Affinity Photo mastery — frequency separation, luminosity masking, compositing, focus stacking, and HDR merge
Focus: Affinity Photo mastery — understanding the Develop persona, non-destructive editing, and advanced masking.
The Develop persona — RAW processing in Affinity PhotoAffinity Photo opens RAW files in the Develop persona — a dedicated RAW processing environment. Key tools: Exposure (overall brightness), White Balance (colour temperature and tint), Clarity (midtone contrast that adds bite to textures), Detail (sharpening and noise reduction), and Lens Corrections (distortion, chromatic aberration, vignette — corrects for your specific lens). The Develop persona is where you make the core tonal and colour decisions before moving to the Photo persona for retouching and compositing.
Adjustment layers — non-destructive editingIn the Photo persona, all major edits should be applied as Adjustment Layers — not as direct pixel edits. Adjustment Layers sit above the image and apply their effect non-destructively: you can modify, disable, or delete them at any time without affecting the original pixel data. Available adjustments: Curves (the most powerful — apply to individual RGB channels for colour grading), Levels, HSL (Hue/Saturation/Luminance — adjust specific colour ranges), Vibrance, Black and White conversion, and Shadows/Highlights.
Masking in Affinity Photo — the complete toolkitMasks control which areas of a layer or adjustment are visible. White in the mask = visible, black = hidden. The complete Affinity masking toolkit: painted masks (brush on a mask layer to reveal/hide areas), luminosity masks (selections based on brightness values — the sky is bright, the shadows are dark), channel masks (selections based on RGB channel values — excellent for isolating hair and foliage), and gradient masks (smooth fade from visible to hidden). The luminosity mask is the most powerful tool for selective sky corrections and is covered in Week 2.
Spot healing and cloning — the retouching basicsFor removing small distracting elements: Inpainting Brush (select and Affinity fills intelligently from the surrounding area — excellent for removing poles, wires, dust spots), Clone Brush (copies a source area to a destination area — good for repetitive textures like grass or concrete), and Patch (selects and replaces a region with a sampled area). For dust spots on your sensor (which appear as small grey circles in clean sky areas), the Inpainting Brush on a dedicated retouch layer removes them non-destructively.
The Live Filter layer — non-destructive effectsLive Filter layers apply effects non-destructively to everything below them in the layer stack. The Unsharp Mask as a Live Filter allows you to apply output sharpening as the final step of your workflow with full control to adjust or remove it later. A Median Live Filter reduces noise in skin tones while preserving edge detail. A Lens Blur Live Filter creates a depth-of-field effect from a flat image. Live Filters can be masked — applying sharpening only to the in-focus areas of an image.
Drill 1
Develop persona deep dive — process 10 RAW files
Take 10 RAW files from previous modules (portrait, landscape, and action if possible). Process each in the Develop persona: start by setting white balance correctly using the eyedropper on a neutral area, then set exposure so the histogram is balanced, then apply Clarity (+15–+30 for landscapes, +5–+15 for portraits), then Detail (sharpening radius 1.0, amount 50, noise reduction as needed). Export each as a 16-bit TIFF for further work in the Photo persona.
Drill 2
Adjustment layer workflow
Take one of your 16-bit TIFFs. Build a full adjustment layer stack in the Photo persona: Curves (set contrast — lift shadows, pull highlights), HSL (saturate blues and greens slightly, desaturate reds to reduce any skin tone oversaturation), and Shadows/Highlights (open shadows by +20). Each adjustment must be on its own named layer. Export as JPEG and compare to the original TIFF — document what each adjustment contributed.
Drill 3
Masking practice — isolate and adjust the sky
On a landscape photograph with a clear sky/ground division, use the Selection Brush or the Select → Automatic tool to select the sky. Refine the selection using Select → Refine. Convert to a mask on a Curves adjustment layer. Increase the sky's blue saturation by +30 using HSL, and darken it by -0.3EV using Curves. The adjustment must apply only to the sky — no bleed into the ground. Feather the mask edge so the transition is natural.
Drill 4
Dust spot removal
Open a photograph taken at f/11 or narrower where sensor dust is potentially visible (the smaller the aperture, the more visible dust becomes). Use the Zoom tool at 100% to scan the sky and flat tone areas. Remove all dust spots using the Inpainting Brush on a dedicated retouching layer (preserve the original pixel data). Deliver a before-and-after comparison at 100% zoom.
