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The wider the lines, the more gradual the transition. The area on the outside of the lines has the filter applied at the full amount set by the Radius slider. The angle of the filter can be changed by dragging the stops at an angle. Once the desired angle is achieved, holding the will temporarily lock the angle to allow for further adjustment of the width of the adjustment.
When using the tilt shift effect to "miniaturize" a scene, you will get the best effect if you choose your images carefully. Models are generally viewed from above, so the tilt shift effect will work best on images taken with an elevated viewpoint and a wide angle of view.
Buildings, roads, traffic and railways make excellent subjects. Field Blur filter The Field Blur filter lets you control blurring at specific areas of your image. About the Field Blur filter Against a uniformly blurred image, one or more selection handles can be added, positioned and edited to control the extent of blurring at that handle position, i.
Multiple areas of focus can therefore be created. Handles are independent of each other and can be repositioned and edited individually. This filter can be applied as a non-destructive, live filter. Decreasing the value brings the image under the handle increasingly into focus.
A selected handle shows as a double ring, as opposed to a single ring deselected. Diffuse Glow Diffuse Glow broadens highlights in the active layer or selection by brightening gradually outward from existing highlights, producing a soft halo effect.
This creates a romantic, almost dreamy effect, similar to that of photographing an image through a soft diffusion filter. Using diffuse glow to add intensity and softness to the highlights of an image.
About the Diffuse Glow filter This filter can be applied as a non-destructive, live filter. As the tolerance decreases, the effect spreads to areas that were darker to begin with. Sharpen filters. Clarity The Clarity filter enhances the local contrast in an image. Its greatest influence is in the mid-tonal range.
This results in a sharpening effect. Using the Clarity filter to accentuate the outline and details of the image's subject. About the Clarity filter In Photo Persona, this filter can be applied as a non-destructive, live filter.
In Develop Persona, this filter is available on the Basic panel Enhance. Setting the value via a text box is not available in Develop Persona. Unsharp Mask In spite of its misleading name, the Unsharp Mask filter is a flexible and powerful way to increase apparent sharpness in an image. Unsharp Mask can be used to add punch to an image, or to help sharpen soft images. About the Unsharp Mask filter This filter can be applied as a non-destructive, live filter.
A smaller radius enhances smaller scale detail. Use higher values for grainy images or skin tones. The Unsharp Mask filter affects the whole image or selection. High Pass The High Pass filter retains details where sharp color transitions occur, generally at the edges, and suppresses the rest of the image.
High Pass filter applied with an Overlay blend mode for sharpening. About the High Pass filter When a High Pass filter is applied at a high radius value to a duplicate layer and combined with a contrast blend mode such as overlay, soft light or hard light , it can be used as a useful sharpening technique. At higher radius values, only edge pixels are kept. Distort filters. Ripple The Ripple filter adds a watery, undulating pattern, like ripples on the surface of a pond.
The Ripple filter used to achieve a unique effect. About the Ripple filter This filter can be applied as a non-destructive, live filter. Drag on the image to set the origin. Twirl The Twirl filter applies a clockwise or counter-clockwise distortion effect to images.
The Twirl filter applied to a fireworks photograph. About the Twirl filter This filter can be applied as a non-destructive, live filter. Negative values give a counter-clockwise effect, positive values give a clockwise effect. Spherical The Spherical filter gives objects the appearance of being wrapped around a spherical shape, distorting the image and stretching it to fit the curve.
Sharks have good days too! About the Spherical filter This filter can be applied as a non-destructive, live filter. Negative values give a concave effect, positive values give a convex effect. Displace The Displace filter applies distortion according to a pattern defined by a displacement map. The lightness values of pixels within the displacement map determine the degree to which the distortion occurs.
Using a texture as a displacement map to blend objects together. About the Displace filter This filter can be applied as a non-destructive, live filter. Negative values shift pixels upwards, positive values shift pixels downwards. If this option is off, the displacement map retains its native dimensions. Pinch creates a concave spherical distortion squeezes an area and Punch creates convex spherical distortion bulges an area.
Negative values give a pinch effect, positive values give a punch effect. Lens Distortion The Lens Distortion filter provides a way of correcting distortion caused by the curvature of a camera lens.
