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 If you’re a photographer, graphic designer or creative professional tired of subscription-models, the recent upgrade of the Affinity suite is not just big news; it’s potentially game-changing. How to get off the Adobe subscription train and onto a more affordable editing platform and workflow is one of the most common questions I get on photographic workshops. As a result I have long been on the lookout for tools that don’t burden you with monthly fees but still give you serious editing ability. Now, Affinity has taken a bold step — combining its photo editing, vector design and layout-publishing tools into one unified app - just called Affinity - and making it free for everyone.
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 If there is one tool that every digital photographer should know and understand (at least a little) it is the curves dialogue. Concurrently the most asked question I receive when teaching anything to do with post-production is, “what is the curves tool and how do I use it?” To try and simplify this then, here is a very quick and dirty explanation of the curves dialogue that will hopefully clear a path through the murk that is post-production.
 Editing in layers is a principle concept for being able to work in Photoshop. In this post we'll take a look at very basic masking techniques to start down the road of layered editing in Photoshop, or any other bitmap editor for that matter.
 When you are in a programme like Lightroom or Capture One, the use of presets becomes a quick and easy - as well as fast - way to make changes to images. Rather than changing every setting individually, a photographer can select a preset that they have created, or even bought, to reset several parameters to one or several images at a time. To say that saves time is an understatement. Taking all the time required to individually adjust images, the use of presets can literally save hours out of a week of editing.
 I am admittedly stubborn when it comes to post-production. Although I am a firm advocate of continuously learning new techniques, I do tend to be late on the uptake. As is the case with Adobe’s Merge to HDR pano feature in the latest version of Camera RAW (version 11.3). For a long time I have had a tedious, but effective, workflow creating HDR panoramic both for my own images, as well as for clients. The technique has involved layering images and selectively blending them into individual frames which are then stitched together to form a panoramic. The technique was long-winded, difficult to learn, easy to mess up, but extremely effective. Then Adobe gives everyone the ability to do it at the click of a button. It seems almost like cheating it’s so easy.
Here is the new process in a few easy steps:  One of the easiest ways to improve both the speed with which you work on your images, as well as your overall experience with working with an editing app, is knowing the shortcuts. So, we've put together the shortcuts that we use the most when editing images.
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