For anyone not in the know, Resolve has an exceptionally capable and feature rich free version. A lot of the AI features (and >4k editing) are locked to the Studio licence which is a one-time payment, but works simultaneously on two computers (including different OS's) and allows upgrades across major versions.
I spent less than $300 on it a decade ago and my licence works fine on new v21 released this week. My least-regretted software purchase in 3 decades.
It sucks, but I just can't justify their insane pricing scheme. I've been looking for Linux-capable tools for a while, and Darktable / Rawtherapee are a long way from what I'm after. What you describe sounds like a dream.
Please recommend these "powerful alternatives", because I have explored the space and found nothing that replaces Lightroom in a way that I find acceptable. Please omit Darktable and Rawtherapee as I've already evaluated those.
In their defense you only spoke about dropping your raw workflow for something simpler not that you looked for a special HDR RAW support.
I know it’s Apple and may not what you look for but does Photomator tick these boxes?
I wasn't looking for RAW hdr, just plain jane RAW support that handles moderately new cameras. I stayed on with the old Lightroom as long as I could, but a) it didn't handle my new Sony RAW files, and b) new Mac versions made it impossible to run.
I've moved away from Apple, as that was the last thing tying me to it. Photomator might be nice actually, maybe a good reason to dust off the iPad - cheers.
...
Edit: mobile editing has come a long way since I last checked. Photomator seems really great - between this and a desktop-first approach (Darktable / Davinci) I think this solves all my needs. Big thanks for the recommendation.
I need to do the jump myself to something better. The last update of Lightroom classic runs so damn slow on my Mac mini (M4). Was super annoyed yesterday while working on some pictures.
This is the new version of "GIMP is better than Photoshop", it seems.
It's more like finding the subscription for a CAD program too expensive, and swapping to something more primitive instead. If that offends you, I think you gotta have a long hard look in a mirror some time.
FastRawViewer, DxO, Affinity, Darktable, Capture One. Those are just the ones I personally have installed. There's also RawTherapee, a number of camera OEM-specific tools, and more.
And I'm sure this will all change when the new vulture capital fund that snaps it up tries to extract every last microcent of "value" from the brand.
I should also note I jumped ship to DxO as soon as C1 started going down the subscription hole. And frankly, I'm kind of glad they're struggling. I guess they thought they were going to replicate Adobe's "success" with subscriptions without first being a near-monopoly.
If Capture One still is like this, I wouldn't really be surprised if there's truth to the other comment here claiming that their current owners are trying to offload them.
Without updates included, buying a lifetime license nowadays feels more like a subscription which expires as soon as your OS upgrades instead. It also creates a lot of friction with different file formats when you try to collaborate. companies know how to exploit this to force you into subscriptions.
Recently I edited a few images requiring removing extra people from the frame and I was able to do all editing in Lightroom, in seconds.
As much as I dislike Adobe, Lightroom’s shortcuts and flow are now habits.
I will likely continue using both.
Repeating a point I made in another comment: in DV it is possible to edit hue to hue, hue to saturation, hue to luminesce, luminesce to saturation, saturation to saturation and saturation to luminesce. There is also the amazing chroma warp, using which near arbitrary color adjustments can be made. Nothing out there comes even close to that capability. No wonder most Hollywood movies are color graded in DV.
Guilty as charged. However,... from a certain point of view image editing is all about color. I guess the exception would be Adobes new generation of object selection tools, which are hard to best. DaVinci has such tools but they are more suited to editing movies.
I assumed they would add them later, I hope I'm right!
edit: nope, still only supports Canon, Fuji, Nikon, Sony and iPhone ProRAW.
Yeah I've used previous Studio versions to edit videos from my camera without any trouble. I'm just excited to finally ditch my Adobe subscription ASAP. :-)
The docs page is incorrect, I was able to load my Lumix RAW files in no problem.
They are both PatchMatch (well the healing brush certainly is), which is a heroic bit of code. Entirely deterministic statistical algorithm. Not AI by really any definition (including back then)
I don’t know enough about anything to determine which opinion is correct.
Is AI output not just matrix multiplication and a random seed?
But what I would observe is that the healing brush does not have a random seed. It will always do the same thing if applied at the same pixel.
(I am actually less sure if content-aware fill randomises; I always got the impression it did not)
This makes it both incredibly powerful and occasionally frustrating.
Because on the one hand, you can learn to apply your judgement to precisely control what it will do, and change the radius or position if you learn it is likely to fail, which becomes instinctive. I absolutely love using it to fix scratches in film scans; it's a quick, precise, controllable tool that can be used in a way that is amazingly convincing, and it ends up quite a "zen gardening" thing as a result. It'll sell you on the cheapest wacom pen once you know how efficient it can be.
On the other hand there are situations where it simply cannot work the way you want because it will always find a pattern you don't want it to.
(You can sometimes use the clone brush tool first, to manually break up the pattern that patchmatch will find)
Given a model architecture that supports it, greedy decoding + the same inputs + prompts, that's true for most LLMs today too, I don't think people consider them less/more AI because of that.
Any particular AI output is deterministic (and can be calculated by hand even, if you're immortal).
But it's not deterministic in the sense that (a) it's a black box on the Cloud, (b) repeated AI prompts don't give the same results.
I already used Davinci to make a custom LUT, blended it with the Adobe camera standard profile to use in lightroom as a base for all my edits as Davinci's color tools are much better, and doing it this way just lets you get tones that you couldn't other wise get with Lighroom/ACR alone. This basically removes the need to have lightroom in there as a finishing step.
