Affinity photo workbook pdf free download

Affinity photo workbook pdf free download

Download Affinity Photo Workbook,Newest Books

Chapter1 Affinity Photo Even if you have never used Affinity Photo before, you will feel confident in your photo editing skills by the time this book is over. Downloading Exercise Download Download Affinity Photo Workbook Type: PDF Date: December Size: MB Author: lucasdinosaur This document was uploaded by user and they confirmed that they Download Affinity Photo Workbook Type: PDF Date: April Size: KB This document was uploaded by user and they confirmed that they have the permission to share it. If you are Download The Affinity Photo Guidebook Book in PDF, Epub and Kindle The (Updated) Affinity Photo Guidebook is a fun to use, step-by-step new user's manual. This DIY book will guide [PDF] DOWNLOAD Affinity Photo Workbook emanuelgray 3 years ago Audiobooks 65 emanuelgray 20 Report Follow emanuelgray and others on SoundCloud. Create a ... read more

Press the Assistant icon. Delete the filter layer. Click at the bottom of the Layers panel where there is no layer so that you will have no layer selected. Press the Live filter icon. Select the Gaussian Blur Filter. You can see that the filter goes to the top of the layers stack because there was no layer selected for this filter to become a child layer. Each filter acts a little bit differently, so we will spend an entire chapter later in this course to talk all about the most popular filters. To see how this works, we first need to make a selection. Click and hold on the Freehand Selection Tool. Select the Elliptical Marquee Tool. Click and drag to make an elliptical selection. Now that we have a selection made, we can apply an adjustment, and it will only be applied to our selection. Press on the Adjustments icon. The Recolor adjustment is only being applied to where our selection is. Making selections allows you to edit your photos in incredible ways, but it can take some practice to perfect the art of making selections.

Now a white mask is applied, as you can see in the Layers panel. Since the mask is white, everything on our photo is visible. We can paint in black to hide parts of the photo. Black conceals and white reveals. To see how this works, select the Background layer. Press the Mask icon. Click on the black color circle in the Color panel to paint in black, then begin painting. Select the Paint Brush tool. I could continue painting in black to hide more of the layer, or I could change my color to white to reveal part of the Background layer again. To switch the color back to white, press on the arrows above the color circles, then begin painting. Select the Mask layer. Delete the mask by pressing Delete on your keyboard. Apply a mask by clicking on the Mask icon again. Now the mask is black in the Layers panel, which means that everything is being hidden. Change your color to white. Paint to reveal the Background layer. Masks are important because they are applied to all adjustments and filters by default.

To demonstrate this, make an elliptical selection again using the Elliptical Marquee tool. Press the Adjustments icon. Press Command or Control D to deselect. If we paint in black, we conceal more of the Recolor adjustment. With the Recolor adjustment layer selected, select the Paint Brush tool. If we paint in white, we reveal more of the Recolor adjustment. Masks can be a little confusing, but just remember that white will reveal a layer, and black will conceal a layer. If you hover over the Flood Fill tool, you can see that the shortcut is G. For example, if you hover over the Elliptical Marquee tool, you can see that the shortcut is M. You can make your own keyboard shortcuts by going to the top of the screen and pressing Affinity Photo. Press Preferences. The keyboard shortcuts are broken into different categories. You can see that to resize the Selection Brush Tool, you use the bracket keys on your keyboard. You could click on these and type in any shortcut that you want.

Click the arrow to go back. Here, you can change the UI Style to a Light mode. If you prefer, you can change this setting. Click User Interface. I encourage you to play around with the different preferences, so that you can tailor this program to suit your needs. You can click on Affinity Photo Help to pull up the manual. Press on Help. Here you can type in any tool to Search, and Affinity will show you where to find what you are looking for. You can also use the Search to type in a term and read more about it. Both of these will take you to the Affinity Photo online forums. Online forums are very helpful. There are always people online to help you with any questions that you have. Between the manual and the online forums, you should have all of the support that you need to find the answers to any question that you have. Select the Paint Brush. You can select the Paint Brush by pressing its icon, or by pressing B on your keyboard. Add a new Pixel layer by clicking on the icon.

This way, we will be painting on the Pixel layer, and not the Background layer. Then adjust the slider to increase the size of the stroke. A tip for you is that you do not need to use the slider to adjust the settings, but you can click and drag on any of the words in the Context Toolbar to adjust them. So if I click and drag on the word Width to the left, the Width will decrease, but if I click and drag to the right, the Width will increase. No matter how many times I paint over the stroke, it still stays very faint. Each time I lift up and paint again, the stroke will get darker and darker. Begin to paint. That allows me to paint over areas that need more paint applied to them, without needing to lift my mouse. In the Layers panel, select the Pixel layer and delete it. Add a new Pixel layer by pressing the icon. We can change the Hardness of the Paint Brush, which affects the edges of the stroke. You can see that it is a little shakey and jagged.

