Affinity Photo V2 Developing RAW Photos

1. Intro: Hello and welcome to this course on Affinity Photo virgin to using the developed persona to edit RAW photos. My name is Ben Nielsen and I'm immediate design educator and I will be your instructor for this course. I have over seven years of experience teaching creative programs both in-person online. I hope that you're excited for this course because it's going to be a lot of fun. And you're going to learn a lot about how to edit RAW photos in a funny photos develop persona. Now I'm going to be using the iPad version of Affinity Photo version two. And so if you're using that version on the iPad, yours will look just like mine. Now, if you're using it on the desktop, either Mac or Windows, it might look a little bit different, but the features are all going to be pretty much the same and you should be able to follow along without too much trouble. Now of course, you're going to need an iPad or a computer running a funny photo version two in order to be able to complete this course. But that's pretty much all you need. You just need one of those systems running affinity version two. Now, you also need some way to get your photos to your system, whether that's a computer or an iPad. So if you're using an iPad, you'll need some way to connect either a hard drive or a memory card. Or you'll need to be able to e-mail or AirDrop those files to yourself. Where this can get a little complicated is with raw photos because raw photos can be so large. And those are the photos that we most want to use to develop persona for. Now, we're going go into a lot more about what raw photos are and what the developed persona is and what it's for throughout the course. But that's just a heads up on what you need to be able to do for this course. This course is going to be really interesting and we're going to learn a lot about how to develop our photos, but we aren't going to go into all of the details of a funny photo. In fact, we're going to be really confined to the develop persona. And there's lots of other things in if any photo. So if you're interested in, in basic introduction to the photo persona in Affinity photo, you can go ahead and check out my intro course to that as well. And that will give you more of the basic tools and skills that are involved in using Affinity Photo. Okay, let's go ahead and get started. We're going to dive in and talk about the project for this course in the next video. 2. Project: Every course that I do, I like to have a project that you can complete at the end of the course in order to show the skills that you've learned and to make sure that you are practicing along the way so that you can really learn. It really helps us to learn when we actually practice the skills that we're seeing demonstrated onscreen. So make sure that you have some photos that you can develop. They really should be raw photos in order for you to get the most out of this course. Although you can use jpegs if you need to, make sure that you have at least three raw photos that you want to develop. And then as we go through the course, you wouldn't learn the different skills of how to develop them. There are some things that you're going to use in order to complete the project for this course. I'm going to tell them to you now, but I know you might not understand what they mean right now, and that's totally okay. Across the three photos that you develop, you want to make sure that you use the different skills that we're talking about. So you want to make sure that you have three different kinds of photos so that you can demonstrate them differently. I think to show you a range, at least one of these should be landscape and one of them should be in portrait. Then a third one of whatever you want to show off, show off your creativity there, but this will help you to show your range of ability in developing photos, okay, so a couple of other things that you want to make sure that you do as you are developing photos within the three photos that you do, you want to make sure that you use the basic adjustments, that you use, local adjustments using gradients are brushes, don't worry, we'll talk about that and also that you use a curves adjustment somewhere. There's going be some other tools that are available as well, but those are the ones that I think are really required in order to demonstrate your skill in the developed persona. When you're done, you're going to accept your Develop Settings and then go ahead and export your photos as jpegs. When you export them as JPEGs, you'll then be able to upload them to the project section for this course and share them with me and with your fellow classmates. That really helps us all to be able to learn together. So please do take the time to actually export them and upload them into the project section for this course, it can be really helpful if you go ahead and include both the before and after photos so that we can see what your development process actually did. Remember, it really is helpful if you complete the project and then share your work with me and with your fellow students. That just helps us all to be able to learn, grow, and develop together. In the next video, we'll go ahead and talk about what raw photos are, how you get them, and why they're important. 