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Found 1,003 results

  1. Hey guys, I have a problem when trying to save pdf for print. I had successfully done this before, a number of times, the same exact way and this time it just doesn't work. Maybe It's something I'm missing here, please help. So, here is my problem. I am trying to save banner design with 3cm bleed and crop marks. I did set up bleed to 3cm in Document setup, I did include bleed in export pdf options, and I did make my elements bigger than artboard. And my bleed is still not saving... What am I missing?
  2. I've made some simple edits of a 17.9 MP JPEG using a few layers. When I save the file in the Affinity Photo format, the file is 225 MB, which is more than 10 times the size of the original RAW file. Is there a way to optimize this? With files this large I can't justify the disk space. Please advise.
  3. Ok Serif / Affinity guys... This is driving me crazy! Previously I have submitted this suggestion, though I don't believe I was heard. IMO Affinity products desperately need the ability to auto-hide panels. See [https://forum.affinity.serif.com/index.php?/topic/31218-multi-uiux-suggestion-auto-hide-panels/] I am using a very large notebook computer with a 17" screen. Large screen for a notebook, though smaller screen size for graphic design work. With this monitor using the panel controls in Affinity products is frustrating. There simply isn't enough room! I group panels needing more vertical space (layers, effects, history, brushes, etc.) together. Panels needing less vertical space are also grouped. Regardless how it is organized I do not have enough vertical space to effectively use the panels. Some of the panels require large vertical space, some medium, some smaller. With 3 stacked sets of panels the larger panels are way too cramped. Even if I group the medium and smaller panels together (which puts way too many panels in the smaller panel group), there still isn't enough vertical space for the larger panels. With smaller monitors, having panels on both sides of the screen (without auto-hide) is obviously impractical. Working with cramped panels is extremely clumsy and frustrating. Affinity UI panel design is not elegant for smaller monitors!!! If I could auto-hide panels (as was implemented in Serif *Plus applications), I could put panels on both sides of my monitor and have all the panels I find useful easily accessible. Current implementation forces users with 'smaller' monitors to make significant concessions in their use of panels. Regardless of screen size, the ability to auto-hide panel groups would be useful for all/most users, as this would allow users to better organize their application interface, and enable users to have more panels immediately accessible. This would make the use of panels in Affinity applications significantly more elegant. PLEASE consider implementing an auto-hide feature in panel groups in Affinity applications.
  4. Was a bit board last night and end up making this piece
  5. Hi All I've recently purchased Affinity Photo and Designer plus both workbooks and intend to get into both of them. Up until now I've been a big Lightroom fan but, have recently debated the value of subscribing to Adobe as a photography enthusiast rather than pro. Now I have invested in a Surface Pro I'm looking at my workflow and debating how I can get the best out of both. Setup Prior to Surface Pro: LR CC Classic RAW Photos and Catalog Synced with One Drive for backup Choices moving forward: 1. Stick with LR CC Classic Sync Catalog via One Drive RAW Photos move to an external drive and use between the two Use Affinity as my go to editor Plus Points: A workflow I'm used to with LR CC Classic Negative Points: Still paying for Creative Cloud, catalog needs to be synced before opening on surface and vice versa 2. User LR CC Sync all RAW photos to the cloud with LR CC Plus Points: Works seamless between both devices Negatives Points: Still paying for Creative Cloud and cannot open in Affinity from LR CC (Booooo!) 3. Sack of Creative Cloud Use Windows to manage files / other software and run with Affinity Photo RAW Photos all synced with One Drive Plus Points: No Creative Cloud Subscription Negative Points: Need to adopt a new method for managing RAW Photos and quick edits. These are the options I think I have but, as this is the place for all Affinity Photo questions, I'm sure others have their workflows that they could share. What RAW Processor / File Management System do you all use prior to opening Affinity Photo? I've seen DarkTable amongst others and also debated converting my files to JPG once finished editing, one to save disk space and two means the files are how I want them to look. Obvious downside is reverting them back to original if you don't keep the RAWs. Thanks for anyone's help in advance, it's greatly appreciated. Carl
