Luminar has released a solid fall update with some new features and some enhancements. The update is free to current owners and can, of course, be purchased by photographers who are interested.
This new update is version 1.29.0. The update should appear automatically, or you can click "Check for Updates" in the Luminar dropdown menu.
Wildlife files need more editing than most genres because they come from long lenses at high ISOs, subjects that won't pose, and backgrounds you couldn't choose. The edits that rescue those frames, such as cropping, noise reduction, and masked brightening, are the same ones that most often push a photo past the point where it looks natural.
Pixelmator Pro is getting Generate Fill, which lets you circle part of a photo, type the change you want, and have the app rebuild that area to match the light, perspective, and texture around it. It arrives in November as part of a free update to Apple Creator Studio, alongside built-in MotionVFX effects in Final Cut Pro and new AI assistants in Logic Pro, Keynote, Pages, and Numbers.
A clear blue sky sounds like a gift until you open the file and find a flat, even band of color behind your subject with nothing to hold the eye. Lightroom's AI masks can fix that in a few clicks, and the sky selection most people reach for first isn't always the cleanest one.
For about a decade, glass-smooth skin and spotless frames marked a careful retoucher, and that exact look is now what image generators produce best. If a client scrolling your portfolio can't tell your work from a prompt, they have one less reason to book you.
A sunset frame that looked luminous through the viewfinder often opens in Lightroom dark, a little noisy, and short on the warmth you remember. Getting that glow back is mostly a matter of the order you work in and how much room you leave yourself before you start masking.
Lightroom can now open closed eyes in a photo, a job that used to mean digging through a burst for a donor frame and blending it in by hand in Photoshop. If you shoot portraits, events, or group photos, a blink is one of the most common reasons a frame with good expression and good light lands in the reject pile.
DxO has been busy lately, updating its collection of apps, giving them new capabilities and gently using AI to keep the photographer in control while making editing easier.
Adapting a vintage lens to a mirrorless body gets you inexpensive, well-built glass with a look modern optics rarely have, and it also brings purple fringing, darkened corners, and lines that bow at the edges. Every one of those flaws can be pushed around in Lightroom, so each one becomes a decision about how much of the old lens you keep in the final file.
Most fall edits in Lightroom go the same way: you open a frame full of yellow leaves, push vibrance and saturation, and end up with something that looks worse than what came out of the camera. Warm hues clip and smear fast, and a heavy hand turns a glowing tree into a flat neon blob.
Luminar is now offering something pretty unique for photo editors who want a powerful yet portable web-based editor. It's called Luminar on Web, which certainly describes its functionality.
Blend modes sit in a dropdown at the top of the Layers panel in Photoshop, and a lot of people choose one by scrolling until something looks right. Once you know what each mode does to light pixels, dark pixels, and everything in between, that guessing becomes a choice you can repeat on sky replacements, retouching, textures, and composites.
Photoshop's new Relight feature lets you move the light falling on a subject after the shot is already taken, a job that used to mean hours of dodging, burning, and hand-painted highlights. If you build composites or shoot people and products in flat light, a tool that reshapes direction and warmth in a few clicks could shift how much you fix in post versus on set.
California's AB 723 put real estate photo editing under state law, and similar restrictions are now showing up in other states and in MLS guidelines across the country. If you shoot listings, the difference between a harmless cleanup and an edit that needs a disclosure, or one that isn't allowed at all, now has real consequences for you and your clients.
Sunset photos often come out of the camera with crushed shadows and a sky that looks cooler than the moment felt. Lightroom can fix both, and how you lift the dark areas decides whether the scene ends up soft and glowing or just muddy.
Photoshop, Capture One, and Evoto can now all remove blemishes with a slider, so the first pass of portrait skin cleanup no longer has to happen one spot at a time. Which one you trust on a client's face comes down to how each app decides what counts as a blemish and how much real skin it leaves alone.
