Edit on iPad: RAW Photos in Affinity Photo | Ben Nielsen | Skillshare

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Edit on iPad: RAW Photos in Affinity Photo

teacher avatar Ben Nielsen, Good design is the beginning of learning

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (33m)
    • 1. Introduction

    • 2. Course Project

    • 3. Importing Raw Photos Onto an iPad

    • 4. Tour of the Develop Persona

    • 5. Making Basic Edits

    • 6. Making Local Adjustments

    • 7. Exporting

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About This Class

This class is all about using Affinity Photo on your iPad to edit RAW photos. We will learn how to get RAW images on to your iPad and then we will dive into Affinity's develop persona to learn what all the tools do so that you can make awesome edits, even when you are away from your computer.

Meet Your Teacher

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Ben Nielsen

Good design is the beginning of learning


I am passionate about good design and good teaching. I believe that anyone can learn simple design principles and tools that can help them create content that is both beautiful and functional.


Background: I am a media designer and librarian. My masters degree is in instructional design with an emphasis on informal learning.


Motto: Good design is the beginning of learning.

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1. Introduction: Hi. My name is Ben Nelson, and I'm excited to have you join me for this class on editing raw photos in affinity photo for the iPad. If you've been into photography for very long at all, you've probably figured out that shooting raw photos is the only way for you to get the most out of your photography. But editing those raw photos can be hard when you're away from your computer and raw forms really need to be processed to be any good to anyone. Fortunately, affinity photo is a great photo compositing app, much like Photoshopped, and it also has a great built in raw editor, much like light room. So we're able to use that honor I've had wherever we are to be able to process these raw photos and really get the most out of them. For this class I will be using, and I've had from 2018 and an apple pencil and affinity photo. You need to be able to run if any photo in order to be able to get the most out of this course on an iPad of some kind. There are a number of different ipads that support if any photo, including all of the iPad pros and any I've had that supports the apple pencil. You don't have to have an apple pencil in order to complete this course. We won't be doing really anything that needs an apple pencil, but you will see me using it throughout the course during the overhead shots, just in order to be able to point things out to you on screen without using my fingers. But you're fine. To be able to use your fingers and complete everything that's in this course, we won't be doing anything that really needs the features of the apple pencil. So I hope you're ready to dive in and learn how to edit raw photos, an affinity photo for the at bat. 2. Course Project: the products for this course will be to take a raw for that you have, or you can go take a new one, doesn't matter and edit it using affinity photo on iPad. While there are many features of affinity iPad that can help you to produce great photos would be focusing in on the developed persona for this course. So let's keep the photo. I didn't ingest within the developer some for this project. Once you have your photo looking the way you like it, you can develop it and then save it out of affinity, photo as a JPEG and then upload it to the course project area of this class. Please take the time to complete the course project. It's much better if you are able to follow along. Then you will learn better how to use the features, an infinity photo that we're going to talk about and how to develop your pictures to make them look really great. Then you need to upload your photo to the class project so that everyone can learn together . It works out much better when we're all learning together in a community rather than just learning in isolation, so in the next video, we're going to talk about how to get the raw photos onto your iPad and into affinity photo . 3. Importing Raw Photos Onto an iPad: The first step to editing raw photos on your iPad is to get the photos onto the act pads memory so that you can edit them. You could use your iPad to take a raw photo, but you would need a special app because the regular camera app doesn't do that. Or you could use your iPhone again with a special app so that you could take raw photos and then you could air drop it over to the iPad. But more likely, you're going to use a DSLR or a mere list camera to take your photos, and then you will need to transfer them to your iPad. A lot of cameras with wife I have an app that you can download to transfer photos to your phone or tablet, but they normally do not transfer the raw file. So actually transfer a compressed Jay pek file instead because it takes a lot of bandwidth to transfer a raw file there just so much larger than J pecs. So to get your raw photos onto your iPad impracticality, you're going to you need an SD card to lightening adaptor like I have here, and you can buy these from apple officially, or you can just buy them, like on Amazon from 1/3 party. This is 1/3 party won, and it seems to work. OK, of course, Apple would recommend that you use their own. So all you have to do is take your memory card and insert it into the slot of your reader and then take the lightning port on your reader and go