It's especially useful for correcting barrel distortion where straight edges are bowed outwards , or for correcting pincushion distortion where straight edges are bowed inwards.
About the Lens Distortion filter This filter can be applied as a non-destructive, live filter. Drag to the left negative value to remove barrel distortion, drag to the right positive value to remove pincushion distortion.
It's also useful to turn grids on so that you can see when the lines are straight. Perspective The Perspective filter can be used to either correct converging perspective lines caused by lens distortion, or to apply perspective for a creative effect. Lens distortion can often cause the perspective of a photo to be out, creating the appearance that lines are not vertical or horizontal when they should be.
About the Perspective filter The Perspective filter can be adjusted in single or dual plane mode, if applied via the Filters menu Distort category. If using the non-destructive, live filter, only single plane mode is available. When the perspective filter is applied, the image is stretched and cropped to the original canvas size. If this option is off, only anchor points and lines display. If disabled, the image will look continuous; if enabled, the image will have visible seams where the perspective tool has been applied that can then be retouched.
When selected, your page displays the adjusted and original images simultaneously with a sliding divider which can be repositioned and shows 'Before' and 'After'.
Noise filters. Denoise The Denoise filter is a powerful form of noise reduction. At higher settings, it also creates a really pleasing, posterizing effect. About the Denoise filter This filter can be applied as a non-destructive, live filter. Higher values will give a better quality finish but the application of the filter will take longer.
This process is very complex and therefore may take some time to apply. Add Noise All digital images have a certain level of noise random pixel distribution which helps to create atmosphere, texture, and depth. After image manipulation, such as resizing, cloning, applying gradients, etc. The Add Noise filter adds random pixels to the image, introducing a level of noise to help return the textures in the image. This also helps to seamlessly blend effects. About the Add Noise filter This filter can be applied as a non-destructive, live filter.
It is often best used in color images. It's often the best choice for grayscale images. Diffuse The Diffuse filter adds noise to the edges in the image or selection. About the Diffuse filter This filter can be applied as a non-destructive, live filter.
Color filters. Vignette The Vignette filter can be used to either add vignetting to an image, or remove it from the image. About the Vignette filter This filter can be applied as a non-destructive, live filter. Negative values darken the effect, positive values lighten the effect. Defringe Purple fringing, or bichrominance as it's more correctly termed, is a form of chromatic aberration caused by the over-excitation of the pixels on the sensor in the camera.
The effect can occur anywhere within an image but it's most common at the edges of high contrast areas, especially when a dark element is strongly backlit, such as branches silhouetted against a blue sky.
The Defringe filter selectively adjusts these areas to remove the color fringing. Using the Defringe filter to remove purple fringing from the window edges. About the Defringe filter This filter can be applied as a non-destructive, live filter. On selecting the Defringe filter, it will default to settings which remove the purple fringing, as this is the most common type. This can be manually adjusted as necessary in the dialog, or by sampling the fringe color on the page to remove it.
Drag the slider or click on the image to define the hue. Lighting effects The Lighting feature simulates lighting from one or more light sources. About lighting Lighting effects simulate ambient, point, directional, and spot lighting in your design. You can supplement the single light source with additional light sources for more advanced lighting control; different light source types can be used in combination, each being independently configured and positioned using on-screen handles.
Affinity Photo also lets you create lighting effects from 3D bump maps made from texture inherent in any image. Source types Different source types give dramatically different results. The types are best imagined with a few examples.
Casts light directionally from infinity, e. Lighting effects can be applied as a non-destructive, live filter, which can be accessed via the Layer menu, from the New Live Filter Layer category. Higher values reflect more light. Set the value lower for larger and more widespread highlights; higher for smaller, sharper highlights. You can Add, Copy or Remove additional light sources. Use Clear bump map to remove any applied map.
To apply a spot light: 1. From the Filters menu, select Lighting. From the Type pop-up menu, select 'Spot'. Drag the on-screen handle at the apex of the 'fan' shape to adjust the distance and direction of the light. Optional Drag the Elevation handle situated along the center line to set the height of the spot light above the page. Optional Drag the outer and inner handles at the end of the fan to set the outer and inner cone, respectively.
To apply a point light: 1. From the Type pop-up menu, select 'Point'. Reposition the default point light by dragging the center handle over a subject of interest. Drag the circle's edge inwards or outwards to set the light's distance from the page.