3. RAW Photos: Okay, so this course is really about developing raw photos. And if you've never encountered raw photos before, you might be wondering what they are. Now, if you're already familiar with raw photos, you can go ahead and skip on to the next video. I'm just going to explain a little bit about what they are and why they're so important. Why do photographers talk about taking raw photos so much? Well, I want you to just think about it kind of like when you're cooking something, when you cook something, you're going to bring together a lot of raw ingredients and with the wrong greens, you can make all kinds of different things, right? But once you put it in the oven or put it on the grill or whatever you're going to do in order to cook it, then those ingredients aren't wrong anymore and you can't take them in as many different directions. It's the same way with your camera. When your camera shoots a photo, the sensor inside that camera, if it's a digital camera, is going to capture all of the light information that is hitting that sensor. That's how cameras get that information. The light comes in, it hits the sensor and the camera captures all of that information. Now as you might imagine, this is a lot of information. So these files would be quite large if they don't get baked, if they don't get compressed at all. And so a lot of times when we shoot pictures, especially if you're new to photography, we shoot as JPEG. Jpeg is essentially saying, I'm going to take these ingredients and I'm going to bake them immediately. I'm just going to take them and bake them. And so then you get a file that's much smaller and more condensed, but you can't do as much with it. So a jpeg may range anywhere 3-5 to sometimes 10 mb if it's quite large. Whereas a raw file, which is just every bit of information that hit that sensor at the time that you press the shutter button. That raw file can be 25, 40, 50 mb depending upon the size of your camera sensor and the number of megapixels that it had. E.g. I. Shoot a lot of my photos on Sony A7 three camera. Now, this has a 24 megapixel sensor that's full frame, so it's quite large. And so the files coming off of there, those raw files are about 50 mb apiece. You can tell how that is a lot larger than the three to 10 mb we're talking about with jpegs. So of course, this takes up a lot more space on my hard drive, but it also means that I can do almost anything with these photos because it's collected so much information. And you might be wondering like, what is that information then what is so special about this? It's really the depth of the highlights and the shadows. So how much information can you pull out of the really light parts and the really dark parts? Because when the photo is processed or baked into a JPEG, it just kind of like whites out the highlights and blacks out the shadows in order to reduce the amount of information that that photo is holding. You don't get as much there. There's also a lot more color that you can work with. Raw photos can look very bland and very flat when you first take them. But then when you bring them into a program like Affinity Photo, you're able to adjust the colors a lot more because you have all of the color information that was captured and you can really make a much more rich photo there. So I really recommend if you're getting into photography and you really want to take nice pictures that you start taking raw. This is especially true if you're using a camera like a DSLR or mirrorless camera with interchangeable lenses, you're going to get nicer photos for editing if you shoot those in RAW. Now of course, remember that they're going to not look good at first because it's intended that you are going to process them instead of your camera processing them into jpegs, you are going to process them into jpegs to look the way you want when you first look at the raw photos, they're not going look good and you're gonna be like, Why did I take these bones? You process them in a program like Affinity Photo, then you're going to feel a lot better about them. Now, you can do this with a phone. A lot of phones now have the ability to shoot some kind of raw image. But you do want to be careful because your phone's memory is limited. And so if you have a very small amount of memory, you want to be careful about shooting raw photos. They're paying what phone you're shooting with. You'll just want to look up online how to shoot RAW photos with that phone to see if it's possible. Okay, So that's a little bit about raw photos. Now we're going to go ahead and jump onto my iPad and we're going to learn how to import raw photos into Affinity Photo. 