Affinity Photo for iPad

we are good to go it is the top of the hour hello and welcome today we are going to look have an intro session we're looking at the much-anticipated and recently released affinity photo for iPad I have only got you will be no doubt glad to hear a handful of slides but it's critical information that you need but before we go on if you don't know me I'm an Angels longtime trainer podcast host and in veteran geek love new software and this one is no exception so back to affinity for iPad I told you there wasn't much about me this session I I think we advertised it about 10 days ago and I've been doing sessions online for the last 15 16 years this one I've had more feedback about this session than any other so you guys love the idea of editing your photos on the iPad and I can understand your excitement why affinity photo well there's lots to love so what I want you to do is to tell me in the chat why you love affinity photo if you're already using it or if you're not why are you thinking of using it are you trying to replace something is it something that's completely new to you just let me know in the chat and I have a good idea of where we're at now I love affinity affinity is a suite of applications from serif software I used to use their Windows software back in the day and I mean back in the day early nineties and I was so amazed when they brought this out for Mac so within a few short years they've actually redefined how we think about creative design software me in particular can't wait for it honestly affinity designer was the first application that was released for the Mac and that followed with affinity photo for the Mac then they released Windows versions and I bought them I know that's really unusual I do actually own a PC I'm ashamed to admit but I bought them for the once in a year occasion I'm forced to use Windows and my excitement is mounting this year because I can't wait to get hold of publisher I have clients who are using Microsoft Publisher if still and I'm prying them away from it and I'm not having much luck because they don't want to go to big heavy things like InDesign but they need a little bit more power so hopefully Lucia will be with us in better at least this year now other reasons why affinity is so popular the number one reason that people give me when I ask them what they like about it is there's no recurring monthly fee and that is true of the Mac version the Windows version and the iOS version as I said my current Creative Cloud subscription is eye watering lis expensive and increasingly underused as I turn to affinity designer and affinity photo for the majority of what I do I was talking pre-show and saying that despite the fact I've got my subscription I haven't actually had Photoshop installed or illustrator for the last two months and I have not missed them when I want to edit Photoshop files I open them up in affinity photo and when I want to edit illustrator files I open them up in affinity designer and I really haven't missed it then of course we recorded a new podcast and I needed the audio editing and they're not doing audio editing yet but who knows maybe they'll surprise us one day I'm also in the process of transitioning from sketch from bohemian coding to affinity designer and actually I've already done that the last thing I've got to do is just convert my existing sketch files and then I'm done the other thing is there's a huge range of features in these applications from sareth they're comparable with what you've doubtless used in any other applications and I know in the chat we've talked about Photoshop we talked about Photoshop Elements acorn Pixelmator you are going to instantly feel at home in the affinity apps if you've used anything like that another thing people tell me is the speed of the applications on my previous Mac which I'll admit it wasn't too well hard drive wasn't too well I'd actually stopped opening other design apps because by the time they were ready to use I'd honestly forgotten what I don't want them to do in the first place and it wasn't unusual for and I don't like to keep saying Photoshop but Photoshop to take two minutes to open and that was on a pretty high power spec my new iMacs considerably faster but I don't think I should need 64 gig of ram in an i7 to edit a small JPEG and that's what really what it had come to another reason is the huge range of file formats that are supported and that does include Photoshop files and I'll show you opening a Photoshop file tonight and now it's available the iPad and because it's available on the iPad that means on the the iPad there support for your Apple pencil it's like a Wacom Cintiq if you've ever seen one of those on steroids I love my Apple pencil to start with I use it every day but once I started editing photos with it just amazing now the first thing to think about before we go into the demo because I know you want to see it you want to see what it can do is to think about what you're going to need to make this work on your iPad and you will need a minimum of an iPad air 2 that includes the iPad that was released earlier this year that's not the pro model so an iPad 2017 version 5 that's the one that doesn't support the pencil I do believe it is a little bit cheaper it's also supported on the iPad pro nine point seven inch the ten point five inch and the twelve point nine inch tonight I'm going to be demoing it on a twelve point nine inch there is very little difference between the twelve point nine that and the ten point five now people have said well why cuz I've got an iPad air one and I'm not pleased well as I've said the things that are a critical for this is that you're going to need the minimum of a nine point seven inch screen so if you're running an iPad Mini although it's an iPad it is not going to run this it needs that minimum screen size well I think when you see it you'll realize why the other thing it needs is a 64-bit processor so older kit just doesn't have that and that's why it only runs on the list that I've given you and the third thing is metal it needs Apple metal if you're unaware of what metal is it's the magic that makes your iPad work in the graphics department I looked up precisely what it was so I could tell you and it said it was a low level low overhead hardware accelerated graphics and compute application programming interface so like I said it's the magic that makes your iPad work that's all we need to know about it now I've had many mails from you since we opened up bookings for this and requesting specific demos so I hope that I've selected a good range to show you really just to show you how versatile affinity photo for iPad a thoughts what I've gone for but I've also gone for the demonstrations that people have seen before that I've done in desktop polity applications and what you wants and what you've been telling me is can I do this on an iPad now so that that was my remit so let's go and have a look at it so seamlessly into my iPad I hope and according to my screen everything's fine so I will carry on so as I said this is an iPad 12 point 9 inch it's brand new so it is a new one I've gone for black this time I went for white previously but black this time and all I've installed on here is down in the bottom right hand corner photo not done anything else other than login that's it so when I tap in there and to go into it right this is the welcome screen and this is your starting point this is your jump off point now you can access here you can start from scratch and make a new image completely so that's up in the top left hand corner new document that will give you that's the equivalent of saying file new on your desktop next to that you've got import from cloud so what I'm going to do here is just do some magic and hopefully this will work I love doing magic and then it doesn't work there we go so we're not at new document so this red doctor is going to follow us now so you can see what I'm talking about we've got import from cloud that's will access the materials that you have in iCloud now I've not been the world's biggest fan of iCloud there's anybody who listens to Mac bytes will know however it's been working rather well so having said that it'll probably crash and burn on me tonight but that's what it's talking about then you can import from photos there's been a bit of a debate as to whether you can work with RAW images from photos I have got a few links that I can pop in the chat and provide you with later that explains what's going on with them raw images from photos but I know that this is something that I'm sorry for working on so if it's not working for you at the moment there is hope that it will do shortly you can also create new panoramas so you can merge images together and create panoramas from them you can create new image stats you can fo you can use focus merge down in the lower left you can have HDR merge you can even import from the camera which will enable you to bring in images live as it were I might try that later just for a laugh and because you've now seen my desk my desk is I'm complicated tonight I might after we've finished try and take a picture of it and show it show you show at um in terms of moving this around all the cables that I've got and finally you can create a new project so this as I say is you're welcome screen now what I've been looking at doing is going through some demonstrations so I need to import some images from the cloud that's my starting point and