I will check the Stabilizer on in the Context Toolbar. With the Stabilizer on, my curvy line is much smoother. Having the Stabilizer checked allows you to have very smooth and stable lines. We can turn it on and off. We can change the Blend Mode. The Paint Brush is a very valuable tool. Learning to use the Paint Brush is an important step for learning how to edit photos. As we learned in the last section, clicking and dragging on the words in the Context Toolbar allows you to adjust them. Pressing ] will make your brush bigger. Pressing [ will make your brush smaller. Then that color appears in your color circle for your paint brush to use. If you press X on your keyboard, you can switch between the colors in your color circles. This is a good way to use the same colors that are already in your photo. In any of the color spaces, you can adjust the sliders to change their value.

If you click once with the Paint Brush, then hold down Shift and click somewhere else, it will make a straight line between your two points. These are just a few of the shortcuts that the Paint Brush tool has. I encourage you to learn them because they can really speed up your work flow. To view all of the different categories, click on Basic, and then you can select any of the categories and brushes. Here we have a wide variety of different brushes to choose from. Press on the Spray-paints. Go to the Color panel, and choose a color. Feel free to play around with the different categories of brushes to see which one works best for your purposes. Click on More to bring up more options for your brush.

For example, by bringing up Size Jitter, the size of the brush will change while using it. Because I am not using a tablet, I will change this to Random. By editing your Paint Brush settings, you unlock a whole new world of possibilities inside of Affinity Photo. Copy and paste this link into your browser to download a new brush category to Affinity Photo. Since I am on a Mac, I will double click on the file to unzip it. Right click on this file, then go to Open With, then Affinity Photo. Back in Affinity Photo, go to the Brushes panel to find your new brush category. Select a brush to begin painting with it. For each tool, the end goal is the same: to make a selection. If one tool works better for you, then by all means, use that tool. Select the Elliptical Marquee tool. Click and drag to make a selection.

Click the Adjustments icon. To invert the selection: Press Command or Control Shift I. Now everything except for your previous selection is selected. This will be applied to everything except for your first selection. To affect the entire photo again: Press Command or Control D to deselect. Adjustments will now affect the entire photo. Because nothing is selected, it will be applied to the entire photo. You can make a selection, and then have adjustments only applied to that selection. You can invert your selection to apply an adjustment to the opposite of what you selected. If you want to affect the entire photo again, you need to deselect everything first. By using selections and masks, you can affect any part of the photo that you want. This tool is the fastest and easiest way to make selections.

Click and drag to paint over the eggs. Select the Selection Brush tool. Another way to do this when you select too much is to hold down Alt or Option while painting. This subtracts from your selection. One option to keep checked on is Snap to edges in the Context Toolbar. With this on, Affinity looks for edges with contrasting colors to guess what you are trying to select. However, it can be more precise. If you are selecting a more difficult object, you might want to turn off Snap to edges. With a selection made, you can apply an adjustment. Using a bigger brush size will make quicker selections that are less precise, while a smaller brush size will make slower, more accurate selections. Apply a Brightness and Contrast adjustment. After applying the adjustment, press Command or Control D to deselect. I missed some parts of the egg. For example, selecting the sky in this picture would be very difficult to work around all of these leaves.

That is because Contiguous is checked on in the Context Toolbar. If you turn off Contiguous, it will select all of the blue, no matter where it is in the photo. Select the Flood Selection Tool. Click in an area to select all of the surrounding blue. The problem is that it is only selecting part of the sky. Deselect by pressing Command or Control D. Tolerance determines how different a color can be, and still be included in the selection. Click in part of the sky. The selection includes the whole sky and some of the leaves. Press in the sky to make a selection. It does not select the whole sky because even in the sky, there are different shades of blue. Invert your selection by pressing Command or Control Shift I. Now just the leaves are selected, and not the sky. Now the sky is masked out. Making a selection like this using the Selection Brush tool would be pretty much impossible.

But for the Flood Selection Tool, this was very easy. Go to Color Range. Go to Select Greens. Only the green water and green plants are selected, so any adjustment that we apply will only be applied to the green areas in our photo. Click the Adjustment icon. Increase the Saturation slider. In the Layers panel, you can check the adjustment on and off to see the difference that it is making. You can see that the greens in the photo are much more saturated, but everything else remains the same. Go to the top of the screen to the Select menu. Go to Tonal Range. Go to Select Highlights. Click on the Adjustment icon. Bring the Contrast slider up. In this panel, we have Composite Red, Composite Green, and Composite Blue. You can load any of channels as a selection by pressing on it. Select Composite Red. Where the photo is more black, there is less red in it, like the green trees. To load Composite Blue as a selection, right click on Composite Blue, then select Load To Pixel Selection.

