FTP: EVERY JPEG ARRIVES JPEGs shot in Adobe RGB now arrive over FTP like any other. The α7 III pads them with zeros after the end of the picture, and the app took that for a transfer cut short: they showed as "stopped on the camera · not saved" and were not kept. A transfer that really is cut short is still turned away.

A BLUETOOTH REMOTE On cameras with Bluetooth Rmt Ctrl in their menu — α7 III, α7R III, α9, α6400, RX100 VII — the phone becomes the camera's remote, with no Wi-Fi: a two-stage shutter (the rim focuses, the disc shoots), burst and bulb by holding, movie, AF-ON, a zoom wheel for power-zoom lenses, a self-timer and an interval mode. Pair once from Cameras → Pair as Bluetooth remote. PHOTOS THAT KNOW WHERE THEY WERE TAKEN Switch on Geotag photos in Settings and the phone notes where it is — with the screen locked too — and photos that arrive over FTP, from the card or from live view get the spot they were taken. JPEG and HEIF carry it inside; RAW files are never rewritten and get their location when copied to Photos or shared. The track stays on your phone. GEOTAGS FROM THE CAMERA ITSELF Paired over Bluetooth, the α7 III, α7R III, α9, α6400, α6500, RX100 VI, RX100 VII and RX10 IV can take the phone's position and write it into every RAW and JPEG on the card, setting their clock as they go.

THE CARD, LOOKED AT FIRST Tap a photo on the camera's card to see it full screen before you take it: a sharp preview in a moment, pinch to zoom, and Full size on request to check focus — with when it was shot, the sizes the camera offers, and whether it is already on your phone. Select or download it right there. DOWNLOADS THAT SAY WHAT HAPPENED Show photos, videos or both — the phone asks the camera only for what you choose. The card remembers what is already on your phone: dimmed in the grid, counted per day, hidden with one switch. A day's Select takes the whole day — or only what is new. A download says which file it is on, stops when you press Stop, and ends with how many arrived and a way to the Library. SELECTING LIKE PHOTOS Slide a finger across photos to select everything between where you started and where you are, diagonals included; back up to undo, and the grid scrolls by itself near the edge. Hold any photo to start selecting. Select All, a grip on each day, and the count in the title. Smooth on libraries of thousands. FTP: LOOK AT WHAT ARRIVED Tap any file the camera sent to open it full screen, just as in the Library — zoom, looks, Pick and Reject, share. SHARING THAT ARRIVES Share as JPEG comes first everywhere, a RAW converted on the way out; the originals wait below it for AirDrop and Files. On the camera's Wi-Fi the app says so before anything is prepared and, where it can, takes the phone off it first. A share too big for Telegram is offered in parts, and a send that fails says so instead of closing in silence. FIXES A day on the card no longer stays empty while another loads. HEIF files keep the .HIF name the camera gave them.

COLOUR EDITOR The develop panel grows into a real colour desk. Eight zones of the colour wheel, each with its own hue, saturation and brightness — cool a sky without touching skin. Colour balance tints shadows, midtones and highlights separately, aimed on a wheel or tuned as exact numbers, live on the photograph. All of it non-destructive, per photo, part of the recipe. PRESETS Save a whole recipe — every dial and the look over it — under a name. Recall it on any photo, or lay it on a whole selection from little preview cards. Share a preset as a file: an imported .cube travels inside it, so it arrives complete on someone else's phone. AUTO WHITE BALANCE One tap measures the frame's colour cast and takes out as much of it as you choose. Faces count as witnesses — skin is never green — and a frame with nothing to judge by says so instead of guessing. Works over a whole selection too, with a running count. HIGHLIGHTS AND SHADOWS Pull a blown sky back or lift the dark end without touching the rest of the frame. The panel now reads Light, WB, Colour, Balance — four tabs, each with its own reset. SHARE THAT SAYS WHAT IT SENDS "JPEG, full size" now leads the share menu: every photo rendered on the way out — edits baked in, RAW-only frames converted, and a pair whose JPEG is only a small preview re-rendered from its RAW. The originals stay one tap away, described in plain words with honest counts. Files travel under readable names, Save to Files joins the menu, and if you are still on the camera's Wi-Fi — where nothing online can send — the app warns you before the share sheet, not after the silence. A LIBRARY THAT KEEPS UP The roll is ordered by when photographs were shot, switchable to when they arrived. A strip of day chips above the tab bar jumps anywhere in the roll with a tap. Pick, Reject and Delete are instant, thumbnails are kept across launches, and selecting got real tools: arrows that walk exactly the chosen frames, and safe, confirmed ways to unselect or leave. IMPORT THAT CANNOT FAIL QUIETLY Photographs appear as they land rather than all at the end, duplicates are asked about — skip or keep a copy, once or for the rest — and every copy is verified. PNG, TIFF, WebP and AVIF join the library alongside JPEG, HEIC and the RAWs. SAVED ONCE Saving to Photos remembers what it saved: a second save offers a copy instead of quietly making twins. FIXES Changing looks no longer resets the zoom. The bottom panel can sit directly under the photograph, upright and landscape both. Add camera now shows which bodies are supported, before anyone types a password. Rotating a photo no longer sends it to the top of the roll. A RAW cut mid-transfer is refused instead of saved looking whole. Re-downloading from the card replaces the file, and the old one waits in the trash.