To apply a directional light: 1. From the Type pop-up menu, select 'Directional'. On the Lighting panel, drag the cross-hair within the Direction dial. To load a 3D bump map: 1. On the Lighting panel, click Load bump map, navigate to, then select your image. Adjust Texture to set the amount of texture displayed. It can be used to reduce contrast, boost shadow detail and recover highlight detail.
Moving the slider to the right will boost a greater range of shadow tones. Moving the slider to the right produces a stronger contrast, similar to the Clarity filter. Move the slider to the left for a flatter result. Move the slider to the right to recover a greater range of highlights. Moving the slider to the right produces a stronger contrast, moving the slider to the left produces a smoother result but may make posterization more visible.
Fill layers Fill layers contain an adjustable solid or gradient color. They can be used for photo editing and corrective or creative purposes. Fill Layer radial gradient based on model's lipstick color. A fill layer will automatically resize to fill the page if the canvas size is modified. A new layer is added above the current layer or at the top of the Layers panel if no layer is selected with a solid color applied.
You can use the Color panel or Swatches panel to update the solid color. Color picking from another layer is also popular for harmonizing colors. For details see Selecting colors. To apply a gradient to a fill layer: 1. Select the Gradient tool from the Tools panel.
From the context toolbar, select a fill type from the Type pop-up menu. Drag the cursor across the content. Once applied, you can modify the gradient and its colors to suit your specific needs. For details see Gradient editing. Snapshot layers A snapshot layer is created from a predefined project snapshot and is added to your project as a single, flattened pixel layer. The snapshot layer is added above the current layer or at the top of the Layers panel if no layer is selected.
Layer masking A layer mask is used to reveal a portion of a layer while the rest of the layer remains hidden. This means that you can use a mask layer to 'delete' areas of a layer that you don't want. Masking can be applied at any level in the Layers panel—as an independent mask layer or applied to a specific layer or to a layer group.
This is governed by the mask layer's positioning in the layer stack. The non-destructive power of masking Masks are applied as a separate layer, allowing them to be freely edited and moved. Mask layers affect any layer below them within the Layers panel. They can also be clipped to individual layers so that only that layer is affected. Alternatively, mask layers can be added to layer groups so they only affect that group.
Adjustment layers and Live Filter layers also have mask layer properties. The added mask will hide areas outside a selection if a selection is in place or display the entire layer if no selection is in place.
The added mask will hide the entire layer regardless of any selection in place. The selected layer becomes a mask for the layer below it. By default, a created mask layer is clipped to the selected layer or added at the top of the Layers panel if no layer is selected.
It can be moved within the Layers panel to affect greater or lesser areas. You can create a mask from a selection which has been 'painted' on your image using Quick Mask mode. See Edit selection as layer using Quick Mask mode for more information. You can use the Pen Tool to draw a closed shape that can be made into a mask.
From the tool's context toolbar, click Mask. To create a luminosity mask: 1. On the Layers panel, click on the layer's thumbnail with the and s pressed. From the Layers panel, click Mask Layer. To edit a pixel mask: 1. On the Layers panel, select the mask thumbnail representing the mask layer.
Do one of the following: o To 'erase' from the mask, paint on the page using the Erase Brush Tool. A white fill completely restores, while greyscale fills partially restore the mask by varying amounts. To refine a pixel mask: 1. On the Layers panel, select the mask's thumbnail. From the Layer menu, select Refine Mask. To invert a pixel mask: 1. Do one of the following: o From the Layer menu, select Invert.
To return to normal view, click the thumbnail or press the. To add a vector mask: 1. Add vector content, e. On the Layers panel, drag the created vector content's layer directly onto the thumbnail of another 'target' layer. The thumbnail of the target layer changes to indicate that a mask and crop has been applied. To add a pixel mask to vector content: 1. On the Layers panel, select a layer with vector content. Paint on the page using the Erase Brush Tool. By default, the Assistant will add a layer mask to the selected layer to accommodate your paint strokes.
Once the mask is in place, you can 'restore' the mask using the Paint Brush Tool. To delete a mask: 1. Press the. Layer operations. Alternatively, you can view and edit a single layer including layer masks, adjustment layers and fill layers in isolation. Before and after layer hidden. To hide or show multiple layers simultaneously: In the Layers panel: 1. Select multiple layers using -click or -click. Select any other layer in the Layers panel to resume standard editing view.