The only downside is by now I've got a really solid ImagenAI profile based on the 30k photos I've fed it over time, and that obviously relies on a lightroom catalog, and is also capable of applying my LUT since I've made it a slider in LR. I hate adobe, but I'm not sure I could go back to not using Imagen as now I can turn around a full wedding gallery in about 2 days.
FYI, In DV it is possible to edit hue to hue, hue to saturation, hue to luminesce, luminesce to saturation, saturation to saturation and saturation to luminesce. There is also the amazing chroma warp, using which near arbitrary color adjustments can be made. Nothing out there comes even close to that capability. No wonder most Hollywood movies are color graded in DV.
That being said, the new photo editing functionality of DaVinci is not the smoothest. The DaVinci app is a bit of a Frankenstein. The editor is a development laid on top of the original DaVinci color app. The audio page (Fairlight) and the VFX module (Fusion) were purchases which were acquired and 'glued on'. Moving from one to the other can be clunky - though not as bad an experience as Adobe's dynamic links.
I have a bunch of photos from a Mini 3 Pro and Mini 4 Pro -- 4 years' worth -- that I haven't published because I don't have a way to process them.
No tools on Linux (RawTherapee, Darktable, RapidRAW) render their colors correctly no matter how you mess with the sliders, and all of the Github issue pages are dismissive of the problem. There is something fundamentally wrong about how Linux RAW libraries are reading DJI photos.
Lightroom on a Mac tested on another computer renders them all correctly, but I don't own a Mac nor Lightroom.
I moved my team to Resolve about 2.5 years ago and I can say with absolute confidence Fusion > AE. Resolve Studio is all you need, period. Lightroom is clearly better right now than their Photo editor but like all their other offerings (ehhh except fairlight lol still mediocre), it's only a matter of time
When it works, it's really nice and I'm sold on the node based workflows, but it's not all entirely roses.
Resolve itself is excellent, Fairlight works just Ok and is still heaps better than Audition ever was. But Fusion I feel like hasn't seen enough love in the past few years.
The whole Reactor setup for installing Fuses feels really broken and for the free users they disabled those entirely in version 19.1.
Anyway, I tried them, and found that, after you master the "a few rough brush strokes + adjust feathering and mask opacity until it snaps" and "overzealous brush + parametric mask" techniques taught in any Darktable course, for wildlife photo editing, AI doesn't bring much. And yes, this does require a course to break the "perfect mask is required" mindset.
Yes, Lightroom courses will brainwash you that AI "select subject, select sky, select object" workflow is the only modern way to do selective editing, but this is the Lightroom workflow. For Lightroom, it is a natural workflow, because it is, in Lightroom, the best strategy that can create a mask that aligns well with the object edges - until it doesn't. Other editors (such as ART and Darktable) have other idiomatic workflows for masking, and they work, because they have other tools than Lightroom for snapping the mask or refining it.
Bird feathers spread out on the tips of their wings are one particularly bad example where AI struggles, but non-AI tools don't.
You can find a Darktable teacher, and I did. He is a professional photographer, but I disagree with that particular teacher's style in photography - especially the rejection of strong edits even if they do work as creative reinterpretations of the scene.
You can find a photography teacher with good taste in composition, with recognition that both ultra-constrained and creative edits have their place (and I did find such a teacher), but that teacher will inevitably use Lightroom. That teacher recognizes what needs to be edited, recognizes that Darktable has the right to exist, but will explain the needed changes using Lightroom tool names.
It's now your job to translate - and, importantly, translate the visual effect achieved, not the slider name. This requires seeing the intended effect. This requires doing it in Lightroom first and then trying to make Darktable output look the same.
For example, the teacher asked for a high-key edit and told me to raise the whites. In Lightroom, this keeps contrast high near the top of the tonal range, right until it abruptly becomes zero because of clipping. That "high contrast followed by clipping" behavior is exactly what the requested high-key edit needed.
But your teacher will never describe it in those contrast-related terms. Before translating the instruction into Darktable, you first have to discover the visual pattern yourself that the Lightroom slider is producing.
And the correct translation, if you use the "sigmoid" tonemapper, is the "target white" control, which the official documentation marks as "don’t touch". You need to set it to 130% via right-clicking to override the soft limit of 100%. Very non-obvious, not mentioned in the Darktable course that I went through, but the photography teacher then accepted the edit.
In summary, the requirement to learn Lightroom in advance just to understand the photography teacher is the real trap here.
Curves (in the form of Tone Equalizer and the old display-oriented Curve) do exist in Darktable, as well as parametric, drawn, external, and, since 5.6, AI masks.
You speak in theory that geeks and enthusiastic photographers like talk about. Pro photographers don't care, they need results.
And here is another problem: very weak default look. This is a problem because the default unedited look is the basis of further editing decisions, and the photographer is lured into thinking that the photo is supposed to look desaturated and with open shadows. I repeatedly got the same critique, "why did you decide to kill the contrast and color saturation that was present in your RAW file?" I didn't kill them. I didn't even know they existed. And now I made a change to my workflow (a preset) to compensate, but this should not have been necessary.
I am pretty experienced linux user and i would have to buy new NVIDIA card and pray things work out.
Sadly i found out it will be much cheaper to buy refurb mac mini. So now i have dedicated machine for editing video.