to change the underlying raw conversion (which I do in another program, and export as a 16-bit TIFF), I don't have to start over and redo my facial retouching. Ideally, I could have a 'zit fix adjustment layer', a 'background cloning adjustment layer', and just copy those adjustment layers and drop them on top of a new, differently-raw-converted TIFF. I have to think others want similar capability, and that it probably exists, but I can't figure out how to get at it. Thanks!
  12. Hello there! This request may sound stupid, because the least thing you'd want to happen when working on a file is being unable to go back to a previous color adjustment/setting. And in that regard, Affinity Photo is a beast! I've files with literally dozens of Adjustment Layers stacked upon each other... UNLESS... you're working on a schedule, being TIME your most relentless enemy when you're hired per hour. Last week I helped on a matte-painting project for a gaming company and (I haven't noticed this workflow issue until then), creating an Adjustment Layer whenever you need to make a quick Levels, Curves, HSL, etc. tweak and keep painting over, can become your worst nightmare when having just 8 hours to deliver 4 on-set paintings. I know you can merge that layer immediately after you've made the adjustment (even with a shortcut), but BELIEVE ME, having to: 1. Create the Adjustment Layer. 2. Nesting it to the specific layer you need to apply the tweak (if not, it affects all layers) 3. Merging it down 4. Repeat for the next one... It's a very tiring set of tasks you need to do, only to make the shadows of a single tree more intense (I.E.), inside a dozens-of-layers scene. Hope this request makes sense, because it's directly related with money and delivery times and will improve A LOT certain type of work pipelines. Cheers, Enrique
  13. Right now, an Affinity Photo document can only be RGB, Grayscale or LAB at a time. However, there are several workflows where it would be beneficial to work in more than one. Examples are: Black and white conversion – you would like to end up with a grayscale image, but work with RGB data using channel mixers, HSL and so on and be able to edit these after the fact. The final image being saved as Grayscale is so important because it ensure that it ends up being separated into the CMYK black channel, leaving CMY clean. Applying LAB mode corrections like LAB curves inside of an RGB mode retouch (could also be implemented as an implicit conversion as part of the curves adjustment layer like in PhotoLine though) Manually fine-tuning the result of CMYK conversion by manipulating the image in RGB mode (possible through soft-proofing, but requires a manual CMYK-export in the end and you have to re-do any manual adjustments that may have been made on the resulting CMYK file every time) These will be even more relevant once work files can be saved natively as TIFF retaining layers and so on since you can then actually place your working files in third party software and not have to export a bunch of separate files. Especially in the B/W case, you currently have to keep your RGB original retouch, then your BW conversion RGB file, and then a final single-channel BW exported file. Currently, there seems to be no other way than to flatten the image and convert to another mode as far as I can tell (haven't tried placing embedded documents yet though). Photoshop provides a rather clumsy workflow where you can convert your entire document into a smart object and then change the colour mode of the enclosing document. But especially if you just want to quickly apply LAB curves a bunch of times in your retouch, the nesting just becomes unusable. If you had simple adjustment layers along the lines of "Convert to LAB" and "Convert to CMYK", that would make it easy to mix the best of all worlds in one single document.
  14. I'm trying to colorize a black and white using adjustment layers and masking. I'm trying to emulate the following PS tutorial in Affinity. https://www.youtube.com/watch?v=jbveFU0JL4c His method is done by creating a color balance adjustment layer and masking out an item in the photo (skin in his case.) He will then fine tune the color by creating another adjustment layer and clipping to the first layer. He'll even make several more layers with different tones all clipped to that one initial color balance layer. He'll repeat this method for all the other items in the photo. I can't seem to clip new adjustment layers together. It will just be blank when I drag it into the thumbnail. Is Affinity not able to clip multiple adjustment layers together at the moment?
  15. when I click on an adjustment layer there is no red confirmation button in the top LH corner, so not allowing any changes
  16. In this image I tried too mess with color selections, color balance, selections, Adjustment layers, tone mapping and tonal adjustments to create this illustrative look.
  17. While I'm just getting to grips with Affinity, and this may already exist, the biggest stumbling block I've hit is not being able to select the white or black levels from the image itself as you can in Photoshop - as in, being able to hit that furtherest white option, and then flicking on the part of the image you want to be 'pure' white. Not being able to instantly select the background as white when what I'm mostly doing is making the background of an image white for product photography is really jarring. It's not enough to turn me away from the product, entirely because I can't afford any Adobe products, but it's definitely turned me away from using Affinity Photo for any photo I have with a white background at the moment. I would definitely rather see the final product with that level of precision in the levels adjustment layer than without it.