Reflections in shop windows and glass doors are among the most common things you'll try to clean up in post, and Adobe's latest Lightroom update promises to make its one-click fix more reliable. When that tool still misses, a newer generative feature in Lightroom can take over, as long as you control what it changes.
Camera Raw now has a grid view with ratings, color labels, and a full filter bar, so you can cull and sort a folder of raw files without going near a Lightroom catalog. If you've stayed away from Lightroom because of imports and catalogs, the distance between the two apps just got shorter.
Every edit you make in Photoshop lives on a layer, and the way you stack, mask, and merge those layers decides whether you can change your mind an hour later. If you've ever flattened a file to run a filter and then wished you could go back and fix the retouching underneath, you already know what a shaky grasp of the Layers panel costs.
Flat window light or a harsh shadow across a face used to mean a reshoot or an evening of dodging and burning. Photoshop's new Relight feature, currently in the beta, lets you reposition, soften, and recolor the light in a finished image with a handful of sliders.
Adobe now meters many of Photoshop's AI tools against a monthly pool of generative credits, so knowing which features draw from that pool directly affects how freely you can edit. Many of the program's most useful time-savers have nothing to do with AI at all, and they sit on panels you already open every day.
The way you set up your Lightroom Classic catalog decides how fast you can find a shoot from two years ago and how much work your next backup will be. Most people make that call in their first month with the software, long before they have enough photos to see how it plays out.
When the colors in a Lightroom edit look gray, muddy, or garish, the first instinct is to open the color mixer and start pushing hue and saturation around. That approach can stack up 20 adjustments that cancel each other out, and the result often looks no better than the raw file you started with.
A car shoot can easily produce 1,000 or 2,000 frames, and the time you spend sorting and editing them often decides how many images you actually finish. The order of your Lightroom steps, from culling to tone curve to masking to Denoise, shapes the final look as much as any single slider does.
Photoshop has picked up a run of new AI features and reworked adjustment layers over the past year, and each one arrives with the promise of a faster, simpler workflow. When a tool you use every day changes how it behaves, you need to know whether the new version saves you time or costs you image quality, responsiveness, and generative credits.
Adobe Camera Raw now handles a full retouching workflow, blemish removal included, without pushing you into layers and manual cloning. The new one-click Remove tool runs on AI, finds imperfections you might miss on your own, and gives you sliders to pull the effect back instead of forcing an all-or-nothing result.
Adobe has completed its acquisition of Topaz Labs, the company behind the upscaling and enhancement models a lot of photographers and editors already run on their own files. Topaz Labs continues as a standalone brand, its apps and models stay available on their own, and its technology is already in Adobe Firefly and Photoshop. Adobe did not disclose financial terms.
ACD Systems has released ACDSee Photo Studio Ultimate 2027, and the pitch is less about what the AI can do than about where it runs. Face detection, keywording, masking, super-resolution, and image similarity all process on your computer, with no images or facial data leaving it.
The Mac mini with M5 Pro chews through 4K footage and reads from its SSD in an instant, from a silver box 5 inches square that never once became audible on my desk. It is the fastest small desktop Apple has built, and for photo and video work, it is the best value in the entire Mac lineup.
High contrast can wreck an image fast, crushing shadows into black and burning highlights into paper white. The trick is holding onto detail at both ends while still keeping the punch that makes a sunset landscape feel dramatic.
Empty sunsets, gray black-and-white frames, and lavender fields that turn red under the wrong white balance all trace back to a short list of repeatable errors. Fix those, and the same locations you already shoot start producing frames worth printing.
Adobe hid a color-grading tool inside Camera Raw that reads skin tones with real accuracy, and most people editing portraits have no idea it exists. The vectorscope lives in Camera Raw 18.4 and newer, it's not in Lightroom or Lightroom Classic, and even inside Camera Raw you have to dig to find it.