4. Opening RAW Photos: Okay, so here we are in a funny photo here on the home screen. Now, in order to bring any raw photo, we're actually going to make sure that we have a device with raw photo connected. So I have a hard drive connected to my USB-C port here, you might be using a memory card from your camera or something like that. I have a hard drive with all my pictures on it. And then we're going to click open on the left-hand side. And then we're going to choose open document here. We're just going to navigate to our drive and to the folder on our drive. I'm going to go to my Seattle folder, to my folder called raw photos. Then I'm going to select one of these photos to be able to develop. I happen to know that the one that I want is going to be down at the bottom here. So this is just going to be a picture of these cranes at the Seattle box and we're going to go ahead and open it. So now we've opened a raw photo. And if you've opened Affinity Photo before, you'll notice that this looks different. This is because we are in the developed persona. We actually can't change persona is normally up here in the top left-hand corner. We would be able to change persona's. We can't change persona's right now because first we need to develop this raw image, but now that we have it open, there's just one thing that we need to check before we go ahead and we start developing it. The thing that we need to check here is right here in the middle of the top toolbar where it says rock layer imbedded. We want to make sure that that is set to Raleigh are embedded. If yours is set to pixel layer, you want to change that. If it's set to pixel layer, then once you click this check mark, you won't be able to make edits to the raphe photo anymore. You'll still be able to make edits, but you won't be able to do it the same way you can if it's wrong, because it will become basically a J peg at that point. So you want to make sure it's set to Raleigh are embedded, rather they are linked. We'll just keep it on the hard drive, not embed it into the document. And that can be helpful if you're using a lot of images because you want them to be linked up. But for just one, it's fine to be embedded and it will just make everything simpler. Now, just really briefly, we have a few tools along the left-hand side. These are not as important in this persona as they are in the photo persona. So we won't work with them too much, but there'll be a couple of times where we've referenced them. But mostly we're going to be working over here with these studios. Along the right-hand side, you can see what everything means if you just hit this question mark in the bottom right-hand corner, turning that on will show you all of the different things that you have available to you. So you can see we have basic adjustments, lens adjustments, detail adjustment, tone adjustments, metadata, overlays, navigator and history over there on the right-hand side. Really we're going to be spending most of our time in the basics and the tones, but the other ones can be helpful to you depending on what you're doing. And then we will get into overlays a little bit later. Okay, so now that we know how to bring a photo in, Let's look at what happens after we click the check mark, how we would get back into this. So make sure that again, that this is such roller embedded, I'm not sure how it got swapped. I must have hit the wrong thing and go ahead and hit the check mark for develop. Once you've developed it, you want to go back into the photo persona. Like I said, we're not talking about the photo persona in this course, but you need to know how to get back into the develop persona. So you can always switch to develop persona up here, like this, but there's another way to do it on the image itself. So let's go ahead and click X. And to get out of here, if we use our Move tool to make sure we're selected on this image, then we will get this little button up here that looks like a little light bulb that will let us develop the image again. So click that will immediately switch back into this develop persona and have all our developed tools available to us again, from here, we are going to go ahead and get started doing the basic adjustments. 5. Develop Basics: Alright, so now it's time for us to start developing this raw photo. We're going to really try to make this photo look better because it looks a little bland. Like I said, raw photos look a little bland when you get started. Now one thing that I should note here is that I am going to go ahead and I'm going to use my mouse that is attached to my iPad just to make it a little easier for you to see where I'm going. It's totally fine if you don't have a mouse, you don't need it, but it'll make it easier for you to see what I'm doing. So I'm going to come up here to the top right and click on Basic. With these basic adjustments, we can do things like adjust the lighting in our photo and adjust the white balance or temperature of our photo. These are things that you really need to do with each raw photo that you take so that you can set it up the way you want it instead of your camera setting it the way that it wants it to be. One thing that you might want to know is that you can zoom in and out here by pinching and spreading your fingers. And you can pan around with your fingers as well. So you can just click and drag this around so that you can adjust what you're looking at. So sometimes you might want to be very close. Sometimes you might want to be far away. Alright, let's go ahead and let's start by adjusting the exposure. So I'm going to just bring up the exposure a little bit here because this is a little bit dark and that looks pretty good for now. A lot of times I like to use brightness down here more than exposure. But first I'm going to drop the black point just to reintroduce a little bit of contrast here, of course, I could use the contrast slider for the black point is