LOOKS Every photo can now wear a look — a colour grade that is a property of the photo, not an edit to it. Assign one to a single frame or to a whole selection: the grid and the viewer show it graded and a badge names it, while the file on disk is never touched. The look is baked in only when a photo leaves, shared or saved, and a RAW always leaves as the original. Seventeen looks ship with the app, from film-stock moods to corrective ones, each written in colour zones so that greys stay grey. DEVELOP DIALS Exposure, warmth, tint, contrast and film grain, per photo, over the look and just as reversible. Hold the eye in the top bar to see the original — the zoom stays where you left it. WHITE BALANCE BY EYEDROPPER Tap anything that ought to be neutral — a wall, a page, snow — and the colour cast is measured away. The panel shows the colour you tapped beside what it became, so the correction is visible rather than merely promised. Sliders and a reset sit alongside, and the app remembers where you last pointed. YOUR OWN LOOKS Import any 3D .cube LUT from Files and it joins the shelf like a built-in one, thumbnails and all. Long-press its chip to remove it. CAMERA COLOUR A standing correction for your camera body, set once in Settings — the in-app equivalent of a white balance shift. It applies beneath every dial and look, on screen and in every export. RAF AND DNG Fujifilm and DNG files are now first-class: import, view, grade and share them exactly as you would an ARW. The sensor view reads X-Trans as well, drawing its six-by-six pattern where a Bayer sensor has two-by-two. IMPORT FROM FILES AND PHOTOS Bring photos and videos already on the phone into the library, straight from the Library menu. FILTERS THAT STACK Filter chips now combine — "picked RAWs from today" is three taps. A new Date chip narrows by time: today, yesterday, a week, a month, or your own range down to the second. Filters stay pinned at the top while you scroll. SHARE HISTORY Right after a share goes through, note who it went to. The Library menu keeps the ledger: who, when, how many photos and in which formats — with thumbnails to jog the memory. SHARE BY FORMAT Sharing a selection offers RAW first, JPEG first, or every file. Each option says up front how many photos can only travel as the other format. A SMARTER TRASH Batch deletes ask before moving anything, and photos deleted together appear as one group in the trash, newest first. THE CAMERA ANNOUNCES ITSELF Paired cameras show a pulsing dot when they are on the air, and scanning the camera's QR code connects noticeably faster — no more joining Wi-Fi twice. FTP INBOX WITH FACES Incoming files show their thumbnails as they arrive, RAW included. FIXES RAW photos now measure as their real frame size, so the Original filter no longer overlooks them. Card downloads now show live progress, and an interrupted batch resumes from where it stopped — finished photos leave the selection on their own. An FTP transfer cut mid-file no longer hangs forever: dropped connections close with a clear message, and stalled ones are caught within seconds. Un-rejecting the last photo under an active filter no longer strands the viewer on a black screen.

Small fixes and refinements throughout.

Culling, trash, and a look inside your RAW files. • Cull from the grid — Select mode in the Library: tap photos, or hold a beat and sweep a finger to mark a whole run (a haptic tells you the sweep is armed). Batch pick, reject, share, save or delete. Quick-select the picked, the rejected, or whole days from the selection menu. In the viewer, a verdict advances to the next frame automatically. • Trash — deleting moves photos to a trash instead of destroying them. Restore some or all, or empty it for good. • Sensor view — a third face for every RAW: the sensor's own mosaic, before demosaic, white balance or tone curves. Zoom to 100% for the actual Bayer checkerboard — and share it as an image. • RAW+JPEG, properly — switch between the two halves in the viewer; figures, dimensions and histogram follow the file on screen. Share JPEG, RAW or both. Saving to Photos stores the pair as one asset. • Rotate & mirror — lossless orientation for both halves, RAW included. Not a single pixel re-encoded. • Card improvements — size options state what the camera will actually send; download a whole folder in one tap; select shots with a tap or a hold-and-sweep; a lost connection shows a Reconnect button; card tools live under the wand in the title bar. Scanning the camera's QR while it's in transfer mode now routes you straight to the Card. • Full-size timelapses over FTP — match files the camera pushed over FTP to your timelapse series (Library → wand), and bigger export sizes unlock from the real originals. • Resolution filters and megapixel badges in the Library, clearer error messages with retry everywhere, and many small fixes.