Where the photo is more white, there is more blue, like in the blue sky. With the blue channel selected, now you can apply an HSL adjustment. In the Layers panel, check the HSL Adjustment layer on and off to see the before and after. These two types of selections are different. Selecting from the Color Ranges is based on what the final color of the image looks like, when the red, green, and blue channels are all mixed together. After When making a selection from a Color Channel, it allows us to make a selection based on how much of that color is in the photo, even if the final color is different when all three channels are mixed together. If this difference seems confusing to you, then just use whichever method makes more sense. Select the Rectangular Marquee Tool. Press and hold on the Rectangular Marquee Tool. Select Elliptical Marquee Tool.

Click and drag a circle to make a selection of a clock. If you hold down Shift, then your selection will be constrained to a perfect circle. Press Command or Control 0 zero to see the whole picture again. You can change the Mode to Add, Subtract, or Intersect in the Context Toolbar. Add allows you to add multiple shapes in one selection, and they will be joined together. If you add Feather, the outside edges of your selection will be soft and fuzzy. Set the Mode back to New. Increase the Feather. Make a selection. Now click and drag to draw a selection. In the Context Toolbar, you have options to change the Type to Freehand, Polygonal, and Magnetic. Change the Type to Polygonal. Click anywhere to make a point, and continue to click to make points to create a polygonal selection.

To close the selection, tap on the point where you started. Click to start your selection, and then drag along where you want your selection. To close a selection with the Magnetic Tool, double click anywhere. It can be difficult to make an exact selection using the Freehand Selection Tools, but they can be very helpful to make custom shapes for your selections. This tool is great for when you need to select objects that the automatic selection tools have trouble selecting. You could also press its icon at the top of the screen. Anything painted in white will be added to the selection, while anything painted in black will be removed. Make your brush size smaller by using the bracket keys.

If you ever select too much, switch your color to black, and paint over the areas that you do not want in your selection. Now that there is a selection, apply a Recolor adjustment. Press Command or Control D to Deselect. If you want to reveal more of the Recolor adjustment, paint in white. Paint a selection across the green apple. First, make the initial selection. Select the Selection Brush. At the top of the screen, we can press the Refine button. The Refine button will be available whenever a selection tool is out. We can also refine our selection by going to the top of the screen to Select, then Refine Edges. This Dialog Box gives more options for perfecting the selection. To add to the selection, change the Adjustment in the Dialog Box from Matte to Foreground.

Paint the apple stem. Adjust the Width of the brush as necessary. Using the Matte button, you tell Affinity to take a second look at selecting a certain area. This is especially helpful when selecting hair. If you bring the Smooth up, it makes the edges of the selection very smooth, but it removes the apple stem because that was not very smooth. If you bring up the Feather, your selection will have a softer border. If a person is standing in front of a complex background, it is much more difficult to select individual hair. In all situations though, the steps for selecting hair are the same.

Paint over the boy to make a selection. Press on the Selection Brush. Press on Refine at the top of the screen. Set the Adjustment to Matte. Paint over the edges of the hair. Return to Overlay. Using the Matte option tells Affinity to have a second look at areas where it needs to select hair. We can now see individual strands of hair instead of the moosh that was there before. Now that we have a selection, press the Mask icon in the Layers panel. This removes the background and keeps the boy. Press the Apply in the Dialog Box to confirm your selection. Click and drag the rectangle layer to the bottom of the layer stack. Now the boy has been given a brand new background. Change the color of the rectangle in the Color panel. Selecting hair can be quite difficult to do.

By his ear, there is a slight green halo going around it. Fortunately, refining a mask is very simple. Press the triangle to the left of the Background layer. Right click on the Mask layer. Select Refine Mask. Press Apply. With the option to refine masks, you can always go back to make your selection even better, even after you have applied a mask. This automatically reloads the selection. If you have made a selection, but do not want to apply a Mask or Adjustment, you can create a Spare Channel that will save your selection. With your selection still made, open the Channel panel. Right click on Pixel Selection. Select Create Spare Channel. Right click on the Spare Channel.

Press Load to Pixel Selection. If you want to rename your Spare Channel, right click on it, then select Rename. The ability to reload selections means that you never have to worry about losing the selections that you worked so hard to make. In this photo, we might want to make multiple adjustments to the eye. Bring the Hue to an extreme color. Apply an HSL adjustment. With the Group selected, press on the Mask icon. Now we have a group with just the HSL adjustment inside. Now nothing in the Group is being applied to the picture. With the Mask selected, select the Paint Brush tool. If you paint too much, paint in black to remove from your selection. Now that the group has a mask on it, you can double click on the HSL Adjustment layer, and change the Hue to whatever you want. Bring the Brightness up. Bring the Contrast up.