Selecting Before you can move or modify layers, you must first select them. Furthermore, you can select and edit a single layer including layer masks, adjustment layers and fill layers in isolation.
To select a specific child layer: 1. On the Layers panel, expand the parent layer or layer group to show its contents by clicking the layer's arrow. Click to select the child layer. Locate a layer in the Layers panel, by -clicking and selecting Find in Layers Panel. Duplicating Affinity Photo lets you make duplicate layers to increase workflow or to temporarily create a 'backup' layer.
A power duplicate feature also allows you to duplicate and repeatedly transform layer contents. Layers panel before and after layer duplication. A duplicated layer is placed immediately above the original layer. You can also duplicate a selected layer using the same command from the Layer menu.
Power duplicate If you duplicate a layer s and then transform the duplicated contents, you can immediately duplicate the transformed content.
The transform is applied accumulatively to subsequent duplicates. A original content, B original content duplicated and rotated, C transformed duplicate duplicated numerous times. To 'power duplicate': 1.
Select a layer s. From the Layer menu, select Duplicate. Transform the duplicated layer content. A duplicate is created and the transform is automatically applied to the duplicate. Repeat step 4 to create more duplicates with the transform accumulatively applied. Aligning Layer content can be aligned on the page accurately using the Arrange commands. Before and after alignment applied. For example, you can align in relation to Selection Bounds, page Spread or page Margin.
If margins are not set, alignment is to the page edge instead. The Arrange pop-up panel also offers options for distributing objects. To align layer content: 1. Select your layer s. Do one of the following: o On the Toolbar, click Arrange, set your options from the pop-up panel, and then click Done. Layer clipping Clipping involves positioning one layer inside another, creating a parent - child layer relationship.
The path of the parent layer becomes the new boundaries for the child layer. Any areas of the child layer which lie outside the parent layer's path are masked hidden. Clipping can also be used to confine an adjustment, filter or mask to a single layer or layer group. Before and after the middle pixel layer has been clipped to the top pixel layer. Layers panel showing clipping procedure. About clipping When scaling a parent layer, child clipped layer scale to maintain the correct aspect ratio.
Scaling a clipped layer has no effect on the parent layer. A clipped layer can be edited independently from its parent, e. Any layer can act as a parent or child in clipping relationships. Therefore both pixel and vector layer content can be either clipped or clipping.
Layers can be clipped on creation by activating Insert inside the selection targeting. For more information, see the Targeting topic.
The clipped layer is nested within the clipping layer in the Layers panel, becoming a child of the clipping layer. To select clipped layers: 1. On the Layers panel, expand the clipping layer's contents if needed by clicking the layer's arrow. Click to select the clipped layer.
The clipped layer can now be edited as needed. Paste Inside This feature allows you to paste on or more layers inside another layer.
The layer to be pasted could be copied from another document. The model image layer was pasted inside a transparent pixel layer of brush strokes; a light blue gradient fill layer was used under other layers. To copy and paste inside: 1. Select one or more layers from the current or other loaded document. From the Edit menu, select Cut.
Select the layer which will act as the parent layer. From the Edit menu, select Paste Inside. The document's current color profile is displayed at the top-left of your workspace.
The 'Background' layer is locked by default. This can be changed by updating your Preferences. Layers which are locked show in the Layers panel with a lock symbol next to them.
Selected locked layers appear with crosses around the bounding box. For multi-page PDF files, each page is placed on its own layer. Switch on a hidden page's layer to view its content. You can open raw images from your digital camera directly into Affinity Photo. In doing so, you'll be able to process the unprocessed image, deciding for yourself how your image is to be developed.
For a comprehensive list of supported raw image files that can be imported, see Import and export file formats.
Processing raw images is carried out exclusively within Affinity Photo's Develop Persona. Once you commit to how you want to your image to be developed, the image can then be worked on in other Personas.
To open a recently used raw image: From the File menu, click Open Recent, then select a raw file from the submenu. To open a raw image as a new document via Finder : Open Finder and drag the file to an off page area of your workspace. Create new documents. When you create your new document you specify a range of color settings plus page dimensions depending on the purpose of your document.