  6. Hi all, the link to the original post can be found at the bottom of this posting. I am reposting here as I believe it is a bug and no one has taken an effort answering the original post in the questions and answers forum, so hoping to have more luck getting answers by posting in here instead. To summarise: There is a huge discrepancy in the soft proof results between Affinity Photo, Adobe Photoshop and Lightroom when using Relative Colorimetric, Perpetual or Saturation rending intents on the same images. The differences are so large that in my opinion seemingly Affinity Photo doesn't even attempt to bring the out of gamut colours to the nearest possible colour based on rendering intent. To illustrate what is going on please see below image comparing the result between the three applications and rendering intents on the same image. As you can see the Adobe products are both producing near identical results while Affinity Photo seeming does nothing, making it very difficult to trust what I see when soft proofing in Affinity Photo. Also attached here are a selection of ICC profiles I've tested with (including the icc profile used in the chart above), different printers doesn't seem to matter either, so I am sure it's not a profile issue, rather an application issue. Profiles are Hahnemüehle and Canson profiles for Epson printers. HFA_Eps3000_MK_PhotoRag.icc HFA_EpsSC-P800_MK_PhotoRag.icc HFA_EpsSC-P8000_MK_PhotoRag.icc cifa_p800_baryta310_p_bk.icc cifa_p800_edition310_m_bk.icc cifa_p800_ragphot310_m_bk.icc HFAPhoto_Eps4880_PK_HahnemuehlePhotoPearl.icc HFAPhoto_EpsSC-P800_PK_HahnemuehlePhotoPearl310.icc HFAPhoto_EpsSC-P800_PK_HahnemuehlePhotoSilkBaryta310.icc I have also tested across several images with the above profiles and results are consistent, the Adobe products brings colours as much as it can into gamut of the destination media profiles colour space, while Affinity Photo for the most part shows no difference between any of the rendering intents. I should note that on some images I do get an acceptable result, (all depending on the information in the image obviously), however when compared to Lightroom or Photoshop there is still a slight difference and most of the times the difference are too great to ignore, at least to me, as illustrated in the chart above. My expectation is that Affinity Photo would compresses the colours to the nearest possible colours in the destination profiles colour space when using Relative, Perceptual or Saturation rending intents as explained in this Affinity Photo video; https://vimeo.com/152413642 Thanks. Software versions used: Affinity Photo: 1.6.7 Photoshop: CC 19.1.5 Lightroom: 6.14 standalone Link to original post can be found here:
  7. Hoping someone can shed some light on an apparent issue with Soft Proofing in Affinity Photo, but first a little background; I am looking to switch from Adobe products and Affinity Photo will be taking over the role Photoshop has played so far in my workflow, and so far so good. Then recently I was contacted by a client that wishes to purchase a print of one of my photos. This is the first time I am making a large size print for a client so I am doing this via a gallery print lab (I have done printing on my home printer before so I know the basics of Soft Proofing, however it’s a home printer Epson XP-235 so no ICC profiles for that consumer model). So I though this is the perfect time to test out the soft proofing in Affinity Photo. However I am getting very strange, and what I assume are incorrect results out of Affinity Photo. The colour space required by the lab is sRGB and a TIF file with a DPI of 300 which will be printed on Hahnemüehle Photo Rag and are soft proofing using the ICC profile for the given paper and printer at the gallery, so far so good or so I thought. What first got me thinking something was off was when I changed rendering intent, in Affinity Photo and there was little to no difference between any of the intents and huge amount of out of gamut colour. So I went back to Lightroom and sure enough in Lightroom there was far from the same amount of clipping using the same ICC profile and rending intent. Hence I opened the file in Photoshop and here results were the same as Lightroom’s rendering intents (relative and perceptual), while Absolute matches what I see in Affinity Photo. I would have assumed since I use the same file with the same colour space and the same ICC profile on the same computer the results should be the same, unless one software is interpreting colours and the ICC profile differently which in that case begs the question; which is closest to the truth? Or is this a bug in Affinity Photo’s soft proof adjustment layer? (And yes I know that soft proof will never match the true to life print, however I like to get an as close to the print rendition as possible, but I now have a very hard time trustingt what I am seeing in Affinity Photo). Pictures speak louder than words, so here is a chart detailing the results I am seeing and as you can see it's a huge difference. Hope someone can answer this or if I am missing something in the workflow. Software versions: Affinity Photo: 1.6.7 Photoshop: CC 19.1.5 Lightroom: 6.14 standalone Thanks.
  8. Hello, Just got back from shooting in RAW and when I uploaded my photo to edit, the data at the top of the window has "RGB" before the photo data instead of "RAW". I am new to Affinity photo, however in the raw tutorials I have watched I have noticed their data shows RAW at the top. If anyone could provide an explanation that would be much appreciated! Graham.
