Book Image

Professional Image Editing Made Easy with Affinity Photo

By : Jeremy Hazel
Book Image

Professional Image Editing Made Easy with Affinity Photo

By: Jeremy Hazel

Overview of this book

In this book, you’ll explore the Affinity Photo program through practice-based learning as you make popular photo edits, learning the tools and techniques in conjunction with the workflow concept. Instead of comprehensive description of the tools, you’ll learn through practical application and understand why they work, not just how they work. This is neither a technical manual nor a workbook but a project-based hybrid approach that provides a deeper understanding of how to use each tool to achieve your goal. Starting with the fundamentals of navigating the interface, understanding layers, and making your first edit, this Affinity Photo book gradually increases the complexity of projects. You’ll go from single-layer edits, composites, and RAW development to putting together a complex composition using the tools that you've learned along the way. Additionally, you’ll learn the best practices used by expert photo editors for a flawless finish. By the end of this book, you’ll have a good body of work, be able to evaluate the edits you want to make, and achieve desired results with Affinity Photo.
Table of Contents (25 chapters)
1
Part 1: Foundational and Navigation Basics for Affinity Photo
7
Part 2: Fundamental Concepts Used to Create a Simple Edit
13
Part 3 : The Practical Applications of Affinity Photo
19
Part 4: Finishing Your Edit and Building Your Own Artistic Palette

Masking Adjustment layers or Live Filter layers

In the previous section, we looked at how we can add a Mask layer to a common Pixel layer, and it was a simple technique where we select the Mask layer, nest it into the Pixel layer, and finally paint on it.

In the previous chapter, we covered many types of layers, and one type of layer is called an Adjustment layer, and the other is called a Live Filter layer (see Chapter 3 for the details on adjustment and Live Filter layers). We can mask a Pixel layer with an adjustment or Live Filter layer, but the process is slightly different. Notice in Figure 4.4 that there is a Pixel layer for this piece of graffiti, and an adjustment layer has been applied to it (in this case, a Black & White Adjustment layer) is added above it.

Also, notice that the square representing the Adjustment layer is 100% white, and we know from earlier discussions on masking that white reveals. So, if the square is white, we need to read it as all the adjustment...