ahead and plug that in there. When you do that, it's going to go ahead and pull up in import screen for you, and then you can just select the photos that you want to import. Then you hit import in the top right, and you can choose to import, selected or import all. I'm going to choose import selected, and then it will run through and import them. Then you can choose to keep them or delete them off the card. I'm gonna go ahead and delete them, and then we just have the files for meeting on the card. So now those photos have been transferred into the photos up on the iPad, and we are fine to be able to use them in any of our photo editing APs. So we'll go ahead in the next video and start working in affinity Photo 4. Tour of the Develop Persona: right Now that we have our photos on our iPad, we can go ahead and jump in and start looking at the Infiniti Photo developed persona. So in order to do that, we're going to need to make a new document in a family photo. And for this one, we're just going to choose import from photos and then choose our camera. We're looking for a bra photo in particular, and so anything that's marked with an r a w in the bottom right corner is a raw photo a Famed is under is recognizing that it can work on and develop. So let's go ahead, and we'll just choose one of these flowers here, and you can choose any raw photo that you have. And for this one, we're just going to be looking at how the developed percent of works. So any raw photo will automatically open up in the developed persona because it needs you to develop it before it can start doing the other faster effects that affinity photo house . So we can zoom in and out on this photo just by pinching or pulling their fingers apart or together. And so I'm just gonna move the foot over here so that we can see it. What we're working. We can make all of our adjustments in the developed persona non destructively until we hit the development that's down here in the at the bottom of the screen while we're on the hand tool that will make our adjustments permanent to the photo that's in our document. But it won't actually change the raw file that we have stored on our iPad. So let's just go ahead and let's take a look at what we have here. This is the basics studio. It looks like a wheel, and this is where we can make most of the adjustments that will want to make within the developed persona. The first thing that wheel notices the hissed a gram and a lot of photographers like to rely heavily on the history. Graham as they are making their edits when things we can notice right away is that we're clipping in the Reg Channel, and I'm not quite sure what that is. But it might just be the bright things over here. On the right hand side, you can see we have a very high red in the middle of the screen, which is, of course, this flower. And so we can kind of watch the hissed a gram as we go along and use it to help us make adjustments. Some photographers love to work off the hissed a gram. Some photographers don't just kind of depends on your style. So the first thing that we can do and I'm just going go through each tool here in the basics studio so that you can kind of see what they dio 1st 1 is exposure, so I can drag this to the left and you can see that it gets much, much darker. And I drive you to write, and it gets much brighter if it any time I want to reset one, I just double tap it. It will reset back to its original. The black point ups the number of black pixels in the screen, basically, by making the pixels doctor, I always like to bump the black point up a little bit for the most part, but you can see if you drop back, it will get really washed out as well. So depending on your style, you might use that for different things. Brightness is like exposure, but it's dealing only with the lightness of the mid tones, so it won't be as dramatic as dealing with exposure as we drag it up and down, all right, moving on to this enhanced group. The contrast is going to make the dark point starker, and the light points later. And so you can see that as I dragged that up, there's a whole bunch of movement in the blues in the history graham over to the left hand side of the screen. As things get darker and especially the blue pixels, clarity work similar to contrast. But like brightness, it mainly affects the mid tones, so it's not as dramatic. Of course, Saturation is going to pull all the colors up on their saturation scale, and that's just gonna make all of the colors look a lot deeper and brighter. You want to be careful with saturation because it can really make things look fake. If it goes too much on. I prefer to use the vibrant slider more most of the time, which tends to just have a more controlled effect on the colors, and next we have white balance. So as we go down here, you can see we can control the temperature and tent so we can control the balance between blue and yellow and between magenta and green. So down here we have the white balance and that allows us to control the temperature between blue and yellow, which is cool and warm. And then the tent between magenta and green. These sliders are pretty powerful, so you can just make small adjustments with them, and that could go a long way. But I'll pull that way up so that you could kind of see what's happening. So we do that the whole picture is becoming a lot warmer, and as we pull this down, the picture becomes cooler. Then, as we pull this up, you can see that the magenta is and reds. They're starting to deepen, and if we pull it down, everything will become a lot more green. So the key there is to you mostly try and get it to look like the