what I'm going to do first is work on some raw images so I need to import from the cloud so this is what I'm going to do so the red dots going to disappear now out of the way and my hands going to come into play as I tap like a manic woodpecker with my pencil so I'm going to go into there that brings up my iCloud Drive and as you can see I've got a lot of folders in there because I have a lot of apps but the one handily that we're interested in is the affinity photo one in the top left hand corner and in there I have got Oh lots of folders and files and all sorts of things and there's things there that shouldn't be there but never mind I have organized this in iCloud on my desktop I created all of those folders one each for the demonstrations tonight and I've got some pictures that I have put on my finger in My Documents folder they said in iCloud Drive and I've got my documents going up to iCloud Drive so that's probably why so there's a few images that I've put on social media that's what they are but the folders are where it's at today and the first thing I'm going to do is look at processing some RAW images so I'm going to tap on the raw folder over on the right-hand side and what I've got in there is four images some of them have already been processed they've been processed elsewhere but they are two Canon RAW files C R 2 s and 2 D NGS that is Adobe Digital negative format files so they are actually in the cloud at the moment what I'm looking to do is download it to this iPad and start working on it so I'm going to start with the one on the left which is the it was a picture of the London skyline and I swear when I took it it didn't look as murky as that but obviously it was a raw image so we can work on it we can do something with that so because it's a raw file it opens up in the interface and I will talk more about the interface when we can see more but this is what would happen to you if you opened up a raw file in affinity photo for iPad you'll be taken to what's called the develop persona now a persona is just a collection of tools that will help you get a job done a specific job it will take away tools that are completely irrelevant in this circumstance and it will show you tools that are very relevant so in this circumstance each raw we need all those exposure controls the enhancement controls and on the left-hand side you have tools which are also relevant so if this image was of a person than it had red eye there is red eye removal in there I can put gradients on from there and I can crop images from there but it's really the right hand side that's relevant when you're working with raw images so I'm just going to show you what we've actually got here that image was completely untouched out of the camera I'm going to make it a lot lighter by sliding across on that top slider and you can see it was the the I think we're in the top the top floor of a hotel and I thought now that looks great mmm but now I've seen the top of it maybe not without air conditioning but if I take it all the way you can see exactly what that would have looked like in much lighter daylight and I'm just going to go through these and expose this image in the way that I would like to see it so I'm going to take that down so it's much much darker because I want the foreground to kind of blend away really I want that much much darker so take it right down over there and then going to change the black point if I slide that across to the right it changes the black points organic it goes darker I don't want it completely black though so somewhere like there gives me a little bit of wiggle room having done that something has happened in the top right hand corner of the image so I'm just going to show you that you zoom in and look at that that's either dust on the sensor or my lens was dirty not sure which but there's definitely something there that is actually something you can do something about in here but what I'm going to do is go back by double-tapping and that'll take it back to full screen view and I will sort that out shortly you can fix it in here or you can take it into affinity and fix it later so it's completely up to you so moving through what we've got here we've also got brightness so in a slide that's to the right again you can see it brightens it up and taking it down to the left darkens it down I don't particularly want to take that dark I just want the black bits to be very black so I want the black point to be quite across to the left note to the right there so it's sort of dark at the bottom that's what I want then I want to add a little bit of clarity to it so take the clarity up a little bit now I do want to change the colour of this image greatly because it didn't look like that when I took it honest it didn't so the saturation of the colors and the vibrance of the colors and the actual balance of the colors is where I want to concentrate most work on this so I want to saturate it let's take it out for D saturation and that's saturating it so I want the colors to be a lot more vibrant than they are going to take those up a bit I'm also going to take the vibrance up a bit you can see what's happening it's really affecting the colors there now I would like that sky to be the blue that I remember so to do that I can adjust the temperature of that I only have to move that such a fraction you can just see my pencil in shot there and it is just a fraction it makes a huge huge difference and with the tint I can do the same I can tint it so it's more green or it's going over to the red side now actually I don't think that needs much in the way of a tint it was the blue that I wanted to bring out into it and now I can scroll up and get to the rest of them which is the shadows and the highlights so again if I take that down over there with the highlights I'm taking those down go across the other way and it does the alternative I don't really need to make too many changes with those with the shadows I don't want much in the way of shadows in there so I'm going take that out that doesn't look too bad what I was concerned about here was the blue I wanted that sky to be much bluer so I'm going to take up the saturation even more an obscene amount of saturation because in my mind that's what I saw so I've developed that there now what I can do and this is brilliant I love to use this feature at the bottom of the screen there is a split option you've only got three options you can develop it now you can discard the changes or you can view the split and viewing the split means showing you what the before-and-after look like and you can actually slide that left to right so you take it all the way across it was a bit washed out it was a lot washed out and now that's much more like I remember it so you can get to see the before and the after I think that is a fantastic feature what I can't even with my video here my video camera get across to you is just how smooth that is but you can see I'm not it's not stopping in any way it's very very very smooth very smooth if it's what the Tim Cook brigade call buttery smooth it is very smooth indeed so I'm just going to tap develop now and that will develop the image and it will take it off into a finicky photo now we've gone out of developer mode we are now in a completely different mode the mode we are now in is the photo mode so the default mode really the default persona and these personas are up in the top left hand corner they are there so I've just put the red dot underneath it this is the first one that we're in now then you've got the selection persona the liquify persona and you've got these others as well so if I just tap on these I'm just a take you through them and you can see what you've actually got the tools change as I move so there's the selection tools in the selection persona there is the liquify persona and we get to this one here that one is your develop persona that we've just been into but you can use this on JPEGs as well as RAW files and then at the end this is your tone map persona so it's making it into a tone map that and well it's changed it hasn't it let's just leave it at that he's changed it posterized it's somewhat but I'm going to cancel out of that we don't want that so I'm going to go back to the default view and I went to DoubleTap to go full screen with that right so within this view this is where you all spend a lot of your time you have the tools down the left hand side so you've got the hand tool the move tool or the crop tool the fill tool the gradient tool all kinds of tools that you are used to all down the left-hand side there some of them have little disclosure triangles on them so the top one does and these in the midpoint here have disclosure triangles that indicates that the tool has more tools hidden underneath it so if I just choose that hand tool and tap on it once you can see it's the view tool and the rotate canvas tool and then tap again to hide that if the tool you're looking for the extra tools under isn't selected so let's say these down the bottom the stamp tool it's once to select the tool that is displayed and tap once more to see the other tools that are hidden underneath it so it's very very simple to use so I was going to go back to the hand for the default right over on the other side over on the right hand side you have got the studio's these are collections of tools that do specific jobs so we start at the top there is the layers studio this is where you work with all the layers the next one is colors