only going to affect the black parts of the image. So I'm just going to bring that down a little bit and then bring brightness up. And photo editing and developing is really a process of just trying things and then trying other things and seeing what you like in your photo as you develop your style. Okay, so let's go ahead and come down here. Contrast is going to make dark parts of the image darker and bright parts brighter. So a lot of times I'll slide all the way so that you can really see what it's doing. But let's not, of course, something that I would normally do in a regular edit. I bring contrast down and you can see it becomes very flat. If I want to reset it, I'll just double-tap on that slider and it will go back. Clarity just increases the distinctness in different parts of the image. So you can see what that looks like. Now, if I drag it all the way down, it gets very mushy. Clarity can be dangerous if you go too high with it, it can start to look very fake. But we'll bring in a little bit more clarity here, and we'll just zoom in a little bit to see how we're looking here. Let's go ahead. Saturation is the overall color of the image. Vibrance is going to be the color of the mid tones. So normally I'll work with vibrance just because it's a little bit more subtle. Let me show you saturation so you can see what happens if we crank that to 100. It's not a lot of color in this image, but you can kinda see that looks like then if we bring it all the way down, you can see that it becomes basically a black and white image. Let's go ahead and reset that, bringing a little bit of vibrance here. And then we temperature is basically the balance between cool and warm tones, blue and yellow in this case. So we're going to go ahead and adjust our temperature up. You can see it gets warmer or down you can see it gets cooler. So depending on what kind of look you're looking for, you can do that, whereas tint will help you to correct any color cast. So if your image looks particularly green, you can add magenta. If it's looking kinda pinkish, you can go ahead and add green into it to balance it out. Okay, So that is the basics there of white balance. And then we're going to go ahead and we are going to look at our shadows and highlights. Shadows is going to allow you to adjust the darkest parts of the image. If you drag it up, the darker parts of the image are going to get lighter. If you drag it down through, going to get darker. This is one of the great places where having a raw photo can really help you because you can recover a lot of loss things. So if I drag my highlights down, you can see that detail is coming back into the sky. I'm getting more detail in those clouds than I had before. If I drag it up, of course I can blow it out entirely. So there's a lot of options you can do there as far as recovering things that are blown out or things that are clipping in the shadows. After you do this, then you might need to go back and adjust your contrast a little bit just to keep your image looking normal. And it's kind of a balance between these things that are all adjusting different parts of the image. One thing that you can always watch for is your histogram. Up here in the top right. You can see how your distribution is going. You can see that we're not getting a lot in the left and that's probably because we've raised up the darker parts of our image. So I'll go ahead and increase our black point a little bit with the histogram will just shift a little bit to the left. They're making it look a little bit more natural. Okay, so that's how we adjust the basics. In the next video, we're going to go ahead and talk about how we will adjust the tone of our image. 6. Develop Tones: Alright, so let's go ahead and look at the tone of our image here, which is this little box looking one with the curves on it. So let's click that. And when we come here, we're going to see our curve area, our black and white area, and our split toning area. So let's look at each of these the curves essentially allows you to adjust the highlights and shadows again, but this time on a curve. So just look what happens if I grab the leftmost point here and drag it up. I'm going to blow out the whole image as I gradually make more and more of the image highlights until eventually it disappears entirely on the other side. If I grab the top right corner and drag that down, you're going to see the image gets darker and darker and darker as they take more and more of the light tones and make them dark until of course it disappears entirely. I can also add points along this curve. So if I want to bring the whole thing down, I can add a point in the middle and drag this down. Everything's going to get darker, but not to the point where it gets completely black and less. I push it all the way to the edge. So that's a way to introduce different types of contrast interior image. If I pull it up, it will get brighter. A popular thing to do is to create what's called an S curve. So you just create an S here with three dots. And that gives you a pleasing amount of contrast. You can even pull up your darks a little bit so that you're not clipping your blacks and pull down your highlights slightly like that if you want to see it without the curves, just go ahead and turn the curve off