Week 1 Assignment
"Advanced RAW processing workflow"
Process a series of 5 RAW files from a single shoot using Affinity Photo. Each image must use the Develop persona for RAW conversion and at least 3 adjustment layers in the Photo persona. Images must be colour-consistent with each other (same white balance, similar tonal character). Deliver as a series of 16-bit TIFFs and a written note describing your processing decisions for each.
Develop persona is used for all RAW conversion
At least 3 adjustment layers per image
Colour consistency is maintained across all 5 images
Dust spots and distracting elements are removed
Written notes accurately describe each processing decision
Sony a6700Affinity Photo
Focus: Frequency separation for portrait retouching, and luminosity masking for landscape work.
Frequency separation — the theoryFrequency separation splits a portrait into two layers: Low Frequency (the 'frequencies' of large areas — skin tone, colour, shadow graduation — the smooth stuff) and High Frequency (the 'frequencies' of fine detail — pores, texture, hair, fine lines). Once separated, you can retouch each independently: smooth out tone and colour on the Low Frequency layer without affecting texture, and repair texture on the High Frequency layer without affecting tone. This is the industry-standard skin retouching technique for beauty and portrait photography.
Performing frequency separation in Affinity PhotoFrequency separation in Affinity Photo: (1) Duplicate the background layer twice. (2) Name the bottom copy 'Low Freq' and the top copy 'High Freq'. (3) On 'Low Freq': apply a Gaussian Blur of 6–10 pixels (enough to blur out all fine texture). (4) On 'High Freq': go to Layer → New Live Filter Layer → Apply Image. Set the formula to subtract the blurred layer from the original. Change the 'High Freq' layer's blend mode to Linear Light. The two layers now contain only low or high frequency information.
Retouching on frequency separation layersOn the Low Frequency layer: use the Liquify persona's Forward Warp or the Smudge brush to smooth uneven skin tone, even out redness, and correct dark circles. Do not use healing or cloning tools — they will smear the texture. On the High Frequency layer: use the Healing Brush to remove specific blemishes, the Clone tool to repair damaged texture, and the Dodge/Burn tools (at 5–10% strength) to refine texture in specific areas. The result: natural-looking skin with corrected tone and retained texture.
Luminosity masking in Affinity PhotoA luminosity mask selects pixels based on their brightness value. A 'Lights' luminosity mask selects the bright areas of an image (sky, specular highlights, skin highlights). A 'Darks' mask selects the shadows. A 'Midtones' mask selects the mid-tones. In Affinity Photo: go to Select → Luminosity. Choose Lights, Darks, or Midtones. The resulting selection can be used as a mask on any adjustment layer. Applications: apply sky enhancement only to the brightest areas of the image (not the foreground), add shadow recovery only to the darkest areas, protect bright highlights from saturation boosts that would over-saturate them.
Dodging and burning — the oldest retouching techniqueDodge (lighten) and Burn (darken) are the most fundamental tools for adding three-dimensionality to a portrait or landscape. In Affinity Photo: use the Dodge and Burn tools at 5–10% strength on a dedicated grey layer (create a new layer, fill with 50% grey, set blend mode to Soft Light). This technique is non-destructive — the grey layer can be deleted or its opacity reduced at any time. Dodge the highlight areas to make them brighter (bringing out skin highlight texture, brightening the bridge of the nose or the eyes). Burn the shadow areas to deepen them (adding depth to the jawline, eye sockets, and hair edges).
Drill 1
Frequency separation setup
Open a portrait RAW file in Affinity Photo. Perform the full frequency separation procedure. Name both layers clearly. Take a screenshot of your layer structure showing the two layers and their blend modes. Confirm the separation worked correctly by disabling the High Freq layer — the image should look blurred. Disabling the Low Freq layer should show only the texture with no colour.
Drill 2
Frequency separation retouching
On your frequency separation setup: (a) On the Low Freq layer, smooth any significant redness or uneven skin tone using the Smudge brush at 50% strength. (b) On the High Freq layer, remove 3–5 blemishes using the Healing Brush. Compare your retouched result to the original — the skin should look cleaner but still have natural texture. Deliver a side-by-side comparison.
Drill 3
Luminosity mask sky enhancement
Take a landscape photograph with a dynamic sky. Create a Lights luminosity mask. Apply it to a Curves adjustment layer: pull down the highlights to add drama to the sky, shift the hue toward a deeper blue. The adjustment must only affect the bright sky areas — not the darker ground. Compare the result to a simple manual mask — note the smoother transition that the luminosity mask creates.
