Embrace Imperfection LENS Lens simulation, in Effects. 5 lens presets: Helios, Biotar, Cooke, Dispo and Anamorphic. Every element of the lens character is fully tunable: Tilt, Lens Vignette, Color Cast, Bokeh, Chromatic Aberration, Fringing, Coma, Sharpness and Distortion. Bokeh is driven by lens shape – the Lens Blur effect will replace it with a depth-based bokeh but preserve all other lens characteristics. MATCH Match: new color grading tool – select a reference photo to match colors, contrast and brightness. Adjust each individually and use “Protect skin” to set how much these adjustments affect skin tones. DAMAGE AND PAPER Damage, in Effects, brings all the artifacts that come with scanning film: Dust, Fine Dust, Hairs, Scratches and Stains. The effect is fully procedural. On video, the dust changes every frame. Paper, in Effects, simulates the photo as a print. Surface sets paper type: Lustre, Silk, Linen, Matte or Laid. Print renders the photo as ink: Newsprint, Offset, Magazine or Book halftone. Folds, Wear, and Age complete the look. CURVES Curves replaces Levels in Grading: more precision and flexibility. Luma, Red, Green and Blue curves with two edit modes: Parametric or Spline. LAB Contrast, in Curves: adjust color contrast in Oklab color space. Use it to control saturation without affecting brightness. DEHAZE, HEAL AND CLONE Dehaze in Exposure (below Clarity) clears haze, mist and smoke, or adds it. Heal and Clone join Generate Fill in Erase. They fill by intelligently sampling the same photo, so no pixels are generated. PRINT Noritsu, in Print beside Frontier: a second lab-scan look – a gentler S-curve, lighter mids, slightly lifted blacks, cooler whites and peach skin. Frontier is free. The SP3000 print is called Frontier and no longer needs Pro, and a free slide film on a Normalized RAW prints on Frontier automatically. FILM FRAMES Film frames from 8mm to 120. The Film frame has a gauge row – 8mm, 16mm, 35mm and 120. – 8mm and 16mm are optimized for video to simulate an overscanned movie strip with unique variations on each individual frame. When the Super 8 frame is used on a clip, it will render at 18 frames a second and add motion blur to match the frame rate and shutter angle of a Super 8 camera. – 120 Shape places the photo in the film gate of a 120 camera. – 35mm edge print: the maker's marks along the strip, name and frame numbers, DX code. VIDEO Log clip decoding supports more profiles and the color conversion is more flexible. – Skin, Selective Color and Noise Reduction now available in the video editor too. – Frame rate option in video export. – Bulk export now works with video too. ALSO – Copy Edits on one device and Paste on another. Sync Copied Edits requires Handoff. – Edit the time and date printed by the Date stamp under Text. – New in Settings: Export ▸ Effects quality. – New in Settings: default Print for non-RAW photos. Off, Frontier or Noritsu. – HDR scopes: with HDR on, the histogram and scopes accurately display HDR stops. IMPROVED – Improved highlight recovery on iPhone HDR photos and on log and HDR clips. – Refined Halation and bloom on video. – Flare shape is improved and has new options: Min and Max Source Size. – Lens Blur combines subject and depth masks to refine complex outlines like hair. – Chromatic Aberration updated for more realistic rendering. – Weave effect is refined for extra realism. – Rec.709 HEVC video exports in 10-bit. – Heavy exports run in stages with memory checks for extra stability and fewer failures. FIXED – Fixed erased photos synced to another device arriving without the erase. – Fixed .cube LUTs saved on Windows failing to import as "Not a 3D LUT". – Fixed halation, bloom and mist smearing a glow along the frame's edge where the edge cuts through a light. – Fixed the anamorphic flare in an export picking different lights than the preview. – Fixed highlights above white flattening on HDR clips with an Analog frame and Halation or Diffusion.

