0.26.0
Reworked interface — the panels have been reorganised around the editing workflow.
- Editing tools split into workflow tabs — the single long Controls list is now four icon tabs that follow the pipeline: Setup (Presets, Geometry, Process), Exposure, Color (Lab, Toning) and Finish (Retouch, Finishing), alongside Export, Metadata and Scan. The tab bar is icon-only with hover tooltips, and each tab scrolls on its own. Jump straight to a tab with
Ctrl+1–Ctrl+7(rebindable, shown in the?overlay). - Analysis pinned to the top — the histogram, photometric curve and stats now sit in a sticky, collapsible Analysis section at the top of the right panel (instead of a left-panel tab), and a draggable divider lets you resize Analysis vs. the controls below it. Its size and open/closed state persist across restarts.
- Left panel is now just the filmstrip — Export, Metadata, Scan and Analysis moved to the right panel, leaving the left side a clean contact sheet.
- Contact-sheet thumbnails — the filmstrip is now a justified grid: thumbnails scale to fill the panel width and add/remove a column as you resize, with a subtle border hugging each image (no boxy cell). The current image is shown full-brightness with a gold frame while the rest are dimmed. Labels are dropped for a denser sheet (filename still on hover).
- Compact filmstrip toolbar — file actions (Add files / folder, Clear, Hot Folder, Sync Edits, Sync Crop) are now a single row of icon buttons, with Sort folded into a dropdown.
- GPU acceleration moved to the bottom toolbar — a single ⚡ toggle (with a tooltip showing on/off and the active backend) replaces the checkbox + badge in the side panel.
Esccancels the active tool — deselect WB Pick / Manual Crop / Move Crop / Heal without clicking its button again.Shift+Atriggers Autocrop — new keyboard shortcut for the Auto crop button.- UI scaling — a UI Scale entry in the toolbar ⋯ menu scales the whole interface from 80% to 120% (applied on next launch).
- Fix: a freshly selected thumbnail could briefly show a wrong (blue) colour cast until you re-selected the file — rendered thumbnails are now colour-managed to match the canvas and captured only once the render has settled.
- Fix: preview is now colour-managed to your monitor — the preview previously assumed an sRGB display, so on a wide-gamut screen (e.g. Display P3) it looked over-saturated or washed out and shifted when you changed the Output ICC. The final preview is now converted to the monitor's ICC profile, auto-detected from the screen the window is on (and re-detected when you move it to another display). Falls back to sRGB when the OS reports no profile. (#243)
- Display profile selector (Export → ICC): a new Display dropdown shows the auto-detected monitor profile ("As detected — …") and lets you override it with a common space (sRGB, Display P3, Adobe RGB, Rec 2020, ProPhoto). Use the override on wide-gamut monitors whose profile the OS doesn't report (common on Linux). Affects the preview only, not the export.
- Soft proof toggle (Export → ICC, off by default): like Photoshop's Proof Colors. Off, the preview is simply your edit shown correctly on your monitor and the Output/Input ICC affect the exported file only. On, the preview simulates the Output profile. Defaulting off keeps the preview stable when you change export color space.
- Paper/printer soft proofing: with Soft proof on, selecting a paper/printer ICC (RGB or CMYK) as Output now simulates the print on screen — paper white, reduced black, and gamut compression (absolute-colorimetric proofing). Previously paper profiles changed nothing in the preview (and CMYK profiles silently did nothing).