ex­plained… Live fil­ter lay­ers

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pho­to­graphs from the ’70s, or ar­chi­tec­tural pho­tog­ra­phy from the ’30s. With that in mind, a per­son in pe­riod clothes or an art deco build­ing could make for in­ter­est­ing sub­jects.

Once you’ve got a photo you think will work well, open the unedited ver­sion in Affin­ity Photo. If it’s a raw file, the De­velop Per­sona will open – re­sist do­ing any­thing here and just click the De­velop but­ton to­wards the top-left cor­ner of the win­dow to switch to Affin­ity Photo’s de­fault Photo Per­sona.

Non-de­struc­tive edit­ing

All of our changes are go­ing to be ex­e­cuted as layer ad­just­ments, mean­ing each change will be over­laid on top of the orig­i­nal, un­touched pic­ture, which will stay avail­able in its unedited form at the bot­tom of the layer stack. There are mul­ti­ple ben­e­fits to this, not least of which is that you can re­turn to your orig­i­nal im­age at any time. You can also try cre­at­ing mul­ti­ple ad­just­ments that do sim­i­lar things, tog­gling dif­fer­ent ones to see which ef­fect you pre­fer.

For this kind of work, it’s best to first save your im­age in Affin­ity Photo’s na­tive for­mat. These files, while very large, pre­serve your im­age’s lay­ers and its his­tory of ed­its, which en­ables you to go back and forth as you wish. You should only cre­ate a JPEG file, for shar­ing or print­ing, once you’ve fin­ished edit­ing.

Affin­ity Photo pro­vides plenty of suit­able tools for black and white pho­tog­ra­phy, and, as with many photo edit­ing tech­niques, there are sev­eral ways to get the job done. Here, we’ll use Affin­ity Photo’s ded­i­cated black and white ad­just­ment layer. Click the Ad­just­ment tab, which is the one next to Lay­ers, and then click Black & White to bring up the chan­nel mixer.

Here you can choose from Affin­ity Photo’s De­fault, Cold or Warm set­tings. It may be that one of them is per­fect for you, but get­ting to grips with the chan­nel mixer could mean great things for your black and white pho­tog­ra­phy.

The colour im­age you opened is com­posed of a hand­ful of colours – Pho­to­shop uses RGB (red, green and blue) chan­nels, but Affin­ity Photo adds CMY (cyan, ma­genta and yel­low) chan­nels for good mea­sure when you open its ded­i­cated black and white chan­nel mixer. Put sim­ply, the mixer boosts or re­duces the bright­ness of each colour chan­nel when you drag the rel­e­vant slider. When you work on your im­age in full-colour mode, this pro­duces pro­nounced colour casts; in mono­chrome mode this can en­able you to boost the bright­ness of spe­cific ar­eas of your im­age with­out re­sort­ing to tone curve tools or sim­ply chang­ing shadow and high­light set­tings.

When you’re happy with your changes, close the mixer. You’ll see that your im­age

Add a live fil­ter layer

Many fil­ters in Affin­ity Photo are avail­able only as pixel fil­ters, but some can be used as live fil­ter lay­ers. Ad­just a live fil­ter layer

Live fil­ter lay­ers let you change their set­tings when you dou­ble-click on their icon. These check marks de­note whether or not a layer is vis­i­ble. Clear one to dis­able a layer. Switch lay­ers on or off All the lay­ers that make up your im­age, whether pixel, ad­just­ment or live fil­ter lay­ers, are listed here. The parts of your im­age

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