temperature in which you shot the photo. And then the last group is shadows and highlights. So if we I want to raise the shadows in our picture, we will just bring that up and the processing on this can take a bit because it takes a long time. So, depending on how powerful your iPad is, it'll take very being amounts of time to do it. If we pull it to the left, it will make the shadows doctor and then highlights. Highlights is the one that I probably used more than any other slider because a lot of times the highlights just tend to be a little bit blown out in the pictures that I take, especially if I'm taking in sunlight and so often pull the highlights now. Like I said, it will take a second for, if any, to process that that will take the brightest parts of your image and make them less bright . So that's the basics studio. Their next we have the lens studio, and I sell them. Have to do much with the lens studio here, but occasionally I will need to use it, particularly if I'm shooting with a GoPro. I might need to you change some of the distortion options, so these will just allow you to you changed the way that the picture distorts. So if your lens distorts in a certain way, you can make adjustments like this to make it better. And of course, as you make thes distortion adjustments, you'll have to also then crop the photo in order to you make it not have those empty pixels that are being formed along the site as we change it. So if something in your picture doesn't look right, chances are you can fix it in the lens distortion thing there. Unless, of course, it's way off, and you would just be losing too many pixels on the side to be able to fix it. Chromatic aberration is just on on off switch, which will try to fix any color aberrations in your photo. De fringing will try and pick up places where colors air not right on the fringe, and fix them. This photo seems to be pretty good, not seen a lot of changes as we go along this spectrum, and any section in here can be turned on and off so that you can see the before and after. One of the important things to know here on this lens correction is this is where you can add your own vignette so you can remove, and yet, from your camera using the removing yet section. But you can also add your own post crop. Then yet so to the right will add white vignette and to left will add dark vignette. You can change the scale of it and the hardness of next. We have the details studio and the details studio will allow you to try and bring out more of the details and try and sharpen up your image a little bit. This doesn't always look great. Just kind of depends on the photo and the edges that air in it. So you have a radius and you have an amount you can see is not doing too much to this photo and then noise reduction. If you have a photo that's really noisy, you can try this, Um, again, this is a hard process for, if any, to be able to you great at especially you might have a really noisy, low light photo, but it's gonna be hard for affinity to do much in removing that noise. And then, if you want noise, you can add it with this lighter so you can see that's really making a noisy picture as I bring that up all the way so you can choose Goshen noise or color noise if you're particularly looking for that noisy kind of style. Next we have the curve studio, and this is a really powerful studio. A lot of photographers will swear by working with curves. Some work only with curves. Basically, we can drop a point onto the curve, and we can drop as many points as we want. And often what you'll see started first do is an S curve, and you want to make really just kind of refined adjustments in here. And so you can. You can affect all of the shadows, Matilda and highlights in different in very specific ways by adding points along this curve . What's in that off for now? And if you want to reset it, you could just tap that reset arrow, and it will snap back to a straight line that started with down here. You have the black and white adjustments so could turn on black and white. And then you can adjust the red, green, blue, cyan, magenta and yellow hues within the black and white image so you can see that flower is red . And so as I mess with that it's becoming white or black, so you're gonna just all of those. If you're going for a black and white photo, then down here we have split town split toning allows you to choose a color to at your highlights and then put them into you can see. As I add teal to the highlights, the bright areas are becoming much more teal. And if I want to add, say, Marange to my shadows like that. And so a lot of people do that. Of course, you want to be much more subtle than I've been here. Next we have the Metadata studio, which is the camera icon. There's just showing any metadata that the camera collected when it was taken. Next, we have the overlay studio, which we will deal with in another video because there's more going on here than I want to take up time within this video. But we will deal with it later and show how to make local adjustments using overlays than the Navigator studio. This just allows you to adjust. Zoom the rotation. One thing you can do is actually just slide up and down on the Navigator studio icon, and you can adjust the zoom that way. And then you have the history panel, which shows you all the history of what you've done. So that's all the studios along the right hand side there, and now we will go ahead and will move into you actually making adjustments to a photo itself, so we'll start by making basic adjustments. Then we'll go into making local adjustments, using the radiance and the