By using a group with a mask on it, you can continue to apply as many adjustments as you want without needing to continually select that area. Press the Adjustment icon in the Layers panel. Check and uncheck the Adjustment layer to see the difference. Select the Selection Brush Tool. Select the Refine in the Context Toolbar. Using the Matte adjustment, paint across the edges of the rock to refine the selection. Press Apply in the Dialog Box. Adjust the sliders as needed. This time it will only be applied to the selection. Paint on an Adjustment: Delete the Adjustment layer from the last steps. Apply a new Brightness and Contrast adjustment. Bring the Brightness up very high so that you can see the difference while painting. Press Command or Control I to invert the Adjustment layer. Now the adjustment is being applied to nothing, and by painting in white, you will reveal the adjustment. Press B to select the Paint Brush. Paint in white on the area that you want to see the Brightness and Contrast adjustment.

Bring the Radius slider up to blur the paint strokes. Select the Filters icon. Apply a Gaussian Blur Filter to make the paint strokes softer. Dragging on the Hue slider in the Dialog Box will change the hue of the entire photo. You could also use the shortcut to apply an HSL adjustment, which is Command or Control U. A completely saturated photo will begin to have some weird color effects. A desaturated photo will look black and white. If you ever want to reset your sliders, you can press the reset button at the top right of the Dialog Box. If you press on Master, you can select specific color channels to affect.

Slide the Hue and Saturation sliders to see that it only changes the color of the blue chalk. Click on the Blues. This will only affect the blues in the photo. After By changing which color channel you are working in, the HSL adjustment becomes much more powerful. Whenever you are working on a photo, play around with the color channels, as well as the Hue and Saturation to see how it affects your picture. By bringing up the Saturation, the photo has become much more colorful, but some of the colors are looking strange. In the Layers panel, delete the HSL Adjustment layer. Apply a Vibrance adjustment.

Increase the Vibrance slider. After The photo is now much more colorful, but the colors are not looking too extreme or strange. Because of this, Vibrance is a much safer color adjustment to use. Unless your photo needs a huge color boost, I suggest you use the Vibrance adjustment, to keep your colors looking vibrant, and not overly saturated. Increase the Balance to warm up the photo. This looks good for this photo. Apply a White Balance adjustment. You can decrease the Balance to cool down the photo. You can also adjust the Tint of the photo if you want to give the photo more greens or magentas, but that typically is not necessary unless you are working with artificial lighting. Apply a Shadows and Highlights adjustment. In the Dialog Box, you can increase the Shadows to make your shadows lighter.

You can also make the Highlights brighter by increasing the slider. For this photo, I will make my Shadows a little darker than they originally were, and I will make my Highlights brighter. In the Dialog Box, you can affect how light or dark certain colors become in your black and white photo. For example, by dragging on the slider, the Red parts of the photo can become more or less dark. To see a before and after, check and uncheck the HSL Adjustment layer. Adjust the Hue to change the color of the black and white photo. You can adjust the Saturation and Luminosity as well. Delete the HSL adjustment layer. In the Dialog Box, Reset the sliders. Adjust the color sliders to affect the colors in the photo. Change the Blend Mode to Normal. Using black to conceal the adjustment, paint over the bird. Select the Gradient Tool. Click and drag where you want the gradient to go.

To move the gradient around, click and drag on either of the circles. In the Layers panel, change the Blend Mode to Overlay. To reveal the adjustment, use white. To conceal the adjustment, use black. Change the grey circle to black in the Color panel. Now where the gradient is black, the adjustment is fully concealed. Apply a gradient. Where the gradient is grey, the adjustment is partially applied. Bring the Brightness slider up. Click and drag from the top to the bottom of the photo. Select the grey circle of the gradient. Go to the Color panel, and change it to black. Feel free to use the Gradient Tool on other adjustments to see what you can create. Apply a Levels adjustment. You could also apply a Levels adjustment by pressing Command or Control L. In the Dialog Box, we can adjust the shadows Black Level , the highlights White Level , and the midtones Gamma. By decreasing the White Level, the highlights will be brighter.