TypeSelect the aim and deliverable for your project for quickly populating settings below. As well as print press-ready CMYK , you can work to specific Photo print sizes, specific Web screen resolutions, and with the Devices option, design to iPad, iPhone, and Nexus document specifications. A Custom option indicates if your page is using non-standard page dimensions.
Document UnitsDisplays your rulers and object dimensions in pixels, points or using physical measurement units. An alternative to selecting a Page Preset size above. DPISets the resolution of your document. For example, for professional print quality, set your resolution to dpi.
This option is only available when the document units are set to Pixel or Points. Select from the pop-up menu. Click Retrieve Margin from Printer to use your default printer's settings. When creating a new document, the Document Units define the exact size of your document on screen. Similarly, for physical Document Units e. To change document units once a document has been created, use the settings on the context toolbar when the View Tool or Zoom Tool is selected.
Full transparency can be applied to the background of the document at any point by selecting Transparent Background from the Document menu.
You can create a new document based on the current contents on the clipboard. This 'paste as new document' feature allows you to start a new project from a copied section layer or selection of another project in Affinity Photo or other supported applications.
Embedding documents. Embedding documents allows you to place any Affinity Designer, Photo, etc. Before and after documents from Affinity Photo and Affinity Designer embedded into current document. Once you've added embedded documents onto your page, you can edit each document without leaving your current document.
Embedded documents are shown in the Layers panel using their original document name and the suffix ' Embedded document '. If your embedded document is a Designer file which has multiple artboards, you'll be provided with an Artboard option on the document's context toolbar so you can choose which artboard is displayed.
The editability of the embedded document may be affected by how the original document was saved in its native application. The image's embedded color profile will always be converted to the document's current working space. To add an image to a layer via Finder : Drag an image from Finder to your page.
The image will be added to the project as a new layer. The Stock panel allows you to search various stock imagery websites to find images for your designs and then add them to the page. When you add images from the Stock panel to your document, they are placed as watermarked versions. This allows you to use them in your design so you and your clients can visualize their use before you purchase them.
Before and after purchase of stock image. When the design is complete, the features within Affinity Photo allow you to quickly locate the image online so you can purchase it and then help you replace the placeholder with a purchased version. In the search box, type in your keyword s and then click the search icon or press the Return key. To add a placeholder of the stock image to the page: Drag the thumbnail of an image from the Stock panel onto the page.
To purchase and replace a stock image: 1. Select the watermarked placeholder image on the page. Your default web browser will launch displaying your selected image on the chosen stock imagery website. To view an image on its stock imagery website: On the Stock panel, double-click a thumbnail. There are a variety of viewing options available which give you maximum flexibility when editing your images.
There are times when it is useful to view a design at different zoom levels simultaneously. This can be achieved by opening your current project in a New View. The views can then be set to different zoom levels.
Changes made to any view are replicated in the other. From the View menu, select New View. Regardless of which layout mode you choose to work in, you also have the option of full screen view.
In this view, Affinity Photo is effectively maximized to its own desktop, giving you every available pixel to work with. The Menu bar is not visible in full screen view. However, it remains accessible by moving the pointer to the upper edge of the screen. Using the Separated Workspace mode, you can be working on several documents at a time, each having their own full screen desktop!
When in full screen view, you cannot switch between Normal and Separated mode. You must choose which mode you wish to work in before entering full screen view. Zooming into areas of your document is an essential part of the editing and design process. Several zooming options are possible. When your document is zoomed-in, you can work on different areas of your design by using panning. To pan an image with the View tool: 1. From the Tools panel on the left, click the View Tool.
Temporarily activate the View Tool by using Hot key panning by pressing. As soon as you release, the tool will switch back to the previously selected tool. When you save your document all project information is preserved, allowing you to edit it at a later date. The project is saved as a single file with the extension. The first time you save your document, you'll be asked to give the project a name and save location. Following this, future saves will overwrite the previous version.
Optionally, you can save a current project as a new project. In this case, the new file will not overwrite the saved version. A document's history can be saved along with the document, so earlier edits can be returned to even if the document is closed and reopened.