Drill 4
Dodge and burn portrait
On a portrait (after frequency separation retouching), add a 50% grey Soft Light layer. Using the Dodge tool at 8% strength, brighten: the catchlights in the eyes, the highlight on the nose tip, the highlight on the chin. Using the Burn tool at 6% strength, deepen: the under-eye area, the sides of the nose, the hairline. Toggle the grey layer on/off to see the cumulative effect of the dodge and burn work.
Week 2 Assignment
"Retouched portrait series"
Produce a series of 3 portrait photographs retouched to a professional standard using frequency separation, luminosity masking (where applicable), and dodge/burn. Each image must retain natural-looking skin texture — over-retouching (plastic skin) is as much of a failure as no retouching. Deliver as high-resolution JPEGs alongside the original unretouched files for comparison.
Frequency separation is used for all three portraits
Skin texture is retained — retouching is invisible at first glance
Luminosity masking is used for at least one tonal or colour correction
Dodge and burn work adds three-dimensionality to at least one portrait
Originals are included for comparison
Sony a6700Affinity Photo
Focus: Focus stacking for macro and landscape, and HDR merge for extreme dynamic range situations.
Focus stacking — when and whyAt any focal length, there is a finite plane of sharpness. For close-up subjects (flowers, insects, objects at close range) or for landscape photographs where you want the entire frame in focus from 30cm to infinity, a single exposure cannot provide sharpness throughout — the depth of field is simply too shallow even at f/16. Focus stacking captures multiple exposures of the same scene at slightly different focus distances, then merges them computationally — taking the sharpest parts of each frame to create a composite image with depth of field impossible in a single capture.
Shooting for focus stacking — techniqueFor focus stacking: use a tripod (the camera must not move between frames), set focus to the closest point of the subject, shoot a frame, refocus slightly further, shoot the next frame. Repeat until focus reaches the furthest point. The number of frames needed depends on the depth of the subject and the aperture (f/8 is a good starting aperture — it avoids diffraction while still providing a narrow depth of field for clear stacking steps). For a small object at close range: 3–10 frames is typical. For landscape focus stacking from near foreground to far horizon: 2–4 frames is usually sufficient.
Focus stacking in Affinity PhotoIn Affinity Photo: File → New Focus Merge. Import all your focus stacked frames. Affinity aligns the frames automatically (which handles any minor focus-breathing — the slight change in magnification as you focus closer or further) and then analyses each frame to identify the sharpest pixels, creating a composite of maximum sharpness throughout the depth of the image. The result is a single merged image. Apply your standard post-processing workflow to the merged result.
HDR merge — bracketed exposures for extreme dynamic rangeHDR (High Dynamic Range) merge captures a scene that exceeds the camera's single-exposure dynamic range by shooting multiple exposures and merging them. Bracket: -2 EV (exposing for the highlights), 0 EV (correct exposure), and +2 EV (exposing for the shadows). In Affinity Photo: File → New HDR Merge. Import the three bracketed files. Affinity aligns and merges them using tone mapping to compress the full dynamic range into a viewable image. The HDR result can then be processed normally in the Develop persona for final adjustments.
Focus stacking vs HDR — when to use eachFocus stacking and HDR address different technical limitations. Focus stacking addresses depth of field — it cannot add dynamic range. HDR merge addresses dynamic range — it cannot extend depth of field. In very challenging situations (macro photography of a subject with significant depth, in high-contrast lighting), you might combine both techniques: shoot multiple bracketed sequences (each at a different focus distance), HDR merge each sequence, then focus stack the merged HDR results. This is extreme, takes significant time, and is only justified for technically demanding commercial or fine art work.
Drill 1
Focus stack a close-up object
Place a small three-dimensional object (a key, a watch, a flower) on a table and set up the a6700 on a tripod. Set: f/8, ISO 100, and focus to the closest point of the object. Shoot 5–8 frames, shifting focus slightly further between each. Import to Affinity Photo → New Focus Merge. Compare the merged result to any single frame — the merged result should be sharp from front to back.
Drill 2
Landscape focus stack — near to far
At a location with a strong foreground element (rocks, flowers) and a distant horizon, shoot two frames: one focused on the foreground (0.5–1m), one focused on infinity. Set: f/8, tripod, manual exposure locked across both frames. Focus merge in Affinity Photo. The result should show both the foreground and the distant horizon in sharp focus simultaneously — a result impossible in a single frame at f/8.