To see how the Levels adjustment is affecting the photo, go to the Layers panel, and check the Levels Adjustment layer on and off. By increasing the Black, the opposite of whatever color we are working in will be increased. In this case, the opposite of red is green, so more green will be applied. Apply a Curves adjustment. You could also press Command or Control M as a shortcut. When you first open the Curves Dialog Box, we can see that there is a straight line. This line represents the Shadows, Midtones, and Highlights in our picture. The Shadows are on the left side, Midtones are in the middle, and the Highlights are on the right side. As we move the line down, the picture will become darker, and as we move the line upward, the picture will become brighter. To do this, click and drag the Highlights side of the line upward, and click and drag the Shadows side of the line downward.

This is making our Highlights brighter, and our Shadows darker. If you click the Curves adjustment on and off, you can see that the S-curve added nice contrast to the photo. If you click and drag on the line at spaced out intervals, you can affect different ranges of Shadows, Midtones, and Highlights. To give you a better idea of how Curves work, exit out of the Dialog Box. In a new tab, I have a black to white rectangle. I want to bring this into my duck picture, so I will press Command or Control C to copy it. Press Command or Control V to paste the image. Using the Move Tool, resize the rectangle to put it at the bottom of the picture. In the Layers panel, click and drag the rectangle layer so that it is beneath the Curves adjustment. This black to white rectangle has squares that will be affected as we change the curve. As the bottom left circle is moved up, notice how the black square becomes much brighter.

Only the darkest box is affected because only the shadows are being altered. As the top right circle is moved down, notice how the white square in the gradient becomes much darker. Return to the duck picture. Press Command or Control V to paste it. In another tab, I have a color wheel. Press Command or Control C to copy it. Move the Curves Adjustment to the top of the layer stack. Double click on the Curves Adjustment layer. Press on Master. Select the Red channel. By moving the line up, more red will be added, while moving the line down will take away red, or add its opposite color.

We can see in the color wheel that the color across from red is green. Press on the Reset button at the top right. Lowering the top right circle will take red out of the highlight, and will add green. Looking at the gradient at the bottom of the photo, you can see that the shadows are now red while the highlights are green. Throughout the rest of the photo of the bird, you can see that this same effect has been applied. Looking at the color wheel, we can see that the opposite of blue is orange. As we raise the bottom left circle, blue will be added to the shadows.

As we lower the top right circle, blue will be taken away, and orange will be added to the highlights. You could continue going into other color channels to adjust their curves as well, and even go back to the Master color channel to affect all colors in the picture again. The Curves adjustment can be very powerful, but a little difficult to use at first. I encourage you to play around with it to get a better idea of how it works. By default, it colorizes the picture to be red. The Saturation can also be adjusted. Decrease the Saturation slider. Change the Blend Mode from Normal to Overlay.

Now that we have a good amount of recoloring, we can adjust the Hue slider. The Recolor adjustment can be a great way to add color tints into the photo, especially when using different Blend Modes. Try using different Blend Modes to see how you can affect your picture. Apply a Lens Filter adjustment. The default color is orange, but this can be changed. Change the Filter Color to another color by clicking on the orange rectangle. The Lens Filter adjustment is a great way to add a color tint to your photos. Scroll down near the bottom to apply a Split Toning adjustment. In the Dialog Box, you can adjust the Highlights Hue to a dark blue color. Increase the Saturation for both the highlights and the shadows. By dragging it to the right, more of the photo will be considered a shadow. This is a strong effect, so I will lower the Opacity. Turn the Split Toning adjustment layer on and off to see a before and after.

Apply a Gradient Map adjustment. Most new users to Affinity shy away from using this adjustment because it is hard to understand what is happening when it is first applied. The Gradient Map is using three colors. Here, red is representing the Shadows, green is representing the Midtones, and blue is representing the Highlights. Up in the sky where there are a lot of Highlights, blue is being applied. Where there are more Shadows in the rocks, red is being applied. Switch the colors by pressing Reverse in the Dialog Box. The red is being applied to the Highlights. Press on the red color stop. You can change the colors by pressing on that color stop, and then pressing on Color.

I will change the blue to a darker blue for the shadows. At the bottom of the Dialog Box, change the Blend Mode from Normal to Screen. Setting it to Screen will make the picture brighter. Lower the Opacity. After The Gradient Map adjustment can seem a little intimidating at first, but once you understand them, they are quite useful and fun to use. I encourage you to play around with them and see how they work with your photos. You can make your own presets to quickly apply any effect to your images. Back in the Layers panel, delete the Gradient Map Adjustment layer. Give your preset a name, then press OK. You can see that our Dark blue to pink Gradient Map adjustment has been saved, and we can reapply this to our photo. Click on Gradient Map. Go back to the Layers panel. Delete the Gradient Map adjustment layer. Name your preset, then press OK. Press Add Preset. Go to the Adjustments panel, and scroll to Curves.