  9. Hello all, I've been behavior I just can't explain. I've seen this on the iPad version and now on the desktop version. Example: I have two images I brought in as a stack, I did auto-align (tried with and without the live align).... I see the stack, I open it up and can see the individual layers, one on top of the other. The blend modes are all set to Normal. For some reason, the lower layers are bleeding through and showing through the topmost layer, even with no masking, etc.....and I'm at a loss to see why? I'm used to PS, where if you stack 2 layers, with nomal blend modes, the top one completely obscures the lower one, unless you mask it off, or have other blend modes enabled. I'm guessing something is set different in AP, I just don't know how to get the behavior I'm expecting. Right now, with both images there...I have them both turned on, again, expecting the top image to completely obscure the bottom one...but it looks strange, and if I turn off the lower layer...the top one becomes to look as it should be without the bottom one bleeding into it. The images I've tried on desktop are .tiff images....the ones on the Ipad that did the same strange thing, were from an iphone emailed to me. Can someone help me out here? I'm just wanting to stack 2 images, and not have the bottom one(s) show through unless I mask out the top later.... Thanks in advance, CC
  10. Making the transition from PS to AP, but running into an issue of tiffs that have a saved channel we use for selection. We typically mask out parts of our images that need color correction. We make our mask and save the selection to a channel that can later be recalled to be tweaked later. In this example we have a channel called "wall" in photoshop. Opening this image up in AP gets me an unexpected result. I would expect to see the added channel in AP that I could turn into a selection as we do in photoshop. These images are placed inside a InDesign document saved as a PDF for print. Why am I getting this result and how can I avoid this without reworking thousands of high res Images that I have already have saved selection channels saved into them? If my final image has to in tiff format, I want to avoid the tiff hack of saving layers or native app formats. Is AP mishandling the channels coming from photoshop? I can however, take an image and make a selection in AP save the selection as a spare channel, save it as a tiff and reopen it in AP without any issue. Coming from photoshop, it seem not to work the same. Here is what I am seeing: I expect to see this: Attached in the Tiff file that contains the "wall" channel. https://www.dropbox.com/s/kich7uu71cmi96v/FlowerCanvas.tif?dl=0
  11. mamatism

    restore all deleted brush

    Dear All, Any idea how to restore all deleted brush? HELP :( Regards, Thank you.
  12. When you use Affinity Designer or Affinity Photo in full screen on a Mac, the applications focus are incoherent to what the user would expect. If Affinity Designer is launched and in full screen. When you open an Affinity Designer file from the Finder, the file is opened in the current Affinity Designer space and the app is put in focus but you stay on the current Finder space. If you don’t pay attention to the menu bar you could thing it didn't work. For me the best behaviour would be to automatically switch to the Affinity Designer space (akin to Visual Studio Code). Another solution would be to open the file in the current space with a complete interface like Pages does but this doesn't seems suitable to me.
  13. Hi everyone! I'm excited to announce my newest project Affinicasts. What is it? Affinicasts features expert video tutorials and courses showcasing the Affinity-Serif product suite. Who is it for? Designers, Photographers, and anyone interested in these topics. Whether you're new to design or are migrating from another tool as a seasoned pro, Affinicasts teaches you all things Affinity-Serif. Not only do you learn more about the applications, but you also learn general design, typography, color, theory, and the history of graphic design through real-world courses and tutorials. What sets Affinicasts apart from other tutorials? With Affinicasts, we keep things simple. Whether it's demonstrating a new feature or sharing an idea to improve workflow, our aim is to convey exactly how things work when it comes to being creative with Affinity-Serif applications. Our videos and courses are delivered in 4k video quality with professional audio quality to boot. We narrate our entire process from start to finish within each video or course so that you can get context for how things work and the best way to go about doing them. Any assets and art generated during a tutorial or courses are freely available to pro and lifetime subscribers. We also offer unbiased feedback about features and how they compare to other design related tools in the space of design software. My long-term goal is to create a design-driven community where both existing and aspiring designers can come together and learn not only about Affinity-Serif software but about design in general. Future topics include design theory, designing for print, publication design (with Affinity Publisher), typography, and much more. Where can I find it? Affinicasts.com YouTube (all our free content is both on YouTube and the website) Facebook Twitter Instagram If you read this far, I look forward to any feedback you might have! I built the Affinicasts platform to help Affinity-Serif spread the word about how awesome their software is. We will be publishing new content every week so be sure to bookmark the site! I'm always happy to help out if you have questions relating to your own project(s) or how to accomplish something specific inside these programs. Feel free to reach out to me here or via our contact form.