Drill 3
HDR merge — interior with window
Find an interior scene where a bright window is visible (one of the most challenging high-contrast situations in photography). Shoot three bracketed exposures: -2 EV (window correctly exposed, interior very dark), 0 EV (a compromise exposure), +2 EV (interior correctly exposed, window completely blown). HDR merge in Affinity Photo. Tone map the result so both the interior and the window view are visible. Compare to the 0 EV single frame — what detail is recoverable in the merged version that was lost in the single exposure?
Drill 4
Critical comparison — native vs processed
Take a photograph that would benefit from focus stacking (or HDR merge). Process it two ways: (1) as a single frame, pushed as far as possible in Affinity Photo, and (2) using the appropriate stacking or merging technique. Present both results side by side and write a note identifying exactly what the multi-capture technique provided that single-frame processing could not achieve.
Week 3 Assignment
"Technical photography challenge"
Produce two technically demanding photographs: (1) a focus-stacked image where the entire subject is sharp from near to far, and (2) an HDR merged image where both the highlight and shadow detail is fully visible. Both images must be finished and processed to your highest aesthetic standard in Affinity Photo — not just technically correct but visually compelling.
Focus-stacked image shows demonstrably greater depth of field than any single frame
HDR merged image shows detail in both highlights and shadows simultaneously
Both images are aesthetically finished — not just technically processed
The Affinity Photo layer structure for both is documented in a screenshot
Sony a6700Affinity Photo
Focus: Compositing and advanced editing — building complex multi-layer images in Affinity Photo.
Sky replacement — the compositing workflowSky replacement composites a new sky from a different photograph into an existing image. The technique: (1) Select the sky using Select → Sky (Affinity's AI sky selection tool) or build a manual luminosity mask. (2) Refine the selection around the horizon, particularly where trees, buildings, or complex edges meet the sky. (3) Place the new sky on a layer below a masked copy of the original image — the original image shows through everywhere except the sky. (4) Match the colour temperature and light direction of the new sky to the existing ground lighting.
Blend modes — understanding the full paletteBlend modes determine how a layer interacts with the layers below it: Normal (replaces pixels based on opacity), Multiply (darkens — like stacking transparencies, never brightens), Screen (lightens — like projecting two images simultaneously, never darkens), Overlay (increases contrast — darkens darks, lightens lights), Soft Light (subtle contrast and saturation increase), Luminosity (applies the luminance of the top layer using the colour of the bottom layer). Each blend mode creates a distinctly different compositing effect. Understanding blend modes is essential for all advanced compositing work.
Panorama stitching in Affinity PhotoFor ultra-wide landscapes or architectural work, shoot a sequence of overlapping frames (20–30% overlap between frames) and stitch them in Affinity Photo: File → New Panorama. Import all frames. Affinity aligns and blends them automatically. The result is a panoramic image with significantly higher resolution than a single frame — useful for large print work, architectural documentation, and social media landscape posts where horizontal coverage is important. Shoot on a levelled tripod, rotate around the lens's nodal point (not the camera body), and use manual exposure locked across all frames.
Print preparation in Affinity PublisherAffinity Publisher (part of your Affinity suite) is designed for print layout work — books, catalogues, photo books, and magazine spreads. For a photography book or portfolio layout: create a new Publisher document at the correct print dimensions (A4 at 3mm bleed is standard), place your retouched images using the Picture Frame tool, set image resolution to 300 DPI for print (not 72 DPI for screen), and export as a PDF/X-1a or PDF/X-4 for professional printing. Affinity Publisher integrates directly with Affinity Photo — you can open and edit linked images directly from Publisher using the 'Edit in Photo' workflow.
The Affinity ecosystem — Photo, Designer, Publisher integrationThe three Affinity applications (Photo, Designer, Publisher) share a common file format (.afpub, .afphoto, .afdesign) and can open and edit each other's files natively. This means: design a layout in Publisher, edit an image in Photo, create a vector graphic in Designer — all without exporting intermediate files. The StudioLink feature allows you to switch between all three applications within a single window while working on a Publisher document. Understanding this integration is what makes the Affinity suite significantly more powerful than treating each application independently.
Drill 1
Sky replacement composite
Find a landscape photograph with a dull or overcast sky. Find a dramatic sky photograph that has compatible light direction and colour temperature. Perform a sky replacement composite in Affinity Photo: select the existing sky, mask it, and replace it with the new sky. Refine the mask around the horizon edges. Match the colour temperature of the foreground to the new sky's light. Deliver a side-by-side comparison of the original and the composite.