By saving preset values for your adjustment layers, you can save yourself a lot of time in the photo editing process. Apply a Color Balance adjustment. In the Dialog Box, you can affect the Shadows, Midtones, and Highlights. Move the slider in the direction as the words appear below to apply more of that tonal range. For example, if you would like to add Cyan, click and drag the slider to the left. Add Cyan by moving the slider to the left. Add Magenta by moving the slider to the left. Add Blue by moving the slider to the right. Change the Tonal Range from Shadows to Midtones. Add Green by moving the slider to the right. Add Yellow by moving the slider to the left. Change the Tonal Range from Midtones to Highlights. Go to the Layers panel. Check the Color Balance adjustment on and off to see the difference. Apply a Selective Color adjustment. In the Dialog Box, the default is to affect the Red color channel, but we can also work with Yellows, Greens, Cyans, Blues, Magentas, Whites, Neutrals, and Blacks.

Decrease the Black. Decrease the Cyan. Increase the Magenta. Increase the Yellow. In the Red color channel, bring the Black slider up. You can clearly see that the sky is primarily being affected. Select the White channel. Select the Neutrals channel. This time we are affecting most of the picture, and I want to warm up this picture a bit more. Select the Black channel. Check the Selective Color Adjustment layer on and off to see the difference. Increase the Cyan. We will keep that adjustment in this section. By default, this preview is for a U. Since I live in the U. Apply a Soft Proof adjustment. After Since this is how it will look while printed, I want to apply another adjustment to help counteract the effect the printer will have on this picture.

In the Layers panel, make sure that the Curves is beneath the Soft Proof adjustment layer. It needs to be beneath the Soft Proof layer so that we can see how this photo will look when printed. Bring the Highlights of the Curve down. Add red to the Highlights. Go to the Green channel. Add green to the Shadows. But before exporting the photo, I will uncheck the Soft Proof adjustment layer. If that stays checked on, it will apply the effect of the printer before it is printed. So uncheck the Soft Proof layer, and then send it to the printer. After Throughout this chapter, we learned a lot about Adjustment Layers. Many of them could work equally well for the exact same photo. So focus on learning the adjustments that seem the easiest and most effective for you, and stick to what you know.

The best tools in Affinity are the ones you know how to use. Live filters allow you to edit the filter after you have applied it. Unfortunately, not all filters are available in the Live filters. If you want to see a complete list of filters, go to the top of the screen to Filters. Press the Live filters icon. Scroll down to apply a Denoise filter. If you zoom into the image, you can see that there is quite a bit of noise. This is common to photos that have been taken in low-light situations. It seems like there is still more noise. Check the box that says Extreme, then bring the slider up a bit more. Luminance is when different pixels have different brightness levels, like in this photo. Color is when random pixels are the wrong color, like if there were some purple or green pixels mixed into this picture. Bring the Luminance Denoise all the way up. In the Layers panel, check and uncheck the Denoise filter to see how it is affecting the photo.

After We can see that while there is less noise, the picture has become quite soft. That is the trade off: the noise is removed, but sharpness is decreased. With photos like this, drag the slider until the noise is removed, but not any farther. All images have some level of noise in them, so it would be a good idea to zoom into your photo to see if it needs a Denoise filter. Remember, the more noise you remove, the less sharp your photo will become. Remove noise with caution. Zoom into the left side of the bridge. There is some pretty bad purple fringing. Apply a Defringe Filter. Drag the Fringe Color slider until it is the same color as the purple fringing color. There is also the option to set the Complimentary color, but that is not necessary in this photo. The Tolerance slider defines how close the fringe color must be to the Hue slider we set.

The Radius determines how many pixels around the fringing will also be affected. Increase the Radius. The Edge Brightness Threshold determines the amount of contrast needed between the fringe areas and the rest of the photo before affecting the pixels. Bring down the Edge Brightness Threshold until the purple fringing disappears. You can also double click on the Defringe filter layer at any time to adjust it. Select the Clarity filter. This filter is extremely powerful. By the end of this book, you will find you are delving deep into Affinity Photo to perform tasks such as easily creating complex selections and masks. Here are just a few examples of what you will learn: · How to customise almost every aspect of the Affinity interface. What may seem like a simple topic will probably delve much deeper into Affinity Photo than you imagine. Accompanying the many exercises in this book are sample files. You can download these from the authors website, allowing you to follow along in your own copy of Affinity Photo.

Packed with tips and advice, this book is a valuable resource for all users of Affinity Photo. The Updated Affinity Photo Guidebook is a fun to use, step-by-step new user's manual. This DIY book will guide you through the first 10 skills new users need to know how to do plus twenty in-depth techniques to further increase your knowledge and skillset in using this market-leading photo editor. We created each tutorial to be visually impressive with 4K quality screenshots as well as our unique method of italicizing action words and bolding main objects - like the Menu bar - Toolbar items, the Studios, and the Tools. We tell you with our words and show you with our screenshots exactly how to do each step for every tutorial. Features of Affinity Photo Fine-tuned Adjustments Flawless Retouching Incredible Live Filters RAW Image Development Refined Selections Any Device, Anywhere!