and as you go through all of these these e brushes these you adjustments you've got access to filters you've got effects that you can apply you've got text you've got all sorts in here every tool that you will no doubt have seen in the desktop version if you have used that they have done an amazing job of making this very similar to the desktop version in terms of feature parity it's completely amazing what they've done so we were developing this and the last thing that I needed to do I didn't sort out my error at the top did I my dirt on the sensor but what I need to do with this to finish it off is to crop it so I'm going to get the crop tool I want it to be constrained so I want it to be the same ratio but I want to lose this building on the left-hand side I just want to focus in on the BT tower so in to tap on unconstrained and choose original ratio and from there I can just drag this in making sure I've got rid of that building and that looks pretty good there once I've done that I just need to tap the plus at the tick at the bottom and that crops me and out I go so that's the first process of this raw image so I'm going to go back to the welcome screen and that has now added itself to here this is the file manager that you've got on this welcome screen and it's added that image to it now I just want to show you that in terms of processing your raw images there's nothing to stop you going and doing it again so I'm going to import from the cloud and we're to go back and get exactly the same image which was in my raw folder but this time I'm going to develop it in a completely different way more like the one next to it to be honest I'm going to aim for much warmer this time so in here I need to change my black points I want to lose some of that make the exposure slightly less well you can add a bit of contrast into it I do want to saturate it I do want to add a lot of vibrance to it but I also want to warm it up a lot so instead of this end while we're down in the blues I want to take it over to this side and go very orange very orange indeed nuclear winter is all orange but let's pretend this is the morning we've got a beautiful sunrise okay so that's all I really want to do with that but I will show you that I can do something with this up here where I have a sensor dust I don't know how well you're going to be able to see that but it's noticeable here and what I'm going to do is use this blemish removal and I am going to tap on there I'm going to make that much bigger and what I have there is some where I'm taking it from and somewhere I'm covering up so what I'm doing there is that actually seems to have got rid of it so I've covered it up with this bit here put that over the top of it and that's pretty much got rid of it so I'm happy with that what I can do then is develop that and take it back into the main affinity window it even retains your zoom live also when to double tap to take that up to fullscreen go back into my crop and crop that exactly the same as I did the other one but I've got an image in raw that I have processed in two completely different ways and that one I even fix the dirt on the sensor as well so that's how you work with raw in it and it is amazingly powerful it's very smooth to work with there's no lag on it at all okay how we go any questions so far on Raw anybody got any questions on that because I can't see I can't see the chat it's behind another window I've got oh we've got a few questions half way go on read me a question yes I will be showing how to take these files that are in affinity photo for iPad and get them back to desktop yep I can do that no not really you can you can play around you don't have to do it in a particular order when I'm exposing raw images I do tend to work through from the top down and make because if I make a change sort of 3/4 of the way down and then I go back to the top I might need to go back to 3/4 the way down and change that because they all impact each other basically I would advise you to come up with a workflow for raw that works for you so I tend to go through a five-step process thing cover it not something about that I will find a link for you and send it out after the event but yeah I follow us a set pattern of how I develop an image can we have a little review of the studio's you absolutely can't we'll be using those studios as we go through it for various things but yes we can absolutely go over that at the end I should have mentioned at the beginning that these sessions we booked them in for an hour an hour and a quarter but I'm happy to stay around for quite a while I'm gonna chat with you and answering questions you've got and if you want to see something extra that's absolutely fine so yeah no problem with that at all yeah it is ok right I'll do that I'll go back into one of these images and show you that in the lower you can't see that on the camera well let's move the camera down a bit there you go down a bit the right if I tap that there we go tap and hold that and it brings up an over light which shows you what everything does amazing amazing if you let go disappears but if you're just not sure over on the right hand side which of those is which and you find yourself tapping and tapping and tapping if you just tap and hold that it will show you what everything is all of these studio panels that you have available and all of the tools on the left hand side as well I would say the tools on the left hand side are going to be more familiar to you than the ones on the right because when you're on the Mac version you will find there that they tend to have a title and you can follow them whereas in here is just a little icon so you can't we don't really have the screen real estate to have texturing but that's a way to do it so absolutely you can do that okay so keep waiting questions in our last stop whenever and get back to them so what was the next thing I was going to show you let's have a look oh right I had got an image and a lot of you had asked about this image of an owl now I have my owl image which is back in here in a folder called owl helpfully it's just a JPEG and it's an image but it was a stock image and I was looking for an hour for something and I looked at it I thought it's a great picture of an owl but for the colors not great know what I'm going to do with this one is show you some adjustments and these adjustments because of the way the studio's work are completely non-destructive so that's by owl he's not great bless him it's a good photo but what we need to do is to go across so let me just up and hold that and show you it's the adjustments studio which is the fifth one down on the right hand side we're looking at the adjustments studio so I'm going to tap up there and you'll see that sometimes I'm talking with my finger and sometimes I'm talking with a pencil is just really what makes sense and in here obviously I could scroll let me just show it I could scroll with the pencil but I tend not to I tend to move the pencil and scroll with my finger when I'm scrolling and tap with a pencil okay the brightness and contrast is the one I'm looking for but actually in here you have a lot of adjustments taken color balances or we can go crazy with gradient maps and all kinds of things but this one's relatively simple to improve this image greatly is relatively simple you can actually see the thumbnail preview that already that's looking better and I haven't actually done anything yet so I'm going to tap on there and that gives me the tools at the bottom of the screen here along the bottom edge where I can change the brightness and the contrast so how I do that is to move across to the right or across to the left I tried going up and down with that and it sort of worked but obviously as I'm going down I run out of iPad so I would suggest that you go to the right and the left with that brightness wise it doesn't really need too much in the way of brightness but I noticed as I was adding brightness that the background started to look less line II so I did add a little bit of brightness to it I can tell from looking at that that it must have been at a zoo and what that haze is that's over it that's making it look kind of misty is doubtless a fence that's out of focus because I've done that myself with pictures of tigers and ended up with what looks like a net oil over the top of them so that's probably what it is but if we move over to the contrast now this time instead of tapping and dragging one way or the other I just tapped and if you just tap you get this little calculator so you could just add 25 to if you wanted and see what that looked like or you can go back in and you can add 75 to it it sounds a lot much better you can also go in there and actually type it in so if you specifically wanted 74 you could do that too although that I didn't know summative already did there we go so not looking too bad I actually think now the brightness isn't helping this I need to take that down just a little or any tech contrast of that so a lot well it looks better with that he's starting to look better I think so in there I've added 29 and 78 mmm do I need a little bit more on the brightness possibly a little bit more on the brightness there we go so what I'm going to do with that now if you're working with an image and obviously I've got a portrait image here but if you're working landscape and you can't see that side you can also fold that down over I've actually took the wrong one I was in there but you