If you have only made modifications that are supported by an image file type for example, a JPG or PNG , then using the Save function will simply save over the top of the current file. If you have made modifications that are not supported, such as adding layers, then you can save the image as a project file click Save As or flatten and merge the changes to the existing file click Save, then Save Flattened in the dialog.
To save history with a document: 1. In the Saving With History dialog, click Yes to accept the conditions discussed in the dialog. Saving your document's history with your document may significantly increase the size of your project file.
Affinity Photo autosaves your document at regular intervals. Developing a raw image using Develop Persona. Develop Persona is a dedicated environment used for processing raw images captured using a digital camera. If a supported raw file format is opened in Affinity Photo, it will automatically display in Develop Persona.
You can then process the image using the dedicated adjustments, panels and tools. At any point while working with an image or any selected pixel layer, you can switch to Develop Persona to make use of its unique features. There are a variety of split view options available in Develop Persona which give you the opportunity of seeing how your processed image compares to the original raw data. Splitpresents the processed and original raw images simultaneously on the same page. A sliding divider can be repositioned to view the image 'Before' and 'After' processing.
Mirrorpresents the processed and original raw images simultaneously on separate pages. Panning and zooming affects both pages simultaneously so the same area is always displayed in both pages. Rather than comparing the processed image with the original raw data, you can sync the views so 'Before' adopts the current applied adjustments.
The 'After' view continues to update as more adjustments are made. See below for details. While applying adjustments, you can update the 'Before' and 'After' view to give you a more focused representation of the applied changes. Sync Beforeupdates the 'Before' view using the settings applied in the 'After' view. Sync Afterremoves all the settings applied in the 'After' view to return the image to the 'Before' view. Swapswitches the applied settings of the 'Before' and 'After' views.
An incorrect level of exposure within an image can lead to pixels 'falling out' of the viewable intensity range. This results in the loss of detail in areas of shadow, highlights, or midtones and is known as clipping. This can help you identify areas which need correcting as well as preventing overenthusiastic modifications which result in clipping.
Develop Persona will analyze the data and pre-process it, ready for editing. The photo or layer will adopt all the settings as displayed in the 'None' or 'After' view. The 'Before' view is for comparison purposes only. When adjusting settings, you can double click each adjustment slider to reset it to its default value.
To activate view modes:. To synchronize applied settings in view modes: On the Toolbar, do one of the following:. Click Sync Before to update the 'Before' view to the most recent applied settings. Click Sync After to revert the settings applied in the 'After' view back to the settings shown in the 'Before' view. Click Show Clipped Highlights to display all 'blown' highlights as a high-contrast red color. Click Show Clipped Shadows to display all clipped shadow areas as a high-contrast blue color.
Click Show Clipped Tones to display all clipped midtone areas as a high-contrast yellow color. Choosing RGB 32 bit HDR allows you to maintain a full bit float environment from initial raw development to export and take advantage of extra precision. The 'Take no action' option makes no tonal correction; the image can be altered within the Basic panel later. Like Histogram stretch, both 'default' and 'initial' give the same results but reports zeroed or actual values, respectively.
The 'Take no action' option ignores the exposure bias value. If you choose not to apply initial develop settings, your images will not undergo any processing. They may look flat, dull in tone and lacking contrast, but you will have absolute control in how the image is processed. This approach is similar to "log" video footage that maintains maximum dynamic range before color grading. Using overlays. The Overlay tools can be used in combination with the Overlays panel to allow you to apply standard adjustments to isolated areas of an image.
Overlays are elements within Develop Persona which are placed on top of an image. Any adjustment applied to an overlay affects the image below. However, overlays can have a varying level of visibility, which varies the impact its adjustments have on the underlying image. Areas of an overlay which are transparent ignore the overlay's adjustments, while opaque areas display the applied adjustments.
Areas of semi-transparency such as those created with the Overlay Gradient Tool will display the adjustments by a varying degree. Brush overlays can only be edited using the Overlay Paint and Overlay Erase tools. Areas are added to an overlay using the Overlay Paint Tool. Areas are removed using the Overlay Erase Tool. The Overlay Gradient Tool applies a gradient from transparent to opaque across Gradient overlays only. Hardnesshow hard the edges of the brush are. The painted overlay appears softer and more feathered as the percentage decreases.