overlays. And as we do that, we will talk more about some of these tools along the left hand side. 5. Making Basic Edits: So now we're going to go ahead and we're actually going to you try and edit this photo so I would encourage you to follow along with your own photo and make adjustments. You might need to work after the video's done, but basically, in this video, I just want you to see how I would go about actually editing a raw photo using the tools that we have. And like I said, most of this will be done in the basics panel and always remember that everything that you make changes doesn't actually get safe until you hit this developed mine. So don't leave the app until you're done processing the Rob photo. You can come back to the photo later and make adjustments with the funny photos regular tools. But none of these raw changes will take effect until we hit that develop buying and when we hit that developed by and it will actually turn the photo into a tiff file so it will no longer be a raw file at that point. So let's go ahead and get started. The first thing that I know right away is that I want to see what I can do with the highlights in this photo. Go down to the bottom of the basics studio and I'm going to bring the highlights down significantly. Start community up there. If I want to see what it looked like, I can change to a split view and I can see it before and an after so you can see it's darkening it up quite a bit. The split view has to cycle between split and then side by side and then back to just your edits. I can also just turn off the effect in the studio considering the history, Graham, that I'm still getting significant clipping in the bites. But it looks like at this point, I'm not going be able to do too much about that. I'll look at the shadows and see if they need to be adjusted. I'm going to leave them as is for now. Might come back to in a second, going to adjust the exposure. Try that a little bit lately. If you can't get exactly what you want, you can always tap on one of these, and it will actually pull up the calculator. I want this one to be exactly negative 10.5 and then I'm just going to bring up my black points lightly, just adding more depth to my photo, so kind of turn that off and back on again to see how it is being affected. Everybody has different ways that they like to edit photos. I like to add a little bit of contrast to mind through different ways, either with the Black Point or the contrast slider or the curves adjustment. This case. I'm just going to give it a little bit with the contrast slider. And then I am normally going to use the vibrance to tramping out the colors in my photo rather than used the saturation slider. I was checked before and after to kind of see what's going on. I think the white balance is fairly good in this photo, but I'm just going to kind of check and see where I think it needs to be at and then the tent. It's definitely leaning towards green, but that's because I was any botanical garden, so I don't think we need to make any changes there, so that is looking pretty good. One thing I do want to check is it looks like There might be some dramatic abrasions happening here around the van. So let's go and see if we can. If this does anything to that looking like it, we can try toothy de fringe the blue color safe. Try and remove complementary. Hugh here. I'm selecting a range. Just seeing if I can get rid of that. Okay. Doesn't seem to be able to get rid of what I wanted to yourself before I go ahead and add in saving. Yet I'm gonna try to get rid of this thread here. After we process this, we could go into, if any photo with other tools and remove that with, like, the clone stamp tool or do a fill on it. But since we're only using raw tools in this class, I'm gonna go ahead and I'm going to crop it out. And so I've clicked the crop tool on the bottom, and I haven't said toe unconstrained so that it can get it exactly where I want it. So I'm just going to you crop out that thread, take off as little of the photo as I can, But there are various different tools you can use in the crop to you. Keep it to a specific aspect ratio and you can change what it looks like. You can change if you want it to be thirds or none. Angles golden mean depending on what you are going for, there's a straight into a wall as well. You need to fix it. Um, anyway, so that's the crop tool. And when we switch back to the hand, we will have cropped that threat out. So now we can go ahead and imply our post crop vignette up in the hardness always makes it easier to see exactly where you're Vigna is happening. And then you can bring that hardness way down later. Next I'm going Just jump in here to the curves and I'm just going to see what Aid s curve looks like. You're just a slight s curve. I'll just do before and after on that to make sure that I like it. I like what I'm getting there. So that's what I'm going to go with at this point. We are doing pretty good with this photo as good as we can with the blown out sky, and we're going to go ahead and try and make some adjustments up there on the sky with local adjustments and see if that works out in the next video. 