and then back on. So you can see the way the contrast is working there. Alright, let's go ahead and show you how to reset that as well. So if you want to reset it, just click this little reset wheel here. The curve resets. Let's go ahead and look at black and white. And when we turn that on, will make the whole image grayscale, then you might be wondering why are all these colors here? Well, this allows you to adjust the blackness or whiteness of each type of color there. You have all of your main colors from RGB and CMYK here, and then you can adjust this. So say that I think there's a lot of blues in the image and I'd like all those blues to be dark. I can take my blues and I can drag them down to the left and they get darker. You can see that that actually seems to be primarily affecting the sky. Let's go ahead and reset that by double-clicking it. The yellows actually in this image there's quite a few of them because we raised up the temperature. So let's go ahead and drag our yellows down. And you can see that the image gets darker. Now, if we bring it up, it will get brighter. So that's how you can adjust the way a black and white photo books, it can be helpful to look at your photo in black and white, even if you aren't planning to actually develop it in black and white, just so you can see where the contrast is. Let's go ahead and turn that off for now. Of course it has a little reset wheel as well. Now let's go ahead and scroll down here and we can find our split toning area. Split toning allows us to add a color cast to the highlights and the shadows. So let's go ahead and turn that on so you can see what we're talking about. A popular one to do is called the orange teal look. Take our highlights and we'll just drag this into the orange area and then bring up the saturation. Now if you watched the highlights in the image, you'll see them actually start to become more orangey. Of course, we can push this to an extreme here, which might give it actually a sunrise or sunset kind of a feel here might be okay in this situation, but normally you'll want to keep it pretty subtle and then you can also go ahead and do that with the shadows. So let's go ahead and drag this into the teal blue area and we'll bring up our saturation there. And you can see that that area where things are darker becomes blue. And the further we push it, the more blue it becomes. So we'd want to keep this pretty subtle here as well. The balance slider will change the balance between the highlights and the shadows. So if you really wanted there to be more orange, you're going to bring the balance down so that more things are highlights. We want there to be more blue here. You'd bring that balance up so that more things are shadows. If you want everything to stay natural, you'll just leave it in the middle there for this image, I think I'd bring the balance down a little bit and push that saturation just a little bit more to give it more of that little five there. And that is the tone area. In the next video, we're going to go ahead and we are going to talk about how we would add local adjustments using overlays. 7. Overlays: Okay, now let's go ahead and see how we would add specific adjustments using overlays. So we're going to go to more down to this little layer stack icon, and we're going to have overlays. Now first you can see we have the master, this is the layer of the actual image. And then we can go ahead and we can add overlays to that. So there's two kinds of overlays, their brush overlays, and there are Gradient Overlay. So let's start with a gradient overlay. A gradient overlay, you can actually come and add a gradient to the image. What the gradient will do is it will apply adjustments in a graduated way. So when you click and drag on a gradient overlay, you are going to apply your gradient. You can see you've actually selected the gradient overlay tool on the left just by using this tool. Now where it's more red, that overlay is going to apply more and where it's more pink, it's going to apply less until it eventually goes away completely. Pride doesn't make sense right now because we haven't adjusted anything on this overlay yet. So making sure we're on the overlay and not the master, we can now go back to our basics and we can go ahead and we can lower the exposure of this area. The overlay will disappear for a second, just so we can see what we're doing. So if I want to lower the exposure, you can see it is lowering the exposure more in the parts that were more red in the overlay. So if I really wanted this to be a silhouetted dark space down here, I can do that and I can adjust the overlay further if I want it to come up more or if I want to condense it down, I can do that there. Now there are different types of overlays. So you can see here we have linear or elliptical or radio. So you can apply different types of overlays in that way here, I'm going to play a linear one. Now, I can add another one. Come here, gradient overlay. And I can go ahead and let's zoom out a little. Drag this down here. And I'm just going to brighten up the sky a little bit with this one. Let's go ahead in some brightness right there. Okay, so now we've created this very contrasty silhouetted image and we've done it using overlays, but if we didn't like it, we could go