  14. Hanan Edwards

    Tone Mapping Presets [FREE]

    I have made 10 free tone mapping presets. I have not seen any tone mapping presets for affinity photo so I made some for anybody who might want them. Of course they will not all work with every photo like all presets but I hope someone finds them useful : ) To upload them just click on the zip. file, then in the tone mapping persona on the presets menu; click "Import Presets", Enjoy! Thanks! Hanan Edwards Presets.zip
  15. Purchased Affinity Photo (v. 1.5.2.69) and tried to install on my Windows 10 Pro (64-bit) laptop. Nothing happens. If I try to install with administrator rights, I do get a dialog box asking if I want to proceed to allow the application to make changes to the system. I click yes, but again nothing more happens. I've looked through the forums but was unable to locate a solution. To be sure, I've downloaded the application twice, and tried starting my computer, but same result. Any assistance would be appreciated.
  16. Beyond Horizon is a 2D side-scroller game focusing on story and exploration both on land and within the stars. Explore dungeons, towns or fight space pirates with your ship, while uncovering the lore and the secrets behind the Sigma and the original race, all of this is just Beyond the horizon. Join the Discord Community!Follow development on Notion! What is the game about: Beyond Horizon follow Aito after his grandfather suddenly has to leave, 3 years later with no return he tries to save up everything he has in-order to afford a spaceship to go after him. While on a routine mission to find a missing cargo supply he comes across a stone that once touched absorbs into Aito giving him powers along with a map to 8 location. Unknowingly awakening an evil force to his location.Now to save his town the only option is to flee, they attempt to lure the Sigma away with his friends in a stolen spaceship, now the only option is to run. Following the map to each location in the hopes to stop this Sigma killing the system. About the Project:Beyond Horizon is a small project I've been working on for a couple of years now, starting off as a 2d pixel art game before moving into this mixture of vector and semi-realistic textures that I started to play around with while working on an illustrated calendar.I'm currently working on this project solo so production on the game has been slow (along with changing a lot of things required to re-start from the ground up) and I felt like I should start sharing the project. WIP: Below are some screenshots and videos from my work in progress of the game. Motion Graphic intro: Player House: Starting City: Desert + Cave: If you can help support us on Patreon: https://www.patreon.com/beyondhorizongame (if you can't thats fine share the word about the game: Also Join the community: https://discord.gg/WdP4dyg Than you for checking out the game and I hope you have a great day. Game links: Website:http://bit.ly/BeyondHorizonGame Twitter:https://twitter.com/behorizon_game Patreon: https://www.patreon.com/beyondhorizongame Facebook:https://www.facebook.com/BeyondHorizonGame Discord:https://discord.gg/WdP4dyg Unity forum:http://bit.ly/2LAOmbP Affinity forum:http://bit.ly/2Jd5Gpa
  17. Hello, I'm using Affinity Photo on 64 bit Windows 8. In some files when I use eyedropper tool, the color I pick up is way darker than the original. I wonder why that might be? In other files I don't encounter that issue. I first started that file in Designer trial, and then continued in Photo. Can it be the reason? How do I fix that? It's really slowing down my work.
  18. I am a full-time professional photographer and I'm very impressed with Affinity Photo for iPad. I believe it could allow myself and other photojournalists, who are often traveling with a lot of gear and transmitting images from the field, to lighten our loads and simplify our editing workflow. However, I need to be able to edit/append photo metadata without having to send the photos back over to my laptop. Specifically, I need to include caption/description, copyright status, location data, and creator/contact info with the files I submit. Currently, there is only one iPad app I know that can do this (Photogene) but it is set to become obsolete as soon as iOS11 is released. I'd love to help develop this app for photojournalists, I think it would be a great tool for many of us. Thanks so much!
  19. So I recently purchased Affinity Photo for Mac and it has been working well up until I started getting these error messages every-time I wanted to export anything. I have tried exporting in another format than a .PNG but I get the same error message as the second pic. Although I do not get these errors exporting directly to my desktop and not an external drive. It's a little frustrating how it will not export to an external drive. I have tried restarting the program and restarting my computer. And also changing my external drives permissions to read & write and that did not help either. If anyone knows of a fix to this please say them. Thanks!