Edge Awarewhen checked, enables edge detection, which allows for easier overlay painting around edges without having to zoom in and reduce the brush size. With no overlay selected, drag on the image with the Overlay Paint Tool. A Brush overlay is added automatically. With no overlay selected, drag on the image with the the Overlay Gradient Tool.
A Gradient overlay is added automatically. To apply adjustments to an overlay: 1. On the Overlays panel, select an overlay. Exposureadjusts the overall exposure of the image, changes black point and overall brightness. The default value is the 'As shot' White balance setting from your camera.
The pop-up menu populates with the preset name on saving. Tones Panel The Tones panel provides adjustments for correcting the tonal and color values of pixels in an image. Curvesuses graph manipulation to precisely adjust the lightness and contrast of a photo.
Resetsets adjustment slider s back to default. Details Panel Develop Persona only. Detail Refinementsharpen edges to add clarity to raw images.
Can be used in conjunction with the Noise Reduction adjustment. Lens Panel Develop Persona only. The Lens panel provides adjustments which can be used to correct lens distortions which can appear in images. Lens Correctionfixes various types of lens distortion by straightening and aligning lines in an image.
Chromatic Aberration Reductionfixes chromatic aberration by realigning blue, green, and red planes. Defringecorrects purple fringing bichrominance at the edges of high contrast areas. Remove Lens Vignettecorrects unwanted vignetting by adjusting the brightness at the edges of an image. Overlays Panel Develop Persona only.
The Overlays panel in combination with the Overlay tools allows you to apply standard adjustments to isolated areas of a raw image. The Overlays panel allows you to add new blank overlays to your raw image as well as setting the adjustments which are applied to individual overlays. The Focus panel reports the camera settings at the point at which the image was captured.
Show AF Regionswhen selected, areas of the image, which are within the auto focus region set by the camera, are highlighted. Changing image size scaling and resampling. You can change the 'size' of an image by scaling or resampling it. These can be undertaken independently or simultaneously. Scaling will embed a specific print resolution into an image's metadata to force it to print at a specific dpi e.
The image's pixel dimensions remain unaffected. This is known as upsampling. This will also increase the image's file size.
This is known as downsampling. This will also decrease the image's file size. Change the DPI to control the number of pixels dots which will be printed per inch when your document is printed. Set higher values e. You will see no change in the image on the page as this procedure only affects the image's metadata. To resample an image: 1.
From the Document menu, select Resize Document. Enter your new document dimensions in the Size boxesleft box for width, right box for height. Optional Select a different measurement unit from the Units pop-up menu. Rulers will update to the new measurement unit. Nearest Neighborsimple resampling which has the fastest processing time. Use for hard- edge images. Bicubicalgorithmic resampling for use when enlarging images.
Resampling is smoother than Bilinear but has a slower processing time. Lanczos 3complex algorithmic resampling which gives the best results but with the longest processing time. Available as 'separable' and 'non-separable'; the latter gives marginally better results, but is slightly slower than 'separable'.
Instead of adding absolute input values you can enter expressions instead. See Expressions for field input for details. Pixel Art resizing. Before: Image upsampled 4x using Bicubic filter.
Observe the jaggy edges and ringing. After: Image upsampled 4x using XBR filter. See how the edges are smoother and more refined. To resize using pixel art filters: 1. If you are seeking very smooth results, it is recommended to try XBR as the resampling method.
HQX produces sharper results but exhibits more jaggedness around fine edges. Changing canvas size. In Affinity Photo there are options to resize the canvas of opened images and newly created documents. Changing the canvas size involves adding or taking away pixels from around the edge of your image, much like adding a border to a picture or cropping the image to a smaller size, respectively.
Unaffected pixels are not stretched or squashed. Enter your new canvas dimensions in the Size boxesleft box for width, right box for height. In the Anchor box, select alignment options to resize the the canvas 'under' the image from that anchor point. To remove unwanted canvas areas: From the Document menu, select Clip Canvas. To expand the canvas to fit layer content: From the Document menu, select Unclip Canvas. Cropping and straightening. Cropping removes unwanted areas of your image for either practical reasons or better composition.
Straightening simply means correcting a crooked image. Use cropping for practical reasons or aesthetic reasons equally. For instance, an unwanted object or person can be excluded which might otherwise detract from your desired image.