ahead and get rid of it, which makes this a little bit easier. So with this overlay selected, I can then hit the trash can and it will disappear. I can also adjust the opacity of the overlay. So if I wanted to weaken this other overlay, I can just drag that opacity down so that it's not quite so strong. So that's how you use gradient overlays. I brush overlay is going to be similar except it's going let you brush in specific areas to grabbing this, you can see it changes to our brush tool and we can size our brush over here on the left, make it bigger or smaller. I want to make it smaller because I just want to brush in around this crane here. The other one is the hardness. I'm going to keep the hardness pretty well down so that's kind of soft. And then I'm going to brush over the top of this crane here. For this part, I'm actually going to switch to the Apple Pencil because that just makes brushing a little bit easier. You can see the more I go over, the more dark it gets. That's because of the hardness of the brush because it's pretty soft to start out with. If I brushed over it multiple times, it gets harder. I'm just doing a rough job here on this. Let's just say we wanted to brighten this crane up specifically so that it stands out. We could do that with this overlay here. Let's go ahead then to our basics. And we're going to brighten this up by reducing the exposure. Now you can see that I did just kind of a rough job there. So it's really kind of glowing. So that's not going to be the best option. But you could obviously come in and refine this much more if you want it to. We're just going to go ahead and delete this one because we don't really need it here. Okay, so that's how you could use overlays to make specific adjustments. And we looked at exposure, but you could also do that with color or with temperature, or pretty much with anything. Okay, we've basically covered what we need to know about how to develop these raw photos could basically going go in and make these adjustments. A lot of them will be pretty subtle and then you're going to go ahead and export it. So in the next video, we'll learn how to export this image. 8. Exporting: Alright, so once we've completed our development of an image, then we're going to go ahead and hit this check mark. Now remember, because we've done wrong layer embedded, we could always get back and edit it more with the rod persona. But for right now we're just going go ahead and develop. And now we've got our image here, now we want to export it. And this we have to do here from the photo persona. Let's go ahead and hit this hamburger menu and we're going to come down to export. Within the export settings, there's a lot of different settings, but we want J peg because that's the easiest to share. And then we can see how big this image is going to be. Now remember, we started out with about a 50 megapixel image, making it a JPEG is going condense all of that information down into just basically the lights and the colors that we have already chosen. So it's going to get smaller. This is currently 15. If you look at the bottom, that's still really large stone. So something that we can do is we can either shrink the size or we can shrink the quality. Right now, I'm going to shrink the size down to about 2000 pixels, I think, because I think that will be fine for what I want to do. Let's go ahead and just type in 2000 here. Now when you do that, you want to make sure that your link is set in the middle because that keeps your width and height proportions the same. You can see that dragging that down has significantly lowered the amount. It's 3.84 mb. I still want to get it down to about 3 mb. So I'm going to lower the quality slightly. And that was too much. Really don't have to go very far and you can still keep pretty good quality. Okay, Perfect. So I just have to go down to quality 99. And now I have a jpeg. You can see there's lots of other file types you could use, but jpegs, what we're using for this class, we can then preview the image to see what it's gonna look like here. And we're very zoomed in, so let's zoom out. Now you go and you can see where we've reduced the quality a little bit. It does get a little bit fuzzy here. But that's okay because really people go and look at it like this, probably on social media or something and not be looking at it super, super close. That's why we want it reduced smaller than 3 mb is for social media. Let's go ahead and click close there. We can finish up our export by clicking, okay, and obviously our resolution could be a lot better if we had kept our pixel count high, inequality at the highest. Go ahead and click Okay, and then we can choose to save it someplace. I'm just going to go ahead and save it into my Affinity Photo folder and I will call it cranes. Let's go ahead and click Move. I don't know why it's moved. Instead of save, you just need to click Move and then your file will be saved. And that's how you export. In the next couple of videos, I'm just going to show you how I would edit a couple more images. And then we'll go ahead and wrap up the course. 