can actually tap again it will leave the tools at the bottom for you to work with but it will hide the studio on the right hand side okay that's not looking too bad at all is it doing quite nicely though so I'm going to name that no actually that's a preset so I'm not going to do that I'm not going to name it there I'm going to go back into here and show you that you now have a layer and it's very very tiny let me get that up let's see if we can zoom in on that somehow me where am I that's it okay let me bring that over so we can hopefully see it it says brightness stroke contrast adjustment but it's an unnamed layer so it tells you what it is but it's actually an unnamed layer so that's what we've got over that I love it when I do things and things things happen it's off screen you don't need to worry about it okay so I've done the owl so what I can now do with these layers is actually tap the tick to turn them on and off so I can see the before and I can see the after that now don't this owl I could take it to extremes I could really go to extremes with this hour and what I could do is um I could duplicate that layer now I couldn't help but think I should go in here to duplicate which is all the layer properties but no it's not in there but making sure that I've got the layer selected which I have I go across to the left hand side I have two menu buttons there are two menus up there there is the first one which is the document menu this is all the things to do with the document and what I'm trying to do in terms of copy a layer that's not to do really with the document so I need the next one which is the document one and the very top option is duplicate and just hitting that duplicate we now have nuclear winter the owl because I've duplicated the adjustment that I've made so I now have two copies of it so turn one off and the second one off they are actually identical but I'm just showing you that you can actually duplicate that and that is how you handle duplicating the layers okay I'm saying what was the last thing that was put in the chat because I'm saying I remember the owl that's the last thing that I've got typed in there is everybody following along and not not typing is that what's happening okay so that was a very simple adjustment and just to show you there because he put it on a separate layer it's completely non-destructive so that is how you work with your adjustments and don't forget all I'm going through this and I'm doing all this I'm actually downloading these live from the cloud because this was a completely clean install of affinity photo have another iPad that I've been prepping on that this one it was completely new install of it okay I've got a question is how accurate do you think the iPad is for showing the adjustments when the image is printed or shown on other devices I say it's pretty accurate you are going to have to calibrate if color is that critical to you the reason that I mean I make an image look all right on my my Mac or my iPad and then what I would do is take it and have it printed I've gone through the process of having my own printers and printers are spawn of the devil when it comes to tech they work when they feel like it so what I wanted to do was have it printed out professionally and there's no point me calibrating my monitor to my screen and all the rest of it you know this to that because I'm been going to take it somewhere that I can't calibrate it to so I pretty much take send it to print or take it to be printed and then bring that back and have a look at it and make decisions based on that so I do it like a test first I would say it is fairly accurate okay am i all right with questions though am i okay okay right all right let's get on to the next one though which is one that I particularly like the look of because I thought it'll never work oh and spoiler hate did it was okay so I'm going back to import from the cloud again that's my affinity photo folder and I have this image which is why is it a Photoshop file she said worried because it's a hundred nod Meg and it wasn't when I put it up there but nevermind oh let's try it let's see if it really is a Photoshop file with lots and lots of layers in it okay so what's happening is I've touched on that it's download as I say it's coming down from iCloud and I am doing all kinds of things here with my tech absolutely all kinds of things in terms of broadcasting to YouTube etc so it will take a little bit of time because I stupidly use the Photoshop file but hopefully it will come down and I shouldn't ping my pens my pencil either should I hopefully it will come down okay I'm just looking for questions got no questions while this is thinking about it don't let me down because I've got this demo was a good one I like this demo so come along come along 100 Meg from iCloud I should open a book on how long this is actually going to take one thing I'd like to do in affinity photo is queue files to download to say you know download that now that's the after that we've got here what I'm going to do is lose that that's the before image that's what it would look like if it hadn't been fiddling in Photoshop you should never fiddle in Photoshop right it was an image that's it's good image like the image but the cliffs over here are a little bit hazy the sky is not bad nice colors in it but it's a little bit hazy now what you've got in here so let's tap and hold on again you have here some filters you can apply filters what I'm going to do is go back in here and what have I done there right what I done in Photoshop was a layers adjustment just to see how I could get it to look with a layers adjustment what I'm actually going to do though is duplicate this so I'm going to go back to my duplicate command exactly as I did before this is going to be my original the background layer is going to be my reference layer and this second one that's called background that's what I'm going to work on so you can actually turn that off doesn't matter and what I'm going to do with that is I want to apply some filters to it or a filter to it these are all the filters that you have available not only can you scroll up and down here and again it's very responsive but you can also go left to right on the title at the top so I'm not blurring this like I've got things to blur this isn't one that I want to blur and what I'm looking for in here as I scroll down they're in alphabetical order helpfully I am looking for haze removal which is that one so it analyzes the scene for me and make some suggestions take that out of the way so I could see my entire image and I've got that slider again my before a my after so this is the before and this is the after and what I was interested in let's put it across the boat there was making it I wasn't concerned about bringing noise into it because I can fix that in other ways okay but what I can do here is reduce that I can go all the way over to 100% which I have done which is the distance so that is from foreground to background how far into the distance do you want this to go and I want the whole thing to be haze removed but it could be that you've got an image maybe in the mountains somewhere and you like the foreground to be a little bit clearer but not the background so you just wouldn't take it the full distance then you've got the strength of the effect so as I take that up it takes that effective way and as I go all the way down to 200 we start to see horrific posterization they're horrific in all kinds of noise in it there are ways that you can work with this and reduce that but I'm showing you this just to show you the haze removal and I think 200 is way too much for that so I want to dial it back a little bit so I've got a huge change that you can see but not too much in the way posterization so if we look at the church top with that and we don't worry about the posterization and just see the before and the after there is a huge difference there so again double tap to get back to the full screen and there we go very very simple to remove that kind of haze it with it and that's it you done all you need to do then is hit the tick and it's applied so if I go back in to my layers and I've got my if I turn off that one that was what we started with and that was what the haze removal managed to do so if you think about the workflow have been on an iPad obviously you're out you're working on your iPad you're out you can do the most amazing things that you've just not been able to do before in a mobile device right but my most I had two features that were requested like crazy they were the ones that you wanted to see one was repairing images and the other was making selections the holy grail of digital image editing making selections that work so let's have a look at some of those because these are fantastic okay so going back in getting another image these are coming down live as you've seen I must be crazy okay we are looking for a very simple one to start with which is a poor child who has measles there we go she's got a fantastic smile and measles right but we're going to fix that now I have preferences there are lots of tools that you can use to start fixing fixing images so the first thing I'm going to do is to make these image edits non-destructive because I'll maybe want to go back and compare how I'm doing before so what I'm going to do here is I'm going to get myself a new blank layer I have two options when it comes to layers there are new pixel layers and you fill layers and