Drill 2
Blend mode exploration — a comparative study
Take a textured photograph (wood grain, stone, fabric) and a portrait. Composite the texture over the portrait using each of the following blend modes in turn: Normal (at 30% opacity), Multiply, Screen, Overlay, and Soft Light. Capture a screenshot of each blend mode result. Write two sentences describing the visual effect of each. This systematic exploration builds your intuitive understanding of blend modes.
Drill 3
Panorama stitch
Shoot a panoramic sequence from a high vantage point in Adelaide (the hills, the coast, or a tall building): at least 5 overlapping frames in horizontal sequence. Use manual exposure, manual white balance, and tripod. Stitch in Affinity Photo → New Panorama. Review the stitch quality (particularly the horizon and any moving elements that may create ghosting). Crop to remove any uneven edges and export as a full-resolution JPEG.
Drill 4
Photo book layout in Affinity Publisher
Create a 10-page photo book layout in Affinity Publisher featuring your best work from Phase 3. Use: consistent margins and grid, your best processed photographs placed using the Picture Frame tool at 300 DPI, your name and the module title as typographic elements, and a consistent colour theme for the layout. Export as a PDF/X-4 suitable for professional printing. This PDF is a professional portfolio artefact.
Week 4 Assignment
"Advanced Affinity compositing project"
Produce a composite photograph that uses at least three distinct Affinity Photo techniques from this module: sky replacement, frequency separation retouching, luminosity masking, focus stacking, or HDR merge. The composite must be credible — it should look like a single photograph taken under exceptional conditions, not an obvious composite. Deliver as a high-resolution JPEG, a screenshot of the layer structure, and a written description of every technique used.
At least three distinct techniques are used and identifiable in the layer structure
The composite is credible — it does not look like an obvious composite
Frequency separation retouching is applied if a person is present in the image
Written description accurately identifies each technique and its purpose
Sony a6700Affinity PhotoAffinity Publisher
Over-retouching — the plastic skin effect
Applying frequency separation retouching too aggressively on the Low Frequency layer removes all tonal variation from the skin — the result looks like a plastic mannequin, not a person. The most common criticism of beginner retouching.
Fix: Retouch to remove distracting imperfections, not to create perfection. Use the Smudge brush at low strength (30–40%) with short strokes. Zoom out to 50% view regularly — if the skin looks smooth at 50% zoom, it is probably right. If it looks perfect at 100% zoom, it is probably over-retouched.
Shooting for focus stacking without locking exposure
If exposure varies between frames in a focus stack (because you shot in aperture priority and the camera adjusted), the merged result will show banding or uneven brightness across the composite.
Fix: Always lock to manual exposure before shooting a focus stack sequence. Lock: aperture, shutter speed, ISO, and white balance. All frames must be taken under identical exposure settings.
Ignoring the light direction when replacing a sky
Compositing a sky where the sun is on the left side of the frame into a photograph where the shadows on the ground fall to the left (indicating the sun is on the right) creates an immediately obvious inconsistency that destroys the believability of the composite.
Fix: Before selecting a replacement sky, check the light direction in your ground image: where are the shadows falling? Your new sky's sun direction must be consistent with this. If the shadows fall to the left, the sun is on the right — your new sky must show a sun or bright area on the right.
Affinity Photo's 32-bit float editing is its most powerful feature
When you enable 32-bit float editing in the Develop persona (enabled by default for RAW files), Affinity can store and process tonal values beyond the normal 0–255 or 0–65535 range. This means adjustments that would clip highlights or crush shadows in 8-bit or 16-bit can be applied and reversed without any data loss. Always work in 32-bit (or at minimum 16-bit) throughout your Affinity workflow — only convert to 8-bit at the very final export stage.
SW:Affinity Photo
Use Affinity Photo's Personas for different tasks
Affinity Photo has four Personas: Develop (RAW processing), Photo (retouching and compositing), Liquify (warp and reshaping tools), and Tone Mapping (HDR processing). Each Persona has its own tools and panels. Many beginners stay in the Photo persona for everything — but Liquify is the correct tool for portrait body reshaping and the Tone Mapping persona gives far more control over HDR merges than the basic auto result.
SW:Affinity Photo
The live histogram in Affinity Photo's Develop persona is your best exposure tool
The Develop persona's histogram updates in real time as you adjust exposure, recovery, and blacks. Get the histogram positioned correctly before doing any creative work — all the tonal data you need is in the RAW file; the histogram tells you whether you are using all of it. ETTR (Expose To The Right) in camera + recovery in the Develop persona is consistently the cleanest workflow.