9. Portrait: Okay, Now that we've seen the entire process of how we go about developing a raw image here. And if any photo, I'm now going to show you how I would go ahead and edit a couple of photos that would be used for the project for this course. So I've already done when that would be like a photo of my choice. And now I'm going to go ahead and I'm going to show you a portrait in this video. And then I'm going to show you a landscape in the next video, and that's what you want to do for your project. So I'm mostly just going to speed this up a little bit because you've already seen me go through this, but I want you to see it again and just see how I use the tools differently in different types of photos. I'm not going to talk a lot through these videos. Mostly this will just be sped-up footage. But if I feel like there's something that I need to explain that I'll go ahead and explain it over the microphone. Let's go ahead and get started. I'm just using this before and after slider to make sure that I'm making the changes that I want. Okay, and that's pretty much what I would do to this photo. You can see we've gone from this pretty flat and fairly dark image to this brighter image with a lot more depth to it and more of a warm color to it. So that's what I would probably do with this one here. So let's go ahead and just click Develop on that. And now we'll move on to the landscape. 10. Landscape: Okay, Now that we've done a portrait, Let's go ahead and take a look at this landscape here we have mountains and ocean and sky, and so it's very blue. So we're going to try and fix the color by bringing in some of those yellows. And then we're just going to try and bring out some of the detail here. Again, I'm just going to work on this and if I feel like there's something I need to point out and I'll do that over the microphone. But for the most part I'm just going to speed up this workflow. So you can just get an idea of how you would go about working on a landscape. Okay, So on this one, I really think that this needs to be cropped from its original size just to put more focus on the mountains and less on the sky. So let's go ahead and use the crop tool, which is just over here on the left and wasn't something that we needed before, but now we want to be able to crop this down. So there's a couple of things you can do here. In this case, I want to actually change the aspect ratio. So I'm going to use it in an unconstrained form. But if I wanted to keep the original aspect ratio, I could use this original aspect ratio or a custom aspect ratio. So let's go ahead with unconstrained here and we're just going to pull this down. We're just going to crop out quite a bit of the sky and this is going to become much more panoramic. At this point, you have options for your guides here, so you can use the golden spiral or the rule of thirds or diagonals, whatever you prefer. I'm going to do on thirds. To accept this, we just go ahead and switch back to our hand tool here. So now we have this much more panoramic feeling photo here of the mountains, which I think works much better in this instance. So then I'm going to go ahead and just continue to develop it. Okay, So here's another thing that we didn't really use in the previous photos, but this is the Details panel. It's not something that I touched a lot because I don't like to make things look fake or over sharpened or whatever, but in some cases, it can be quite useful. And in this landscape there's a lot of detail in these mountains and these waves that needs to be pulled out and just wasn't there in the photo as it was in its raw state. So if I turn this off, you can see it's a little bit mushy in its raw state. When we turn this on, it gets more crisp. We get more crispness in the mountains and over in the waves of the ocean. Again, it's not something I use a lot, but in this particular one it is pretty useful. So that's going to do it for us on this photo. We're just going go ahead and develop that. We've done a pretty good job on all three of our photos. Now we're ready to go ahead and turn in that project. In the next video, we're just going go ahead and talk about your next steps. 11. Next Steps: Well, that's it. You made it to the end of this course about using a fake photos develop persona to edit your images. I hope that you've enjoyed this course and that you have learned a lot, then you might be wondering what are your next steps after this? Well, there's a couple of things that you should consider. The first one is you should practice this. You should practice taking lots and lots of photos with your camera and then editing those photos in the developed persona, because you will then begin to develop your skill and style as you do that. So practice a lot. If you haven't already do, make sure that you complete the project for this course and share that project with me so that I can see it and give you any feedback you might want on it. The next thing that you might want to do after that is go ahead and take my other course on Affinity Photo version two, which is how to use the photo persona for all of your basic editing and compositing needs. I also have courses on a theme designer and if any, publisher as well, as well as other courses on things like video editing on the iPad using DaVinci Resolve and drawing on the iPad using Procreate. So there's still a lot of opportunity for you to continue learning. Thank you so much for watching, and I will see you in the next course.