I'm interested in a pixel layer so that's the layer that I've got put into putting above this that's the one I'm going to put the repairs on and my preference for working with images like this is to use the in painting tool but you have a whole collection here I'm just going to tap on that so you can see them you've got the clone brush the healing brush the patch tool the blemish removal the in painting brush and the red eye removal so you've got all these different types of tools and each one's best for it for a different job for me I prefer the in painting brush I must admit I absolutely love the in painting brush that's the one I'm going to use so I'm going to tap on the in painting brush which gives me my brush now most of the time you can just start painting away but I don't do that I don't recommend that you do that because if you do it's going to make changes to the current layer which is why I have made an extra layer so I'm going to do this on three different images because this is the demo that you wanted to see you assured me so I'm going to go through the same process of making a new blank layer and then in my source at the bottom of the screen I need to tap and instead of choosing the current layer I need to choose current layers on below because my current layer is blank it's empty so if I start painting with empty pixels nothing's going to happen and I can't tell you the number of times that I do that because I wish there was a way to make a default so it always says currently under below and never covering player but there you go that's what I would like right I then have five things that I can do here I can alter the width of my brush my brush beam what is on here there you go as I do that it's going to start repairing it now I didn't want that so I'm going to tap that undo and undo that only once not twice don't to lose the layer I can change the hardness and I can change the opacity in the flow right so really with trial and error without to be honest in terms of this little bit here which is I will zoom in that bit there I can have quite a soft brush on that the softer the brush the better really to fix it so all I'm going to do is just draw over that and it's that's it it's gone when I get to the hairline or around the eyebrow I might need to adjust the hardness somewhat because I don't want to make it look murky but it really is trial and error I may find that that's a little bit big as well so I might decide to take that down a little bit just enough so it covers that just I'm barely touching with this with the pencil and it's fixing itself I can't tell you how difficult this used to be and now it's really simple I've got a few just dust there on the lens by the look of it I'll go over that one and this was what I was meaning about the hair that one's actually under the hair so if I just do that within the hair it fixes it but if I've got one that's kind of half and half I may need to change that brush slightly but at the moment it's going well so I'm going to leave it alone if it's not broken I'm leaving it alone now one thing I do need to tell you and if you're watching on the camera you'll see that I'm actually using two fingers here to move around to zoom in and to zoom out I'm using two if I have the hand tool selected there I only need to use one but if I try doing it with my in painting tool it will in paint if I use one so that's why I'm using two to move it around I actually find I'm getting into the habit of using two and be done with it so just go over a bit there this is like magic it really is amazing it's taking very little effort on my part and when I say effort I mean actually thinking about how to do it what would be the best way to do it and I've got she got one on her eye there which is going to be pretty tricky so what I'm going to do is make the brush much smaller and just go over that there and that covers it in just enough there we go and you see what happened there should have seen a little red flash come across I didn't take my two fingers I needed to get to use two fingers to do that and there was one last bit down here that's a scratch as well somebody's been scratching I remember I did that when I had measles didn't please my mother right there we go you'll be scarred for life I got sold all right a little bit smaller now where the inpainting tool that I much prefer I tend to do it in little steps little increments I have tried to do it on images that are huge things to be removed and sometimes it copes better than others so it's a case of going through doing it if you're not happy with it undoing and then going back and doing it again you can use exactly the same technique for little bits of dust like this on clothes and I'm not changing these options at the bottom much at all I'm just literally tap-tap-tap anybody could do this this takes no skill at all so there we go there's our girl double click double tap rather turn off the repairs which are on a separate layer turn on the repairs and we've done a pretty good job there but I know what you're going to tell me that's all very well but that's simple yes I know let's try something trickier the images like that were made for demos but the other day this is a real image this is a real image that was just a throwaway shot that was taken for reasons other than doing a demo with which was my iMac arrived which meant the UPS van arrived and outside my house very helpfully the council not very helpfully keep putting lamp posts and other kinds of rubbish including this thing that looks as though it would look more at home on Doctor Who it's actually a street lamp I'm assured it's a street lamp but it's in the way now the reason I'm showing you this images this was just a throwaway image of the UPS van outside my house so it wasn't staged in any way and I thought this would be a great one to try and remove the stuff that's in the way so let's try doing that because there's nothing worse is there in a demo you look at these images and you think yeah that's fine they work on those they're sanitized no this one's not sanitized this was just a rough image with my iPad so what I'm gonna do is exactly what you see me do before go in and create a new pixel layer to put the repairs on go back and get the in painting brush because I love the in painting brush and make sure that I'm pasting from the current layer down below there we go that's what I need to do and I need to see what size this is that's a little bit too small and what I'm going to do is literally just paste over this just paint over the top of it so we'll get rid of that at the top and move down there I'm giving it enough I stopped there that's why that happened let's go down there a bit more I'm going over it so it's got a little bit of the edge because the trick with this is it's what you select and as you can see as I'm letting go it's doing our marvelous job here so let's get that last bit my wrist rejection going a bit shonky here there we go I'm probably having issues with the wrist rejection I've not had any problems with that I told you I'm trying to keep this on the desk so you can see it in this camera which means I can't pick it up and do things the way I would normally do them but there you go daddy's pretty good we can't tell that was there now and I can go through and I can do little repairs like that just get rid of the little bits of trees there get rid of those oh we can sanitize this crazily alright let's go out there that's looking pretty good oh we trying get rid of that bit people shouldn't have bushes that are too big in my opinion so let's get rid of them oh do that and get rid of that not the best repair I've ever done on that but and we've got that little bit there as well so I could do that where's my hardness I'm gonna take my hardness up a little bit because I don't want it to start getting muddy at the edges so I'm just going to go around that again there isn't one of you here watching this now who couldn't do this this takes no skill whatsoever anyway it's gone fantastic of course if you're like me perfectionist we've got that lamppost that's in the way mmm it's a rather big lamppost it's in the colours of the UPS van you'll notice band at the bottom very good of them but still it's in the way it really cuts that image right in half the problem you've got without images losing it from the top simple because we've already done that over the top getting rid of him from the top shouldn't be a major issue because the skies behind it and there's lots of sky for it to have a look at and use to fill in the gaps so let's just try can you get rid of that yeah that's absolutely fine the problem is going to be when we get down to the van because we never knew what the van looked like behind the lamppost we can make a guesstimate with the sky but not that so let's take it down and get it to the top of the van half a lamppost better than no lamppost there we go so not doing too badly at all but we would like the rest of the lamppost got rid of well I would so I'm going to go in there just painting over it but over the edge slightly over the edge give it a chance to work its magic and see what it does not too bad at all there's a couple of issues which I will fix and then I need to take away the rest of it so I'm going to do try and do that all in one go which is ambitious because it takes a lot of processing power let's see what you can do with that fantastic now the image that the bit that's not right is that it's got some