6. Making Local Adjustments: right, So there are two kinds of local adjustments that we can make. There are brush adjustments and radiant adjustments that are overlay. So if I go here toothy overlay studio, which looks like layers kind of acts like layers and we'll go ahead and we can add either a brush or a ingredient. So I'm going at a grating overlay first. Once I do that, I automatically jump into my ingredient tool over here on the left and I can drag out my Grady int. And currently it's showing me the greedy int. As a mask, I found that the country rolls on showing and hiding. This are a little bit buggy in F any footer right now. So I'm gonna drag this down. And once you have it, you make sure you're on the overlay, not on the master here, and you can go ahead and you can make your adjustments to just that overlay. So let's go here. You can see we can do a radio, we can do an elliptical or we can do a linear. I want a linear cause I'm just trying to affect the sky here and then go to my adjustments and Now I'm just affecting the overlay. So first thing I'm going do is try and bring those highlights down again. As I do that, it's getting pretty blue. And so I'm going to try and adjust the temperature. And this is just trialling air just to you. See what you can kind of get out of this. Try and make it look natural. Trampling down the exposure on this area a little bit. Just don't want it to be so blown out that it's distracting so you can adjust anything. Within this overlay. I really only want to do kind of exposure stuff there. And then if we come back here, we can edit the whole photo again, right clicking on the master where we can get back here. And then we can adjust the A pass ity of this to kind of change out its intensity with a brush overlay. It's the same thing, except you get the brush tool and then you can go ahead and you can brush in, say, I want to brighten up the van a little bit. I can come in, I can brush on overlay over the top of it, and then I can go ahead, and I can brighten it up by going into my adjustments and brightening it. Of course, we won't want it to look super fake. If you want to get rid of anything in your overlay, you can turn on the show overlay and choose the eraser, and then you can actually race parts of it. I don't really want that overly on there, so all the race, all of it. I can also come here and from selecting that brush, overlay Aiken, then delete it. You can have as many Grady int or brush it relates as you want or as your system can handle . But you can't do much with them as far as like naming them or anything. So the only way you can see what they're affecting its by clicking on them right? That's how you would make local adjustments to a photo using either the Grady and the and Brush and also the eraser. So I'm going to go ahead and develop this photo because I think we are done with what we can do to it here in the developed person. When I click develop, it's going to take a second to think about it and be able to do this. And now we're back in the normal affinity photo interface. We are just in the regular photo persona all the percentage there across the top. We can get back into you develop by clicking on this hexagonal icon at the top. But we're now doing develop on just a tiff rather than on an actual raw photo like we were before. 7. Exporting: Once we've completed our edits on the photo, we can go ahead and export it, using the document menu in the top left of the screen and choosing export. Once we're here, we can choose a lot of different types of exports to do. For this class project, you're gonna want to use the J peg, but use you can see you can also export something that you can take into Photoshopped. You can do it as a PdF. You can even do it as a vector file, which probably wouldn't really work with this because it's a raster image. But there's a lot of different options you can do based on what you've done in Infinity Photo. For this one, though, we've just processed the raw photo, so we just want to export it as a J peg, and you can see there's a lot of different options. We have width and height here and quality, and those things are going determine how big our file is. If we look down at the bottom, we can actually see how big the file is, which right now is 7.7 megabytes. If I were going to put this on social media. I would want to bring down my quality a little bit in order to get it down. You know, around the three megabyte mark the good place for that to be. You can give your title and name so that you'll be able to you tell what it is later. Well, that's called that van in Garden. We don't really need to worry about these other options for what we're doing here. You can go ahead and click, OK, and it will take us here, and we can choose any place on her iPad to store it. So there's a bunch of different options as far as where we can put it in, depending on what cloud services we've hooked up, we can put it into different options If you don't see what you want there, you can also choose thes share menu, which will pop up different places that you can save it to. And so one of the places that I like to save two is Amazon Drive, and for that I have to go through the share menu. This is also where you can just choose to save the image. And even though that's menu is in a different spot. It will still take whatever the file sizes based on the quality and size selection that you've made. So for now, I'll just go ahead and save it to my photos. Then if I go ahead and go to my photo app, we can actually find it there within the photos APP, and it will actually put it there for us. So that will do it for this class on affinity photo and editing raw images within a funny photo on the iPad, please upload your class project, which should be one of your rock pictures edited in if any photo on your iPad s so that we can all see it Hope you've enjoyed this class and if you have, please go ahead and give it a review. And if you're interested in other graphics arts type classes, please check out my other courses here on sculpture. Thanks so much for joining me by