  18. I'm struggling with some basic techniques that would be child's play in Photoshop. First, I cannot get Copy Merged to retain the appearance of an image or layer with adjustment layers applied. It strips out many of the adjustments and completely alters the new layer I'm trying to create. I'm having the same issue with exporting. It loses all the layer adjustment image integrity. Even the Merge Visible command doesn't work right. Finally, I have the same problem when PLACING the Affinity Photo file into an Affinity Designer file. It doesn't look the same as when I'm viewing it in Photo. Here's where I've discovered the deficiencies: I'm trying to create star fields and planets for sci-fi illustration using a variety of filters and adjustments like Noise, Levels, Curves, and Screen layers of scaled star fields (set to Screen to achieve the look of stars in different densities, size and distance), but I cannot get Affinity to preserve the appearance of the effects I've achieved with layer interactions and adjustment layers (see previous paragraph). If Merge and Export behave this way, then I have zero control over the adjustments and quality of my photographs as well when exporting to PSD, TIFF, PNG or JPEG. Affinity is not preserving quality or appearance. Am I missing something about how to work with layers, or is Affinity simply not designed to do the same things I take for granted in Photoshop?
  19. There are 3 places I can place an adjustment layer. Under the layer On the layer Above the layer What I'd like to know is what is the difference?
  20. An odd problem cropped up yesterday. I needed to copy a bunch of nine adjustment layers from one pixel layer to another. Easy I thought - just group select them and copy paste to the new pixel layer. I found to my surprise that I could find no way of group selecting masks and adjustments etc. on their own without the image layer. In the end I had to do the operation on a layer by layer basis. Am I missing something here?
  21. Please fix a brush lag that I found when I brush/edit a mask that the layer has multiple adjustment layers on top/with the layer?
  22. hello I'm very new to Affinity products and I might be missing something But there seems to be a bug in the adjustment of embedded images in Affinity Designer I am bringing in PDFs from a client and I need to do minor adjustments to the color of embedded images the adjustment layers work very well for this and the adjustments are shown on the screen (yay good controls !) but when I go to print the adjustments are not there the image below shows a major shift in color via an adjustment layer that neither prints or is shown in the print dialogue box this is not true of the "Layer Effects" which show up fine on screen and in the print (see attached image of an applied blur) (As an aside there seems to be no way to "open in" or "export image" just the image in the layer; which would be a work around.) any thoughts? or workarounds? WH
  23. Maybe this question has been covered somewhere else but I could not find it. Is there a way to combine several curve adjustments made to a single image (jpeg) in order to improve the dynamic range (HDR effect) of that image? in other words, in one adjustment, I optimize shadow detail, while in another curve adjustment, I optimize highlight detail, etc. I know you can try to do that with a single curve but sometimes, if there are a lot of small adjustments, it is easier to create several curves to address different tonal areas. I would like to know if there is a way to combine the adjustments so they don't cancel each other out? Or if there is another technique that I can use to obtain the same result with a single image. Thanks.
  24. Affinity Photo 1.3.4 (App Store build). I was experimenting with creating a simple high pass effect: Open image Place an Invert adjustment on top Set the blend mode of the Invert Adjustment Layer to Linear Light and Alpha to 50%. As expected, everything is 50% gray. At this point, lowpass filtering the top layer in any way (blurring, median etc.) should theoretically produce a high pass filter effect (it works fine when doing this with a duplicate of the base layer). I tried to do it using only the Adjustment Layer and no duplicate of the base layer. My first attempt was the blur option in the layer styles. With or without "Preserve Alpha" on, this did not have any effect whatsoever. I then created a Gaussian Blur filter layer and nested it inside the Invert Adjustment Layer. With "Preserve Alpha" on, this does not have any effect either. With "Preserve Alpha" on, however, this leads to the edges of the tiles of the memory manager becoming softened (i.e. each tile's alpha gets blurred individually). The image itself is not being blurred at all. See attached Screenshot. I'm not sure which parts of this are by design and which parts are bugs. Should applying blur to an Adjustment Layer, either as a Layer Style or as a nested filter layer, theoretically lead to the adjustment being applied to a copy of the original image, then blurred, and then blended with the original? That's what I would intuitively have expected to happen. If not, maybe the Blur layer style should be disabled for Adjustment layers and Adjustment Layers should not allow Filter Layers to be nested inside of them, because it's kind of confusing if they have no effect.