rivets on here can easily get rid of that one but the reason it's got the rivets is because it's used the bit to the right of it to in paint with but all I've got to do is go over the top of it lose the little white dots on it take it out the lamppost has gone if I turn the layer on and off now lamppost was there lamppost has gone and you literally do not know it was ever there I went a little bit further I got crazy I thought look at the state of their roof can I fix their roof for them and now Ashley it wasn't that difficult was not difficult iPhone it was this easy to do and this cheap you don't need a roofer there we go fix the roof I also decided one satellite dish is more than enough for anybody so let's lose the other one and it whipped that away as well so out and that was there before that was the after there's tidied it up a lot if only it could cut my grass as well which we won't talk about my grass we're thinking of it as a wild garden at the moment now okay so that was - but I said three let's go for broke that one was impressive but let's go for broke so I'm going to import another one this is the last one of these but this is a beach swing where's my beach swing this one is a stock image that I found and I looked at it and I thought this is crying out to have that swing in the middle of it removed I know it's the main feature of this image but just as an example could you possibly do that so I'm going to do exactly the same again which is get myself a new pixel layer I am going to get my in painting tool because I love my own painting brush and I'm going to choose from all layers what I'm looking to do is lose that swing and seen as though it is so big it's so central it's over so such an intricate background I didn't think I was going to stand much much chance at all so I started at the top this was the one to be honest with you I had the iPod upside down while I was drawing on it so I've got to keep it flat on the table oh no I will do what I can with it because the image is so big being a stock image I'm going to do it in sections yes I did blue data lunacy complete lunacy and try doing it in one go I don't recommend that so what I'm doing is giving it just enough around the edge that he can see a contrast it needs a little bit selected so it can see the contrast if you don't give it enough you'll get ghosting which you can get rid of I'm got any ghosting on that one but if we work through and we see some ghosting and that's what it is but you just need to go over it you don't get ghosting if you give it enough pixels in the selection around the edge so that's the trick with it don't just try like that to be very sighs go a little bit wider on it and it will make a better job with it so you can see I've got a little bit left over that I just have to do that through when you try and get rid of everything now from here upwards she's going to be tricky because it's it's a bit scraggy they're a little bit scratchy but same principle holds good just draw around it and give it give it enough pixels around the edges so it can make that selection and make a good guesstimate as to what you would like it replaced with and in this case it's the sky background so literally just drawing drawing drawing this works just as well with your finger I find it's easier for me with the pencil because I can actually see more of the screen it's not obscured by my hand which it would be if I was using my finger now that one's left a little bit of ghosting behind as you can see but all I need to do is just go in and just give it a couple of strokes across and it will disappear and I would I went for two fingers but it didn't like it so I will give it two fingers if it doesn't stop behaving there we are and just tidy that up there it's a little bit of a dark patch there so just do that okay gonna get rid of the rest of that by taking that brush up a little bit just to make it quicker oh I've got so many demos to show you in a limited amount of time to show you so let's go through and do this one let's get that down to there just leave the seat hopefully that will all go in one oh no oh it's crashed okay yeah it is a bit of a case of can you tell what it is yet okay I'm gonna go back in I'm gonna give it one more go it is a difficult one it is a difficult one I said it was a difficult one now what I could have done which I should have done was I should have made my layer my pixel layer I should have gone in and got my tool I should have got the right tool in painting I should have done that got going with it all right so let's just very quickly all right just do that this is because I'm getting over ambitious with how much I'm trying to do in one go if I did it I did it slower if I did it in more passes it would be easy if I go out of that now it will save it so you can see it saving in the top left-hand corner so then if I go back into it if it does crush I'm not going to lose that so that's that's just me trying to do far too much far too quickly that's the problem with it but I will give it one more go so I'm just going to do this very quickly I really should have one that I did earlier shouldn't I so you could see that see how good it was if it did it oh did he do it no two fingers come on oh it is misbehaving on this one I'll give it one last go if it doesn't I'm gonna move on to a different demo I'm going to come back to this one at the end because every time I go in I've got to go and get my inpainting chill and then I've got to go and tell it this is why I want the default to be reversed I'm gonna go and tell it to do something different so let's go through here I'm going very quick I'm going far quicker than I would be if I was doing this for real because I'm mindful of time but let's see if we can get rid of stuff do not crush on me don't you dare okay that's looking pretty good isn't it so it's really quite simple to get rid of the the rope bits on here that's not too tricky at all just give yourself enough room around the edges I don't crash I don't crash so what to do there we go that didn't crash that was me there we go a little bit there and let's get rid of this bit a little bit bigger and as I say if I did it in more passes it would be absolutely fine I wouldn't have a problem at all it's just because I'm trying to get through it with the speed and fix these little punches over here so what we left with well if with a bit at the top the bit the side and the bit about the bottom when you try and do this one in two goes I'm determined to get this done aren't I look at the time this is unbelievable I've got so many demos to show you that you would love tell me in the chat if you'd like me to go on for another 15 minutes cuz we did schedule it for an hour and 15 I'm quite happy to stop at 9 or I'm quite happy to carry on because this is amazing you love these demos right bye-bye there you go all right a little bit dirty smudges on that which I will get rid of it's really because it is such a complicated selection this the top bit is not too tricky that will be in two bits so I'll do that bit first I get rid of that mat and I know you guys when you get hold of this you'll be able to do a better job than me I will put the link for this image which is a stock photo in the resources I'll put it in the YouTube description as well and you can give it a go and you should send it to me and show me that you did a better job than I did at which point I'm going to put time limit on you can tell you've got to do it faster because I'm trying to do it fast you all want me to carry on okay I'll carry on I've got a picture of my dog my adorable little lad and that's a great demo that's a great demo okay it's looking a little bit smudgy it wouldn't look that smudge if I if I'd take more time on it but let's see if we can get rid of this this bit I definitely did this in two little bits I took off first then I think I took the ropes off the bottom and I wasn't particularly concerned about being overly precise with that just covering the ropes up it even put the little footprints in for me then I went and got two fingers two fingers come on you painted red on there and you've left it red what have you doing there done that for okay I am upsetting this with the speed I'm going clearly okay gonna do it for me he's left that red bit there that'll spoil me fun weren't it no idea we're breaking it right what I'm gonna do is just quickly go over half of that there you go and finish it off this was why I turned the iPod upside down and turned it on its side so I could just draw in a more natural way I'm sort of a bit squashed up here trying to do it on a desk but it's worth it so you can see it there we go so that's all gone apart from that red bit that shouldn't be there at all should it so I'm just going to do that shadow over there because I mean got rid of the swing we need to get rid of a rid of the shadow of the swing and what I'm going to do learn is take it back to save it and I have no idea why that red bird isn't disappearing would it disappear if we turned it off and on again oh no idea what that is it wasn't the pen the pencil or the brush but you get the idea it's gone it's gone completely gone right okay so we've done the in painting the in painting is just amazing right I'm going to carry on then and look at some selections because this is the one that you really ask me a lot about selections you were interested in selections I mean the number one thing to select his hair and fur isn't it and I've