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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 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 as PDF, TXT or read online from Scribd Flag for inappropriate content of 4 Nov 24, GMT Official Affinity Photo Workbook Now Available The official Affinity Photo 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 4/10/ · You can see the PDF demo, size of the PDF, page numbers, and direct download PDF of ‘Affinity Photo Workbook’ using the download button. Affinity Photo Workbook ... read more

Affinity Photo Workbook is written by famous author Affinity Team and Ready to Download in ePUB, PDF or Kindle formats. Released by Unknown in Click Download Book button to get book file and read directly from your devices. Here is a quick description and cover image of Affinity Photo Workbook book. Affinity Photo Workbook written by famous author Affinity Team book pdf is ready to download and read online directly from your device. The book was released by Unknown in with total hardcover pages Affinity Photo Workbook Affinity Team book immediate popular and critical acclaim in Affinity Computer file. Affinity Designer Workbook written by famous author Affinity Team,SERIF EUROPE LIMITED. book pdf is ready to download and read online directly from your device. Affinity Designer Workbook Affinity Team,SERIF EUROPE LIMITED. book immediate popular and critical acclaim. 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.

The Affinity Photo Manual was created with new users like you in mind to help you quickly and with as little effort as. Quickly learn Affinity Photo image editing Affinity Photo is the hot photo editing package from Serif. It can compete head on with the latest version of Photoshop. But all this power and flexibility brings its own challenges. Just like Photoshop, Affinity. AFFINITY PUBLISHER WORKBOOK written by famous author Anonim book pdf is ready to download and read online directly from your device. 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. They become second nature after you have worked with a few images. Now you can click on any layer and then click and drag to move it around. You can click directly on the image you would like to move.

Once you have the layer and the Move Tool selected, click and drag on to move it around. To keep the layer proportional, hold down Shift while making adjustments. If you hold Command or Control, you can resize the layer with its anchor point being the center point, rather than one of the corners. To rotate your layer, click on the circle that is sticking out on top of the layer, or hover over any of the corners until rotation arrows appear. You can skew the layer by hovering between the top circle and rotation circle, and then click and drag.

To resize the Background layer, unlock the layer in the Layers panel by selecting the Background layer, and then pressing the Lock icon. You can see that we now have a checkered background behind the pancake picture, which means that there is nothing there. If we were to export this as a PNG, that checkered part of the image would be transparent. If we were to export this as a JPEG, that checkered part of the image would be filled in with white. The easiest way is to go to Edit, then Undo. Another way to Undo is to go to the History panel, found in the lower right corner of the screen. The History panel records every step that you have taken while transforming the photo. It is very useful if you memorize the shortcut Command or Control Z to Undo, and Shift and Command or Control Z to Redo.

You can also scroll through your steps and click on that step in the list to go back to that point in your editing. With the Undo options in Affinity Photo, you are able to go back and recover any mistakes that you have made during photo editing. In that case, put the layers inside of a Group. If you want to move multiple layers at a time, you can put them inside of a group. To do this, hold Shift while selecting multiple layers in the Layers panel. Now that the layers are inside of a group, and the group is selected in the Layers panel, you can move and resize them with the Move Tool at the same time. If you would like to remove a layer from the group, open up the group by clicking on the triangle to the left of the group layer. If you want to completely get rid of the group, select the group in the Layers panel.

Go to Arrange, at the top of the screen. Press Ungroup. Groups are a great way to help organize your layers, and to affect multiple layers at the same time. When changing the Blend Mode, the layers will affect each other differently. To see how this works, select the Move Tool, and move the green rectangle. Because the green rectangle is selected in the Layers panel, when we change the Blend Mode, only the green rectangle will be affected. Click on the word Normal in the Layers panel to see the options of Blend Modes. The great thing about Affinity Photo is that there is a live preview as you scroll that allows you to see exactly what every Blend Mode would look like for the layer you have selected. From Darken to Color Burn, these Blend Modes make a darker blend. From Lighten to Add, these Blend Modes make a lighter blend. From Hard Mix to the bottom of the list, these Blend Modes are miscellaneous.

Each photo that you work on might looks better with different Blend Modes, but generally, the more popular Blend Modes include Multiply which gives a dark blend , Screen which gives a light blend , and Overlay which blends the two layers together. Back in the Layers panel, you can also press on the Adjustments icon to quickly apply an adjustment. To put an Adjustment Layer on, you can go to the Adjustments panel. We can now adjust the Brightness and Contrast sliders however we would like. Close out of the Dialog Box. Just like other layers, it works by affecting the layers beneath it. Because it is on top of the Background layer, it is only affecting the Background image.

If I moved this layer to the bottom of the layers stack, the adjustment would not affect the image because it is not on top of anything. If you ever want to change the adjustment, double click on the icon on the left side of the layer, and the options to adjust the sliders will reappear to be readjusted. Click on the Adjustments icon again. Apply another Brightness and Contrast adjustment. Because this new adjustment is on top of the layer stack, it is affecting the whole image. You can continue to add as many adjustment layers as you would like until the photo is to your liking. Each adjustment works differently, so there will be an entire chapter later in the course to go into more detail.

Press the Adjustment icon. Apply a Recolor adjustment. Because the Recolor adjustment is on top of the Background layer, it is only affecting the Background image. To make the Recolor adjustment affect all of the layers, drag it to the top of the layer stack. Now it is affecting all of the layers. To do this, click and drag the Recolor adjustment beneath the red rectangle, and then to the right. By clicking on the white triangle to the left of the red rectangle layer, we can see that the Recolor adjustment is now a child layer, and is only affecting the red rectangle layer. To make it only affect the green rectangle layer, drag it beneath the green rectangle, then to the right. If you have a child layer selected, and then add a new adjustment, it will automatically be added as a new child layer to the parent layer. Child layers are very useful because they allow you to make adjustments that only affect their parent layer.

Here you can see a list of all of the filters offered in Affinity Photo. However, I often use the Hour Glass icon in the Layers panel to apply a filter. This icon gives you access to Live filters. To see this, go to Filters at the top of the screen. Go to Blurs. Select Gaussian Blur. The filter is now applied, but there is no way to edit the filter after it has been applied. To undo this, press Command or Control Z to Undo. Now with the Background layer selected, go to the Live Filters icon. Adjust the Radius slider. After seeing this demonstration, you might be wondering why you would ever use a regular filter, and not a Live filter. Live filters take more computing power. This means that if you have a slow computer, Live filters can slow you down. Also, some of the filters are only available as regular filters, not as Live filters. If you click on the triangle to the left of the Background layer, you can see that the Live filter is a child layer.

If you want to apply the Live filter to only one layer, just drag it down and to the right of any layer to make it a child layer. If you do not want the Live filter to become a child layer, you can change this is in the Assistant options. Here there are quite a few options. At the bottom, Adding filter layer to selection is by default set to Add filter as child layer. If you want, you can change this, but I will keep mine set to this default setting. 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.

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This document was uploaded by user and they confirmed that they have the permission to share it. 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. The gradient is only being applied to the Moon. 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. Bring in the crop to get rid of the opaque edges.

Press Command or Control D to Deselect. Select Studio. For example, by dragging on the slider, the Red parts of the photo can become more or less dark. Book Design Made Simple gives DIY authors, small affinity photo workbook pdf download, and graphic designers-novices and experts alike-the power to design their own books. Your Background layer is now a child layer to the shape.

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