If you would like a free tutorial on how we created the John Lennon cover image, please contact us and we'll send you that tutorial free of charge. The Affinity Photo Guidebook was created for the desktop version of Affinity Photo only. We will be creating an iPad version in Fall Book Design Made Simple gives DIY authors, small presses, and graphic designers-novices and experts alike-the power to design their own books. It's the first comprehensive book of its kind, explaining every step from installing Adobe� InDesign� right through to sending the files to press. For those who want to design their own books but have little idea how to proceed, Book Design Made Simple is a semester of book design instruction plus a publishing class rolled into one. Let two experts guide you through the process with easy step-by-step instructions, resulting in a professional-looking top-quality book. Skip to content. Affinity Photo Workbook Download Affinity Photo Workbook full books in PDF, epub, and Kindle.

Affinity Photo Workbook. Author : Affinity Team Publsiher : Unknown Total Pages : Release : Genre : Affinity Computer file. ISBN : GET BOOK. Download Affinity Photo Workbook Book in PDF, Epub and Kindle. Affinity Designer Workbook. Author : Affinity Team,SERIF EUROPE LIMITED. Publsiher : Unknown Total Pages : Release : Genre : Affinity Computer file. Download Affinity Designer Workbook Book in PDF, Epub and Kindle. The Affinity Photo Manual. Author : Frank Walters Publsiher : Unknown Total Pages : Release : Genre : Electronic Book ISBN : GET BOOK. Download The Affinity Photo Manual Book in PDF, Epub and Kindle. Essential Affinity Photo. Author : Robin Whalley Publsiher : Robin Whalley Total Pages : Release : Genre : Photography ISBN : XXX GET BOOK. Download Essential Affinity Photo Book in PDF, Epub and Kindle. AFFINITY PUBLISHER WORKBOOK. Author : Anonim Publsiher : Unknown Total Pages : Release : Genre : Electronic Book ISBN : GET BOOK.

This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA. Home current Explore. Home Affinity Photo Workbook Affinity Photo Workbook Uploaded by: lucasdinosaur 0 0 December PDF Bookmark Embed Share Print Download. Words: 30, Pages: Affinity Photo For Beginners Written By Ezra and Ally Anderson Chapter 1: Affinity Photo Chapter 6: Healing Tools After downloading the file, you should have something that looks like this. If you have a Mac, just double click on the file and it will unzip. Each chapter's folder contains all of the images we will use in that chapter.

Go to where you saved your Exercise Files, and select the first folder. Go to the top of the screen and press File. Select the file named 1. Press Open. On the left side, there is the Tools panel. These are all of the tools that you can use to edit your photos. Some of the tools have a gray triangle next to them. That means if you click and hold on that tool, more options for tools will appear. With every tool that you select, there will be other options at the top of the screen for you to adjust. This is called the Context Toolbar. This toolbar will change depending on the tool that is selected. At the bottom of the screen, the tips are displayed. Sometimes they are keyboard shortcuts to help you more effectively use your tool. At the top, I usually keep the Color panel up, but there are also panels for Histogram, Swatches, and Brushes.

Below that, I usually keep the Layers panel up, but there are also panels for Adjustments, Effects, Styles, and Stock Photos. To take away or add new panels, go to the top of the screen. Select View. Select Studio. Now you can check or uncheck panels that you want to add or remove. You can also select Reset Studio to return to the default settings for panels. At the very top, you have the Personas. We normally work in the Photo Persona, but we also have the option to work with the Liquify Persona for pushing and pulling pixels around , the Develop Persona for developing RAW images , the Tone Mapping Persona for HDR images , and the Export Persona for exporting images.

Select both images by clicking on one, and then holding down Shift and clicking on the other one. This is a good shortcut to remember. If you press Command or Control O, you can open a photo. Here is the first tab, with the pancake picture. Here is the second tab, with the giraffe picture. Select Media Browser. With the Media Browser open, you can navigate to any images on your computer, and by double clicking on it, it will open. You can also click and drag images from your desktop into Affinity Photo. Sometimes, you will want to open a brand new document. Go to File. Select New. If you press Command or Control N, you can open a new Document. Most importantly, we can adjust the Page Width and Page Height. We can also adjust more advanced options, like the Color Format. Close out of the Media Browser. Press OK to confirm your adjustments, and open your new Document.