got a great I've got three great demos here a varying complexity okay gonna start off with Charlie Charlie the camel Charlie is a stock image and I've got another stock image that I will be working with with Charlie but this is Charlie alright what I'm going to do to start off with is duplicate Charlie so I have Charlie on the background as well as Charlie and what I'm going to do is show you the selection tools to get to the selection tools and the reason that this is difficult is if you look at the fur you've got edges of fur there and there's blue behind it and that's why it's a difficult selection I mean we can all make selections if it's got hard edges if you're selecting a cardboard box it's not difficult you need to go into the selection persona having got in there you have all these tools down the left-hand side that will enable you to make selections because the background is so conveniently virtually one color I can use this smart selection brush at the top and make it very big and start selecting just by drawing on it the blue bits you saw how much that's selected you can see the marching ants it made a bit of a mess of the selection though it's over selected but we can fix that because you have a mode here and you can use the add to add to that selection but I don't want to add to it because I'm trying to select the sky and it's got too much already I want to take away from it so I can change the mode to subtract and go in there and just drawing over the fur I can take that selection back to the edge of the phone I can do the same at the top but no matter what I do with election brush I am never going to get a great selection on there because just look at the edges of it there's no way I could draw around that and select it but by selecting the background the blue bit I unable myself to do something else which is double tap and this time instead of going out it gives me four options and I can invert the selection if I invert the selection the ants don't look any different but I'm now not selecting the blue bit I'm selecting Charlie but it's still not the best selection not at all you can tell that from here what I need is another tool and helpfully we have down at the bottom here so if I just tap and hold on that you can see what all those tools are we're looking at the refine selection tool and this tool is amazing this is going to be your friend you are going to love it and I'm going to tap on there this takes me into a different mode which is going to enable me to refine the edges of the selection I've already made you can see if I've knock this out and I put that on a background I'd have all this blue from the sky all of that would be showing because it's not really being excluded from the part of the selection another same problem with this it's a huge huge image that I'm asking it to do a lot of work on a lot of calculations but I'm going to give it a go I'm going to give it a go and what I'm going to do is just start drawing over the edges and when I do that it has a calculation and it tidies up the selection so you can see this bit here over on the right hand side has much less blue showing through than this bit next to it which has def got definite blue tinge ease on it so if I do the same again just go over the edges it will have another think about it and it will tidy that up having said that this bit isn't the most difficult is it so if I just do that bit I've done the easy bit but when we come to look at this this is a nightmare there's further that you can see that is if you if you're looking at my camera where you can see me pointing there's actually further it's not selected at all so what I'm going to try and is just make a smallish selection it's gonna work on this bit here and I'm going to go round and select all of that so I'm going over and above to just get in all of that fur and it has made a much better selection of that so I'm just going to carry on going around there and doing that so just going over all of the edges now you can try this in one pass if you want but I wouldn't if I were you I found it works better if I do it in little bits and we can see there he's got some fur just on the edge of his nose and I'm gonna go across his nose here the camels have nose nose I think so there we go and that's all around he's a eyelashes and eyebrows there go across the top up to easier so just going up to the top of his ear and it's tidied up that and now I've got another difficult bit and she's this bit here as we come down behind his ear and down the back of his neck that a lot of that is stuck out quite away from his body and there's a lot of blue in there so I'm just going to go over it as I say I could do that more at a time but it's quite difficult so I'm giving affinity at least a fighting chance of making a good selection there and not dying a sad death on me in the middle of a live session I would never do okay that boots done this bits a lot easier because he's virtually straight so I'll just go around there very quickly and that leaves the bits but the end here so I'll just take it from there up to there and then finish it off going from that bit there right up the back and that's it we have our selection now I can see that it's better because there isn't as much blue showing right but you are looking at it with what's called a ruby overlay if I tap the overlay option at the bottom you can change how that's displayed so I can change it to black and you can see what that would look like against a black background you can see there is no blue so I'm going to go back and choose white you can see on a white background there is no blue we've got rid of it all you can see it on a transparent background and my personal favorite black-and-white that shows you the selection that you have made and you can see just how amazing I just tap on there just how amazing that selection is and it didn't take the usual years of practice that's just an Apple pencil and drawing around it okay so that's my personal favorite to check how my selection looks i'll just going to take it back up to what you're probably going to work with which is the overlay now I need to do something with this I can't just leave it sat here I'm in the wrong mode at the moment but on the output in the lower right hand corner I can output the selection that I've made because remember I'm in the selection of persona and I'm making selections and I can output it as a selection can output it as a mask a new layer or my favorite which is a new layer with a mask the reason why I would do that is the new layer with a mask would enable me to make changes after I can go in and edit the mask so that's why we choose that one and then tick just hit the tick and out I go and there is my camel which he's groaned but he hasn't got a background now so what I now want to do and I'm just going to go out and save that lest we have any crises and go back into it what I'm going to do now is go up to my menu and I'm going to choose place and I'd like to place a document and my document is in the cloud it's in Charlie the camel and it is a background an Egyptian background so I'm gonna load they sane and where it's loading is it's loading into my pencil really or my finger and to add it to this image I just need to tap it and it brings the image in obviously it's way too small but I can just stretch it out and I'm actually stretching that out with the pencil and all I need to do is make sure that it's covering there so it covers the background move it into place need to be a smidgen bigger perfect okay now obviously problem is can't see charlie now so need to go back to the layers and you see that this image is at the top I need to put it behind Charlie now there is Charlie and his friends I think Charlie needs to be moved down a little bit so I'm going to move him down here but the problem is it's a little bit contrasting with the background we thought he's not contrasting enough I can't really see either too well so what I need to do is apply something to this I need to do something to this and what I need to do I'm just going to duplicate it so I can go back if I need to so just duplicate that background and what I need to do with it is to go into the filters and I said there were different filters and we looked at blurs here's some blurs what we really need to do is blur out that background slightly so I'm gonna add some lens blur to it okay and what I need to do with that I'm going to turn on the before and the after and why are you looking at that sarcophagus there what I need to do is bring up the ease and you can see what's happening the background is blurring so if I cover one face but not the other I can change the thresholds and how much it blurs in what way it blurs it can change the curvature of the blur I can do all kinds of things but the biggest thing is if radius do you want it a little bit blurred or a lot blurred I think somewhere in the middle is about right so I can do it before and after all Charlie looks much happier now in fact I think I made a little bit blood even more so we've gone from there it's now applying a blur to that layer all I should say it's thinking about it there we go it's done it if I go back to my layers that was what we had before the blur and that's what we had after and if you look at Charlie there's no sky there you can see all the way through his fur into the background so you've recompose netted that okay that was one right better go back to here I have two more that show