A dark, high-ISO frame with a heavy blue color cast doesn't look like much on the back of the camera. With the right sequence of adjustments, that same file can carry a warm beam of light streaming down onto the subject, and all of it happens inside Lightroom.
Most beginners think editing is where a photo gets fixed. The truth is closer to the opposite: the edit accounts for roughly 20% of the final image, and the shot you took in camera carries the other 80%.
Adobe quietly slipped a Light adjustment layer into the main Photoshop interface, and it looks almost identical to the tone and exposure controls you already know from Lightroom and Camera Raw. That resemblance is the whole problem, because now people can't tell where they should actually be making these edits.
Photoshop's beta build now includes a Refine Edge feature that cleans up the messy fringing left behind when you cut a subject out of one background and drop them onto another. Every click costs 20 generative credits, so the value depends on whether the result beats what you can do by hand.
Photoshop's beta 27.11 introduces Enhance Edge, an AI feature that promises to erase the halos that show up when you drop a masked subject onto a contrasting background. Hair cutouts have frustrated retouchers for decades, and any tool that claims to solve them deserves a hard look before you trust it on real work.
Light trails on a road can turn a flat night shot into something with real energy, but capturing them all in one clean frame is harder than it looks. Time blending lets you combine several exposures so the streaks flow together the way a single long exposure rarely manages.
Remove a person from the middle of a group photo, close the gap as if they were never there, and do it all without touching Photoshop. That option is now sitting inside Lightroom for anyone who has never gotten comfortable with layers and masks.
Photoshop's autofocus point checker inside Camera Raw 18.6 shows you exactly which points your camera locked onto, so you can catch a blurred watch face or a hand in focus before you commit to the wrong shot. That single feature answers a question you've probably asked yourself a hundred times while culling: did the camera focus where I thought it did?
Photoshop's Brightness/Contrast slider is gone, replaced by a new Light adjustment layer that pulls Camera Raw controls straight into the main editor. Exposure, contrast, highlights, shadows, whites, and blacks now live in a single panel that behaves like a nondestructive version of the Camera Raw sliders many of you already trust.
Every landscape image is different, yet the same handful of moves show up in almost every edit that actually works. Learn those moves and you stop guessing your way through post-processing and start finishing photos on purpose.
In the age of AI editing and retouching, high-resolution pen display tablets still offer an irreplaceable user experience. This one from a brand called GAOMON checks a lot of the boxes of what we look for.
A fisheye lens locks you into curved horizons and bowed lines, but the 7Artisans 10mm f/2.5 for the Nikon Z mount ships with a way out. A free lens correction profile straightens those shots into a clean wide angle look, and applying it takes a handful of clicks.
Presets that carry AI masks are the trick most landscape shooters overlook, and they can shave real minutes off every edit. Fall gives you a short window of color, cool air, and quieter parks, so the less time you spend clicking through the same steps in Lightroom Classic, the more frames you bring home.
DxO is making PhotoLab 10 available today, with some solid new features and improvements to the existing ones. PhotoLab has become increasingly popular among raw editors because of its power and the inclusion of the DxO technology that adjusts for specific lens and camera combinations.
Camera Raw 18.6 adds a dedicated glow slider that folds several manual editing techniques into one control. If dreamy, soft light is part of your style, this changes how you build that look from scratch.
The soft glow effect has floated around photography for years, built with layers, filters, actions, and paid panels that promised the look for a fee. Adobe just baked it directly into Camera Raw, and the version that ships with the app beats every workaround people have relied on.
Creases across the front of a t-shirt sit exactly where the eye lands. Clothing wrinkles and backdrop fold lines are the kind of problem you can't always control on the day, and fixing them by hand eats hours you'd rather spend somewhere else.
Fourteen years separate two versions of the same photo, and watching one turn into the other is a quick lesson in how editing taste changes over time. Revisiting old work with newer tools shows you exactly how far your eye has traveled, and it surfaces habits you didn't know you had.