What's new
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Straightening can trim the empty corners away. Switch on "crop canvas automatically" in the
transform tool and levelling a horizon trims the canvas to the largest rectangle that still lies
fully inside the tilted picture, so no empty wedges are left at the corners. It keeps the shape of
the picture, and the trimmed strip is not gone: open the transform tool again and the whole tilted
picture is back under the frame, ready to be pulled out. The switch above it does the opposite and
enlarges the canvas instead; both remember how you left them. -
More crop formats to pick from. Next to the familiar ones there is now 5:4, and the same
formats upright: 3:4, 2:3 and 4:5. -
The transform tool asks before it drops your work. Crop and orientation only take effect when
you press Apply. Leaving the tool with either of them still open now asks whether to apply it
first, instead of quietly putting the picture back the way it was. -
The colour mixer takes up much less room. The colour wheel has given way to a row of eight
small colour dots, the same shape as the colour labels in the gallery. Click one to work on that
colour range; the dot you picked wears a ring, and any range that carries a setting wears a dot in
its middle, so you can see at a glance where something is set. A middle click on a dot puts that
colour range back to zero. -
Upscaling with a model is in the editor now. The image size tool has its own Upscale section:
pick a model, see what size it will produce, and press the button. The model brings its own scale,
so afterwards the ordinary width and height fields work on the new size and can take you down to a
target size from there. It is computed into the pixels like a retouch, so it can be undone, and
raw files keep a note of it so the work is not lost when the file is opened again. -
The info panel follows the picture you are editing. Its dimensions row used to keep showing
the size stored in the file, even after cropping, resizing or changing the canvas, while the
megapixels next to it already followed the edit. It now shows the size of the picture in front of
you, and it keeps up when you undo. -
Each adjustment tool remembers its own diagram. With the histogram, waveform or RGB parade
shown above the sliders, the choice now belongs to the tool: pick the histogram while working on
light and the parade while working on colour, and switching between the two tools brings the right
one along. A tool without a diagram leaves your choice alone, and a tool you have never switched in
simply shows the last one you picked. -
The colour grading wheels are bigger. They were small enough that hitting a particular hue
took care; the space the colour mixer gave up went to them. -
Old raw formats keep their date and camera. Pictures from Canon's early CRW files, Minolta
MRW, the plain .RAW of Leica, Panasonic and Kodak and Leaf's MOS arrived without a shooting date,
without a camera name and without dimensions, so they dropped out of the timeline, out of sorting
and out of every filter. Those details are read from the raw file itself now, together with ISO,
aperture, shutter speed and focal length. Anything a picture already carries stays untouched.
Fixes
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Old Canon CRW files no longer show grey noise in the viewer and the gallery. Those files store
the sensor data in a way that looked like a preview image, and being the largest picture inside
the file, it won. The real preview is used now, and where there is none, the picture is developed. -
Fujifilm RAF files open as the picture again. The lens corrections were sized against the small
preview image stored inside the file instead of the photo itself, so they pulled the whole frame
into a ball with smeared, washed out edges and green corners. The same mistake made the
corrections come out too strong on gallery thumbnails of every raw format. -
The straighten slider follows the mouse again. While you drag it, turn the wheel over it or step
it in the number box, the preview is computed from a smaller copy of the picture, the way the
exposure and colour sliders have done for a while; the full resolution comes back as soon as you
stop. -
The batch dialogs no longer print two rows on top of each other: with "overwrite the originals"
switched on, the JPG quality row and the copyright field shared the same line. The dialogs are
also a little wider, so the size presets fit on one row again.