you similar thing but again a lot of these images like charlie was against the sky and although it's impressive to be able to knock Charlie out of that image against that sky it we've more impressive if you taken an image that was a real image a genuine image you just snapped a photo and that's what I did this is about 12 years old in fact yet he must be at least 12 years old you'll all laugh when I don't want to explain why and this was my boy isn't he amazing this was Mike looking about twelve so I won't say looks a little bit older yet but he does look a little bit older and that was my computer it was a fourteen inch monitor oh wow so this image definitely was not taken to have this done with it absolutely definitely was not done for this it would be nice to be able to extract Mayer from the garbage that is my mcse textbooks at the back there but it's a tricky one because him he was a bit furry he was very furry so what I need to do with this is to go back into the selection persona and I need to make a basic selection and I'm just going to roughly go around there and hopefully make a selection we're in the subtract we need to be into the add so we need to add my selection there why are you making me a selection lets me make sure that we can do that what are you going to do this fear we're doing this you should definitely doing that I could do that on the other way oh and there's me saying isn't it marvelous when it works and here it is misbehaving you saw it work on Charlie it was exactly the same thing I what I'm going to do is duplicate that layer see if that makes a difference need to go back to here duplicate the layer gonna play ball with me or are you just not playing with poor mayor you know are you you are not okay what was my other one mm-hmm I can refine the selection but we haven't we have got a selection you're just not showing it to me it's a terrible selection oh well that's appalling okay when I go back I'm not seeing my selection that's my problem I am not seeing it so why aren't I seeing it right I am going to do a double tap and I'm going to do select all I won't have to do this blind I seem to have lost it's showing me that I've got a selection so what I'm doing is I'm scribbling over mayor and hoping that it's making some kind of stab at a decent selection which I will be able to see when I go into my smart selection I've seen better selections right what I need to do here is alter this selection and I'm going to tell you this worked marvelously in rehearsals I'll just have to do it this way not much else I can do other than go around the edge like that and hope for the best it would be nice if I could see my selection as well so if you could just arrange that that would be good there we go at least this way I can see my selection and you are making a bit of it as we say in England town halls of that aren't you you're determined not to make that selection right let's go down oh the joy of live demos a little bit I love it that's not the best selection in the world however ok mmm you think right what I'm going to do given mindful of the time I will show you this one later what I want to do is to go back and get a different image because this was the most difficult of the lot having said that if it's not behaving at the moment can you imagine with a more difficult one but let's do this last one if we can where we go this one was even more complicated this one was the lady in the graveyard he'll remember the lady in the graveyard right what I need to do here is to make a selection of this so hopefully this one's going to behave itself more right let's do a selection you see you're working it just mayor it doesn't like tonight ok I'll do the male one later and then you can see it right I am selecting far too much this I need to get that brush right down I've tried to select the background so I need to lose all the stuff that isn't background by subtracting it but this one is the male one was good but this one is amazing if I can get it to work there we go so I've got a very rough selection I think when I did it I went in here and to do a selection of the feather thing as well up there made a bit of a go of that and then tried tidying it up right okay so I need now to invert that selection so I'm just selecting the lady but it's not the best selection of the lady I've ever seen not at all but the bit that we're going to be interested in and this is the one that everybody said to me the hair I need to select hair how do I select hair well this is how you select hair I'm gonna go over a little bit here and as I move down you'll notice the interface gets out of the way so that disappears that's much better so I'm going over the hair including the gray bits in the background which is the background and going all the way over here up to that right so it's making a good stub at that selection I'll tidy up over there she's just her arm I need also look bad at all in fact if I go into the overlay and I change it to black doesn't look about selection at all but I'm going to show you by zooming in that that hat is actually porous it's got holes in it and it would be good if you could be able to see through it but that's going to be tricky isn't it because if we look at what that selection is by seeing this one there is nothing showing through you can see with the hair that it's showing through but with this one no so I'm going to go back to my overlay and I am going to go over here like that this is ambitious this is very ambitious but I'm going to do it anyway hey it failed me on May I hit better not fail me on this one my poor boy he's going to have to be done later I'm afraid or he's going to be very upset right so let's do that right doesn't look like too much has changed there to be honest but if I go into that overlay and I know I'm running very tight for time aren't I pretty so worth it you can now see instead of it being solid it's actually made the most minut of selections in there oh if we can get this working this will be amazing so I will output this I will output it in the same way a new layer with a mask and hit the tick and we're out we have the Hat we have some colors in it we actually also have some holes in it believe it or not so for that to work well we need to see what's behind it we need to put something behind it so I'm going to come out of it just so it saves I do not want to lose that and then I need to go in and I need to place a document so I'm putting a document behind it and this is where the graveyard came into it because she looks quite dark a mysterious done seeing that outfit all right it's loaded it in there's my graveyard way too big but I'm going to take it down so it fits on there and as long as it covers it top to bottom that's fine although obviously it's back to front in terms of layers so I need to take the lady and put her over the top and what I need to do with the lady is we need to see that we can actually see through that hat so I need to move her down and as I move her down you can see you can actually see the bird through the Hat you look there you've actually got where you can see the bird in there and the more time you take with this the best the better it will be the absolute better it will be you can also see we've got a great selection of the hair there's no gray showing through there from the previous one and the hat and everything else so that hat is how you would select things like a wedding veil so you can see through it so as I move it around you can actually see the background through that hat and you can see the bird through that hat the more time I take with that selection the better that will be but we have oh I think I've got more demos but we've reached the end of our time really so how about we have another session would that work for everybody so let me just get back into my slides where's my mouse pointer go you've been playing around right okay so quick wrap-up if you find that you have edited an image in affinity photo and you take it back to your desktop and your desktop gives you a dirty message saying that they can't edit it you need the beta version the very latest version that has yet to be released in the App Store and I've got a link that I will put in the chat that you can download that from it's a problem I had and it now works fantastically so you will not have that problem if you use the beta version if you are looking for more training you will find on Vimeo that affinity have their own tutorials and they are very very good so what do have a look at those on Vimeo if you're interested in affinity photo for the desktop the Mac version I have a session that I delivered on YouTube you can go to my youtube channel and you can find the recording it was from an earlier version of affinity so if you're interested in more affinity I can do that so just let me know and other than that contact me if you have questions I know hi have questions that I will be coming out to but if you think of anything after the event you can contact me on all of those although to be honest I'm not great on them oh and our Nets go on hasn't it never mind that I'm not great on Google+ they keep changing it and I can't keep up with it but I'm there on LinkedIn Facebook and Twitter particularly so you can find me there but I'm gonna head off into Q&A

Channel: Elaine Giles

Views: 157,204

Keywords: Affinity Photo, Photography, Photo editing, tutorial, iPad

Id: aIW20pIJO9I

Length: 79min 4sec (4744 seconds)

Published: Thu Jun 29 2017