A darkroom for a whole shoot rather than one photo: it pairs RAWs with their JPEGs, throws out the duplicates and the misses, groups what belongs together, and carries the look you give one photo to the rest of its group - working each frame out on its own rather than copying slider positions across.
Version 0.2.0 · the models ship inside, hence the size
RAW and JPEG pair by name, and the first previews come from the RAW's own embedded thumbnail rather than from developing it.
Bursts and the frames that missed go to a review pile with the reason attached. Nothing is deleted, and one click rescues.
The same pass that scores a photograph says what it is of, so you can find things without having typed a word.
What was shot together lands together, and each scene nominates the one frame worth editing first.
Edit that one frame; the scene follows. Each member is worked out from its own exposure and white balance rather than handed your slider positions.
Show it RAWs you finished in another editor beside the JPEGs you exported, and it works out which of its own sliders land closest.
Tone, colour, detail, denoise, retouch, masks and layers - a full panel that folds down to the parts you reach for.
Name a number and get a cross-section that covers the whole shoot instead of eight versions of its best moment.
Format, size, watermark, metadata and naming, saved under a name. A client set and a web set are two presets.
Point it at RAWs you edited somewhere else and the JPEGs you exported from them. It works out which of its own sliders get closest to what you did, and keeps that as a style it can put on photographs you have not touched yet.
Every folder is kept on its own. Switch one off and it leaves your style without being forgotten; teach it another and the style moves. What it learns is filed by what the photographs were of, so a habit you have with water is not applied to a portrait.
Working an edit back out of a finished JPEG is guesswork, and the application says so where you start it. Treat what comes out as a beginning.
Start from your camera's colour and contrast instead of a flat RAW, and from the lens correction it applies in its own JPEG.
Exposure, contrast, highlights, shadows, whites, blacks and midtones, with a tone curve over the top.
White balance, saturation and vibrance, plus colour bands you place anywhere on the wheel, each with its own hue, saturation and brightness.
Sharpening at the pixel scale, texture inside one range of tones, clarity across the whole picture, and dehaze for the distance.
Three of them, from a fast pass to one that measures this photograph's own grain in the raw file before taking any of it.
Found for you, with a dial each rather than a mask to draw. Elements: water, earth and sky. People: skin, faces, eyes and blemishes. Animals: fur and feather, with the texture brought up rather than smoothed.
Clone, heal and remove. Remove closes the hole with patches of the photograph itself. Each spot undoes on its own.
Sky with no model needed, objects found by name, and masks you paint. Each layer carries its own sliders and its own switches.
Crop and straighten, and corner shading that darkens or lifts.
A shoot has a handful of scenes and a thousand frames. Only one of those numbers should be your problem.
The work after a shoot is repetition: the same rejection, the same crop, the same lift of the same shadows, frame after frame. Software that only knows how to edit one photograph makes you the one supplying the repetition.
So the unit of work here is the shoot. Culling, grouping and the look you settle on all apply at that scale, and the frame in front of you is the one the app thinks is worth your attention next.
The models that measure, group, keyword and mask your photographs all run here, on the GPU where there is one. They come from elsewhere and carry their own licences, listed in the application. Cloud keywording exists, is off, and needs your own key.