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Test strip

Stripes with stepped values

Test strip fans the frame into stripes that step one print parameter — exposure in thirds, halves or whole stops, grade, or the four paper starting points. Every stripe is a full render of the same develop, and clicking one writes its value into the recipe.

The tray

Development has a duration

Develop runs for five, ten or twenty seconds instead of appearing at once: density builds along the time–gamma relation of sensitometry, dense parts first, highlight detail last. The stop bath freezes the moment as a Dev time value — and the slider still moves it afterwards.

Expose

Dodge and burn under a running clock

On the developed photo the dodge and burn tools start a real exposure time. Move over an area while it runs and the coverage grows with the seconds you spend there; when the clock ends, the movement is handed over as one ordinary mask stroke — repaintable, stackable, one undo.

The roll

The roll is the unit, not the frame

Roll base combines the statistics of every selected frame into one robust film base and applies it to the whole strip. The diagram carries one dot per frame — mean density in stops relative to the roll, with the ±1 stop line drawn in, so an underexposed frame is information instead of a surprise.

Rescue

Dust marked, never guessed away

A top-hat pass calibrated against the grain of your own scan proposes dust and scratch candidates and shows them as markers. Nothing is touched until you confirm — and each confirmed candidate becomes one ordinary heal stroke with its own undo.

Density

Measure the frame, then decide

The colour meter holds up to eight fixed sample points on the stage. Besides hex, RGB, HSL and L*a*b* it reads the density per channel from the linear scan, and every point follows the sliders live while you work.

• Auto base Entering the darkroom already proposes a film base; one undo puts the negative back.
• Auto crop Reads the frame against the film edge and offers a crop — you apply it, or it says it found nothing.
• Auto white balance Measures neutral candidates in three brightness zones. Too few, and it says so and changes nothing.
• Correction keys C, M, Y and density in fixed steps, the way a print bench works — writing into the same recipe.

One frame is always free — the single-image darkroom included. Working across a whole roll is what the license covers. See pricing

Before

You say

synthwave scanlines, 80s retro

• Synthwave scanlines synthwave scanlines, 80s retro
• Film halation film halation on the highlights
• Dreamy glow dreamy glow that lifts the highlights
• Cross-processed slide film cross-processed slide film
• Grain in the shadows soft grain that follows the shadows
• Subtle vignette subtle vignette

Scanline Strength

0.55

Neon Grade

0.65

Glow

0.5

Hold to compare Keep

vec3 grade(vec3 c) {
  float lum = dot(c, vec3(0.299, 0.587, 0.114));
  vec3 duo = mix(uShadowColor, uHighlightColor, smoothstep(0.05, 0.95, lum));
  vec3 tinted = mix(c, duo * (0.4 + 1.2 * lum), uTint);
  // neon boost: push saturation and glow in the highlights
  vec3 boosted = tinted + tinted * tinted * uGlow;
  return boosted;
}

void mainImage(out vec4 fragColor, in vec2 fragCoord) {
  vec2 uv = fragCoord / uResolution;
  vec4 px = image(uv);

  // chromatic fringing, sized in real pixels
  vec2 shift = vec2(uShift * uImageScale, 0.0) / uResolution;
  vec3 col;
  col.r = image(uv + shift).r;
  col.g = px.g;
  col.b = image(uv - shift).b;

  col = grade(col);

  // scanlines as a fixed count across the image
  float phase = uv.y * uLines * 6.2831853;
  float line = 0.5 + 0.5 * sin(phase);
  line = pow(line, 1.5);
  col *= mix(1.0, 0.35 + 0.85 * line, uScan);

  // subtle horizontal beam wobble tied to the scanline pitch
  float mask = 0.5 + 0.5 * sin(uv.x * uLines * 2.0 * 6.2831853 + phase * 0.5);
  col *= mix(1.0, 0.9 + 0.1 * mask, uScan);

  // vignette
  vec2 d = uv - 0.5;
  float vig = 1.0 - dot(d, d) * 2.0 * uVignette;
  col *= clamp(vig, 0.0, 1.0);

  fragColor = vec4(col, px.a);
}

1. 01

   You type what you want: “synthwave scanlines, 80s retro”.

2. 02

   The studio writes the effect and gives it its own sliders.

3. 03

   It is checked before it is ever allowed near your photo.

4. 04

   It runs on a neutral test chart first, then on your picture.

5. 05

   You keep it — it lands on your shelf and works on every photo after that.

• You say itThe studio makes it→ It is running above
  Describe an effect

  Say “cross-processed slide film” — what comes back has sliders, and the six above are exactly that.

• 
  Describe an effect that sees the subject

  Ask for a glow that only touches the person — the studio hands the cut-out to the effect.

• 
  Describe a paper curve

  Ask for a paper with a longer toe — the curve stays inside real papers.

• 
  Describe a tool

  Draw once to dodge — the stroke becomes an ordinary mask you can edit.

• 
  Describe a measurement

  Ask which frame is sharpest — the answer is drawn on the photo, and nothing is changed.

• 
  Describe a workflow

  Say: export the selection at three sizes with a contact sheet — see the file list before it runs.

• One codeScan it on the computer, the tablet takes over
• DirectThe sliders talk peer to peer once paired
• Multi-touchTwo fingers on two colour wheels at once
• Curves tooThe tone curve and the wheels, drawn for fingers

• 01

  Every export bakes the develop into pixels. Change your mind later and you start over from the original — if you still find it.

  Edits are recipes on the source. Develop, curves, masks and looks stay changeable at every step.

  Shipping
• 02

  Culling four hundred frames happens by eye, in a grid that knows nothing about focus or duplicates.

  The library measures sharpness, groups near-duplicates and lets you rate with stars — locally.

  Shipping
• 03

  Serious retouching means a round trip through a desktop app — or an upload to somebody’s cloud AI.

  Select subject, remove objects, denoise and upscale run as on-device models. Nothing leaves the machine.

  Shipping
• 04

  A negative scan needs its own tool chain: the scanner software inverts, a RAW app grades — two colour engines, two truths.

  The darkroom is a mode of the studio: base pipette, density, print stage — and the positive lands in the editor as an ordinary photo.

  Shipping
• 05

  One photo, four destinations — print, web, Instagram, the client gallery — and each one means another crop and resize in another tool.

  Export presets for print, web and every major platform, with safe-zone guides — from the same recipe, without touching the original.

  Shipping

• 24 Camera RAW formats
• 29 Looks, built in
• 19 Export presets
• 0 Uploads while you edit

• No subscription — nothing renews, nothing to cancel
• No watermark and no resolution cap — on every plan, including Free
• Every cost is shown before you click, local or server
• Your uploads remain yours

The full pricing page →