  20. I started with Affinity Photo around 3 days ago. I am currently trying to take a picture and put one third on one layer, the next on another, and the final on a third. Is there any easy way to do this?
  21. The Artistic Text Tool does not display Emoji characters. Please add this to the ATT, thanks Please see also the attached video, maybe I do something wrong, if so, I appreciate any help and hints. Artistic Text Tool 2018-05-25 09-14-54.mp4 Cheers, Roland
  22. Hello! Please have a look at the following image: https://drive.google.com/file/d/1O8yEvxtFKmYVeJZn5QgdxLKUXv_eRsdO/view?usp=sharing It's a low-res artwork of a neuron, often found in scientific contexts. The left part is the original image, the right part is the original image where black has been replaced by white (so that this image can be put on dark backgrounds). The right part is also the result of Photoshop, where I've simply used "Replace Color", chose full black to be replaced by full white, tweaked a little bit with the tolerance, and that's it. I'm having trouble getting the same result with Affinity Photo, unfortunately. I think the fact that the image is basically low-quality makes it a little bit harder. The goal would be to replace the black stroke with a white one, but leave the red color inside exactly the way it is, just like Photoshop did. Here's my first naïve approach using Curves: https://drive.google.com/file/d/140_HbrpTRi7PwpjuwgKQmbqCb6zA78k9/view?usp=sharing As you can see, I can keep most of the red color, but I'm getting some chromatic abberation around the red circle (why?). Second approach, using Gradient Maps: https://drive.google.com/file/d/1AwJtaEAy58O-O0ZWMno89S0sLIc1xbpC/view?usp=sharing The problem here is that I have to hit the same shade of red of the original image at any specific value point, which means I'm recoloring the red circle unfortunately. Any other approaches I missed, and which I could learn? I'd greatly prefer a non-destructive way (compared to Photoshop's) and keep using Affinity Photo/Designer (as always), so I'd be thankful for any help! Affinity Photo's Color Replacement Brush doesn't seem to work at all, it will try to do this: https://drive.google.com/file/d/101TrlMsApn2OfKwgkvKsM1bTs8M9-eEk/view?usp=sharing
  23. Hi everyone, I'm having a hard time wrapping my head around the idea of soft proofing, or, rather, I feel like I'm missing some obscure nuance on it. I've read all of Affinity Photo's help files and watched all its videos AND spent hours bouncing around the web trying to come to grips with the subject. But here's the thing: as near as I can determine, soft proofing is always presented as something that you do after having processed the photo to what you want it to look like. So, by definition you're telling yourself, "all right! That's what I want my print to look like. Let's soft proof it... uuuhh, no, that's not it". Should this not be the other way around? That is, if your goal is to print a photo, shouldn't the very first adjustment layer be the soft proof adjustment layer, with the pertinent icc file and rendering intent chosen, and THEN you do all your other adjustments on top of that to get the photo how you want it to look? Also, let's say that you can do things in that order; when I'm done with all the other various adjustments, should i still deactivate the soft proof layer before sending the photo to the printer? I thank you all in advance for any light that you can shed on this subject. Happy post-processing to all!
  24. Hey there! I'm wondering if anyone is having any issues with exporting PDFs from Affinity Designer. I have this Affinity Photo file which has been embedded in my Affinity Designer document (I wish there was a way to link to an Affinity Photo file instead of embedding it... any way) but when I go to export the Affinity Designer as a PDF (With the preset PDF (For Export, For Print, For Web) the exported PDF file is messed up. I have to flatten when I export the PDF in order to fix this. See attached screenshots of what I mean. I also have the same issue with any adjustments that have been made to an image in Affinity Photo and then imported to Affinity Designer. When I export the PDF from Affinity Designer. The PDF completely ignores all adjustments that I had made on the image. I have to flatten it to fix that. Any help will be appreciated! Thanks!
  25. Please find below the current feature roadmap for Affinity Photo. The list is a selection of features from our own internal roadmap we would like to share with our users. If a feature you would like isn't on the list then feel free to create a new post so everyone can discuss it. We read all the feature suggestions and consider each one very carefully. Photo Editing -Looks persona -Levels improvements -Curve Improvements -Export persona - preview with compression and palette optimisation -Non destructive Develop Layer Usability -Tool Presets -User categories in the media browser for shapes and objects Pro Printing Support for image layer Spot channels Please feel free to ask questions about the features on the list but don't post new feature requests in this thread, just create a new post. (Updated after 1.5)
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