MASKS — WORK ON ONE PART OF A PHOTO Select the sky, skin tones, a range of brightness or colour, or aim a gradient where you want it — then push light and colour on that alone. A button shows you exactly what you have picked while you shape it. CROP LEADS THE STRIP Framing is the decision every other tool is made about, so it sits first. Eleven framings in one list, a tape dial to level a horizon, two more to lean a leaning wall back upright, quarter turns and mirrors on both axes. Nothing is ever cut. A crop is stored the way an exposure slider is, so you can open the photo months from now and give back everything you took off. COLOUR BALANCE Shadows, midtones and highlights, each on three axes: cyan–red, magenta–green, yellow–blue. Cool the shadows without touching the skin. A NEW SHUTTER The release is a moulded rubber cap now — grey for stills, red for video, squashing down into its collar under your finger. Developing a photo also used to share a thread with the screen, so the shutter sat still while the frame came up. That work moved off it.

THE GLOW IS YOURS NOW Bloom, halation and noise moved out of the look and into your hands. Set the size, the spread and the colour of each, on any photo — so a streetlight flares the way you remember it, not the way the film stock decided. NEW FRAMES More paper to print a photo onto, and the frame picker now shows you the colour and borders before you commit to them. A SIMPLER RAIL Light and Colour were two tabs doing one job. They are one tab now: Adjust. FIXED A Live Photo shot sideways no longer develops sideways. Frames crop correctly at every ratio. Plus a pass over the develop path to cut out work that was being done twice.

SIX NEW LOOKS Portra — warm skin against a background that falls softly away, on portrait depth. CCD IX — early-digicam colour, a hard little flash, highlights that clip the way a CCD did. SEA U — deep water and clean sand, the blues pushed cool while skin stays warm. SHX10 — teal shadows against amber faces. City nights and long drives. Dot tone — the photo broken into ink dots and flattened to what a cheap press could hold. Stampie — perforated postage borders and warm print tones. CURVE AND HSL Bend the tone curve on the photo itself rather than in a box beside it. Or take one colour of eight and move its hue, saturation and brightness on its own. TRY EVERYTHING FIRST Every editing tool now opens. The unlock sits at the save, so you see the result before you decide — and vignette is free for everyone. PORTRAIT Blur, bokeh shape and background falloff are set per shot, and the plane of focus finds your subject instead of sitting at a fixed distance. ALSO A Print frame: a lab print with a real darkroom edge. A new burn light leak running through several of the looks. Sharper previews while editing, and another pass over stamps, frames and halation.

DEVELOPS FASTER The wait after the shutter is down sharply, and the looks that glow the most gained the most. LIGHT LEAKS SIT RIGHT A leak was darkening the very edge it should have been lifting. Light landing on film only ever adds — now it does. CLEANER EDGES Instant cards and film rebates cut clean, and the edge print weathers with the frame instead of sitting on top of it. Plus a crash fix and a long list of small corrections.

20 new film looks — the shelf just got a lot deeper. LONG EXPOSURE Hold on something moving and let it stack into one frame. Light trails, water going soft, the friend who cannot sit still. COLLAGE One press, several frames, laid out like a contact sheet. Nothing gets cropped. Also: faster developing, and a pile of small fixes.