General Adjustments
A complete darkroom toolbox, from exposure to sharpening
After conversion comes a full set of general adjustments: exposure, contrast, highlights and shadows, white balance, tone curves, color grading, an HSL mixer, point color, color calibration, dehaze, vignette, sharpening and lens correction. Everything previews in real time, is recorded non-destructively, and produces identical results on CPU and GPU paths.
Highlights
- —Essentials: exposure ±3 EV, contrast, highlights, shadows, whites, blacks
- —White balance temperature/tint with neutral-region auto picking
- —Master RGB curve plus per-channel curves over a histogram backdrop
- —Color grading wheels for shadows, midtones, highlights and global
- —8-anchor HSL mixer and ProPhotoRGB color calibration
- —Point Color: sample and adjust — hue, saturation, luminance and range for a specific color, with range visualization
- —Style Match: drop in a reference photo — multi-layer solving matches tone and color style automatically
- —Dehaze and creative vignette, circular falloff based on the crop frame
- —RL deconvolution sharpening with a 1:1 probe and press-to-compare
- —Lensfun-powered correction of distortion, CA and vignetting
- —Perspective transform: vertical/horizontal keystone, aspect and a movable transform center, with auto-scale constrain crop
Tone and exposure
The Essentials panel covers everyday exposure work: exposure adjusts linearly in EV, contrast pivots around middle gray, negative highlights recover blown detail, shadows lift without going gray, and whites/blacks mirror Lightroom. The curve editor offers a master RGB curve plus per-channel R/G/B curves: click to add anchors, double-click to remove, endpoints act as black/white points, and the current channel's histogram sits behind the curve — stable while you drag — so you can place anchors precisely.
Three levels of color work
Color calibration sits at the very bottom of the pipeline, shifting the primaries' chromaticity to build an accurate color baseline; the mixer adjusts hue, saturation and luminance for 8 hue anchors; color grading then maps style onto shadows, midtones, highlights and the global range. A clear division of labor — calibrate, adjust by range, then stylize — and with white balance's neutral-region picking, you go from accurate to stylized in one flow. Point Color goes one step further: sample the exact color in the frame with the eyedropper (a 3×3 median sample whose swatch re-samples automatically as parameters change) and adjust only the pixels near that hue, with four sliders for range, hue, saturation and luminance — enable Show affected range to see the exact area of effect on the preview.
Style Match
Want your photo to take on the style of a reference image? Drag a reference photo (a positive JPG/PNG/TIFF, etc.) straight onto the right parameter panel and the software solves layer by layer — Tone → Channel Exposure → Channel Gamma → White Balance → Tone Curve → Color Grading → Color Mixer → Saturation (negatives and positives are routed through their respective pipelines) — matching the current photo's parameters to the reference's tone and color tendencies. The dialog previews both sides by side, checkboxes toggle each solving category, and you can box-select the effective analysis region on the reference; confirm to apply in one click, or Apply to Entire Roll to batch-match every photo against the same reference.
Detail and optics
Sharpening uses Richardson-Lucy deconvolution to restore detail lost to scanner optics: probe a region with the crosshair and a 1:1 window previews the effect live, press-and-hold to compare against the original, and the full-frame sharpen cache is reused by 1:1 preview and export. Lens correction is driven by the Lensfun database, auto-matching your lens from EXIF to fix distortion, lateral CA and edge falloff — sprocket detection adapts to the corrected geometry automatically. Perspective skew from camera-copying is fixed by the Transform card: vertical/horizontal keystone plus aspect stretch, a transform center you can pick and move, and auto-scale that crops away invalid edges; the warp is anchored to the full frame and the crop is just a viewing window — what you frame is what you get.