Return to your new Document tab. Making sure that the Background layer is selected in the Layers panel, press Command or Control C to copy the giraffe. Press Command or Control V to paste the giraffe into your document. If you want to save your Affinity Photo file, go to File. Press Save As. Give your file a name, and choose where you want to save it. This will save the Affinity Photo file, meaning that all of your layers and edits will still be there when you open the file, and you can continue to edit them. Press Export. In this Dialog Box, you can choose how to export your image. Typically, JPEG format is used because it compressing your file size, making it easier to send in emails, and it takes up less space on your computer. You can see that the Estimated File Size is about 2 MB. You can also export your image as a PNG.

The most important thing with PNG files is that it allows you to keep a transparent background. You can now see the Estimated File Size is For example, if we cut the background out from around the giraffe, and then just want to export the giraffe head, PNG would be the way to do it. If we uncheck all of the squares in the Layers panel, and then export the image, only the pancakes would be visible. Return to the pancake picture. If we want the squares in the image, we need to make sure that they are checked on. If you are working on a computer with a trackpad, it works as expected. Zoom in and out, move up and down, all with your trackpad. If you do not have a trackpad, you still have many options.

By pressing Command or Control -, you can zoom out. In the Context Toolbar, you can adjust your zoom with the slider. With the Magnifying Glass Tool selected, you can also hold down Alt or Option, and click to zoom out. To pan around the photo, use the Hand Tool. With this tool, click and drag to move around the photo. If you have any other tool selected, you can hold down the Space Bar on your keyboard, and then it will temporarily bring up the Hand Tool so that you can move around the document. When you release the Space Bar, you will still have your other tool selected.

Each layer on top affects the layers beneath it. To change this, you can rearrange the layers. For example, click and drag the red rectangle layer above the green rectangle layer. In this example, you can see that the green rectangle is covering the red rectangle. This is because the green rectangle is at the top of the red rectangle in the Layers panel. Layers can be turned on and off by pressing the checkmark to the right of the layer. You can work on one part of the image without it affecting other parts of the image. Click once on the red rectangle to select it. Click and drag the red rectangle to move it. Select the Move Tool. Notice that moving and resizing the rectangle has not affected any other parts of the picture.

If you ever want to delete a layer, you can select that layer, and then press on the Trash Can icon, which is in the Layers panel on the bottom right. To duplicate a layer, make sure that layer is selected in the Layers panel, then press Command or Control J. This locks the layer in place. You can add a new, blank Pixel layer to your document by press the Pixel Layer icon next to the Trash Can icon. If you want to unlock it, select that layer, and then press on the Lock icon to unlock it. Select the Eraser tool.

Click and drag over the pancakes. Notice that nothing happens. That is because the Pixel layer is selected. Select the Background layer. Click and drag to erase the pancakes.

Download Affinity Photo Manual.pdf,

[PDF] DOWNLOAD Affinity Photo Workbook emanuelgray 3 years ago Audiobooks 65 emanuelgray 20 Report Follow emanuelgray and others on SoundCloud. Create a Chapter1 Affinity Photo Even if you have never used Affinity Photo before, you will feel confident in your photo editing skills by the time this book is over. Downloading Exercise Download Download Affinity Photo Workbook Type: PDF Date: December Size: MB Author: lucasdinosaur This document was uploaded by user and they confirmed that they Download Affinity Photo Workbook Type: PDF Date: April Size: KB This document was uploaded by user and they confirmed that they have the permission to share it. If you are [PDF] DOWNLOAD Affinity Photo Workbook Ginger Lawson 3 years ago Audiobooks Like Repost Share Copy Link More 1, Ginger Lawson 1 20 Follow Report Follow Ginger Download The Affinity Photo Guidebook Book in PDF, Epub and Kindle The (Updated) Affinity Photo Guidebook is a fun to use, step-by-step new user's manual. This DIY book will guide ... read more

Now it is affecting all of the layers. Importantly, it links what might seem unrelated activities together, to build your understanding and editing skill in Affinity Photo. Affinity Photo continues to be the fastest-growing, new photo editor on the market today and is quickly becoming the first choice for creative professionals and photographers alike. We will keep that adjustment in this section. We created each tutorial to be visually impressive with 4K quality screenshots as well as our unique method of italicizing action words and bolding main objects - like the Menu bar - Toolbar items, the Studios, and the Tools.

We tell you with our words and show you with our screenshots exactly how to do each step for every tutorial. Add Yellow by moving the slider to the left. Give your preset a name, then press OK. Try using different Blend Modes to see how you can affect your picture. Because the green rectangle is selected in the Layers panel, when we change the Blend Mode, affinity photo workbook pdf free download, only the green rectangle will be affected.