Aesthetically, you can balance image content in your composition so that it is more appealing to the eye. Affinity Photo lets you crop unconstrained or to original or custom aspect ratios. For print or web delivery, you can specify common print sizes e. If snapping is active, the crop area can snap to page edges and guides when being resized or moved.
When a crop is applied, the regions outside the drawn crop area will be hidden. However, cropping is non-destructive, which means you can uncrop your image at a later date. Crop modes. When cropping, you may wish to work unconstrained or to specific ratios or absolute dimensions. These are some of the options available:. Custom RatioUses the adjacent input boxes to set the ratiowidth in the left box, height in the right box.
Can be saved as a preset. Absolute DimensionsUse the adjacent input boxes to set absolute dimensions for the crop area. Set your Units if needed. PresetsA combination of commonly used, and custom saved, presets are presented for ease of use.
When activated, dragging on the page will orient the photo to align it with the drawn line. We recommend using a reference within your photo such as the horizon or the edge of a building. If you're cropping to remove unwanted subject matter in your image, compositional overlays can be ignored. However, if you're looking for better composition, one of several overlays can be used. Thirds GridShown by default, the Rule of Thirds grid's intersection lines can be positioned over an object of interest in your image.
Golden SpiralSize and position the grid so the inner origin of the spiral is centered over the subject of interest; this balances the composition naturally. Also known as Fibonacci Spiral or divine proportions.
DiagonalsPosition two objects of interest under the diagonal line intersections to balance the objects against each other. Drag a corner or edge handle on the grid to reposition the grid to suit. From the context toolbar, click Apply. To straighten an image: 1. From the Tools panel on the left, select the Crop Tool. From the context toolbar, click the Mode pop-up menu and select the preset you wish to delete.
Flipping an image horizontallyTo flip or rotate layer contents: 1. Select one or more layers. You can also rotate layer content directly on the page by dragging its rotation handle or by using the Transform panel. To position layer contents accurately: 1. Mesh warping lets you distort specific areas of your image without affecting other areas.
It can be used for dramatic warping effects or for more subtle focused retouching of facial features. The Mesh Warp tool provides a flexible mesh grid which can warp your image by repositioning the grid's lines, nodes, and patches; underlying pixels are transformed under the line, node or patch. The extent of warping you want to carry out is governed by the complexity of the grid.
You'll initially start with a mesh grid without lines, but adding your own lines and nodes lets you warp with ease. Position lines adjacent to areas in your image that you want to apply warping to.
Double-click on the edge of the mesh gridthe top edge gives a vertical line; a side edge gives a horizontal line. Optional On the context toolbar, use the Mode option to manipulate just the grid 'Source' or both grid and image simultaneously 'Destination'. Drag a node, a node's corner handle, line or patch. This means you can erase away from them, mask them, reorder them and adjust parameters at any time.
Bring out all the details, and control those finer corrections to take that perfect shot to another level. With support for limitless layers, Affinity Photo provides a full library of adjustments, effects and live filters, all of which can be grouped, clipped, masked or blended together to create incredibly complex image compositions.
Whether cutting out objects, creating masks or selectively applying adjustments, you can make extremely precise selections — even down to individual strands of hair — with ease. You can work natively with the full bit image, or use extensive tone mapping facilities for beautiful results. Expertly merge multiple images taken at different focal distances for detailed macro photography results.
Affinity Photo takes care of the alignment and completes a deep analysis to determine the best areas of each image to use. Explore a range of diverse typographical designs by adding text along a path. Create a path from any line, curve or shape drawn with any of the line or shape tools.
Read a free sample of the book here. Ezra and Ally work together to create tutorials for Affinity Revolution. For this book, Ezra created the original video course that it's based on, while Ally transcribed and formatted it as a book. When they're not making tutorials for the Affinity community, Ezra and Ally love taking walks even when it's raining! After walking, they usually end up watching way too many YouTube videos.
Combine Photos. What are others saying about Affinity Revolution tutorials? Beverley Brown I have just completed both of your courses on Affinity Photo and Affinity Designer and I have to say they are the best online courses I have ever taken! I learnt so much and I cannot thank you enough for your amazing clear way of teaching - it is a gift for sure.
Ezra - you are a star! TheeScottishGuy I highly recommend this man's Affinity courses. They are worth way more than they cost.
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