BULK EDITING Select photos straight from your library and apply a preset or paste an edit onto all of them at once – they land in Drafts, ready to fine-tune. Choose what to paste: the look, the crop, the text, even an erase, so sensor dust comes off a whole shoot in one go. Copy Edits and Paste Edits are in the editor's menu too. FILM AND PRINT 21 new film simulations: classic cinema negatives from the fifties to the nineties, Kodak Gold, Ultramax, ColorPlus, Kodacolor, Ektachrome, Pro 400H and Velvia 100, plus Polaroid 600, SX-70 and FP-100C. Every instant film now comes with its own print. 12 new prints, from Technicolor to the look of a lab scanner, and a Surface section to age a print or take it from glossy to matte. BLUR Lens Blur now blurs like a real lens: the foreground spills over your subject and the background melts away behind it. Motion Blur zooms and spins around a point you choose, and keeps your subject – or the background – sharp. ALSO NEW – An HDR slider sets how bright your HDR photos go. – Extract HDR is free: HDR from RAW no longer needs Pro. – Erase keeps every RAW develop option, and Undo takes back an erase or a double exposure. – Patchy skin? Smoothness evens it out and keeps the texture. – Split Tone gets Strength; Vignette gets roundness and a lens of its own. – Faster scrolling in big iCloud libraries. – Look Finder, in the Film(ish) tab of Presets: spin a film and a print on two wheels and compare two looks side by side. – A tidier editor: every panel in sections, each with its own help. FIXES – Tapping a film in Presets starts from a clean look, and its card matches what you get. – Erased and double-exposed photos stay that way in batch export and when you re-edit them. – After a bulk paste, draft thumbnails show text, frames and date stamps. – RAW files with Extract HDR reopen in HDR. – Mist's HDR glow holds steady while you edit. – A zoomed-in crop pans freely, with perspective correction too. – The vignette stays centered on off-center crops. – More reliable exports of large photos.

NEW MIST - A new diffusion, next to Bloom. Mist softens the whole picture without sacrificing detail. A dreamy cinematic look. Updated 35mm frame with new options. UPDATED Grain amplitude grows more with size giving large grain more structure. A new Amplitude slider let's you control grain density separate from size. Video exports are up to twice as fast. FIXED Grain works with no film stock at all. Digital grain has a more distinct structure that separates it better from film grain. Various bug fixes.

THIS ONE IS FOR PIXEL PEEPERS A new emulsion grain engine. With Film Grain every halide crystal is simulated as a particle, sized in microns, embedded in the negative – the grain is the image. The complex grain structure is achieved by adding multiple grain layers to every channel then simulating how a scanner would resolve and process the microscopic particles. Digital grain uses a more traditional method of generating grain that is more uniform. Try them both, pixel peep and decide what style suits you better. The app will remember your choice. CROSS PROCESS AND SKIP BLEACH Two lab tricks, now sliders in the Film panel. For slide films Cross Process simulates developing in the wrong chemistry. Not all stocks respond the same way: Fuji turns teal and vibrant, Kodak leans warm and dreamy while everything else gets a retro magenta cast. For Negative films Skip Bleach simulates the effects of retaining the silver in a negative: stronger contrast, desaturated colors, compressed exposure range. A BIGGER FILM PANEL Film push and film color temperature have been updated with data from hundreds of scans to simulate the response of real film. New Film Shoulder and Film Floor sliders simulate lab techniques to move the white and black point – use sparingly, these are very strong. ICLOUD SYNC (BETA) Synchronize your edits, presets and settings between devices. STOCKS 5205 – Kodak Vision2 250D joins the cinema section. Eterna 500 and Vision3 500T get refined greens, measured from real scans. VIDEO NEW: HDR support for Apple Log with full HDR preview and HEVC – Rec 2020 HLG export format. The Film panel gains the same new controls. Exports have a Quality setting. BORDERS A new Equal option: the same band on all four sides. Unlike Original, it does not try to keep the photo's aspect ratio – the frame grows evenly and the shape follows. HDR HDR exports now embed an ISO 21496-1 gain map, in HEIF and JPEG. FIXES – More fluid slider motion in edit panels. – RAW+JPEG pairs now open the RAW. – The preview matches the exported file more closely, in SDR and HDR. – Crop guides stay aligned while you move them. – Large RAW files use less memory. – Auto converted Apple Log clips have more contrast in SDR. – YOLO mode is always offered above 48 MP – tested up to 102MP, try your luck!

Five new cinema stocks — the most accurate in Film(ish) to date — with refined skin tones, and a more expressive print stock to pair them with. New Five cinema stocks. The most accurate stocks in Film(ish) to date, with skin tones refined across all five. They take over the Featured row: 50D — Kodak Vision3 50D. The cleanest of the five, with the finest grain — cool through the shadows and mids, warming only at the very top. 200D — Kodak Verita 200D. Magenta highlights, a short range, and blacks that go dense instead of grey. The warmest of the five on skin. 250D — Kodak Vision3 250D. Blues and greens pull toward the same teal. 500T — Kodak Vision3 500T. The tungsten one — coolest of the set, with the most room left in the highlights. 160T — Kodak Vision3 200T. The warm one, and the only one with warm shadows — an amber ceiling over the highlights, and the least saturation of the five. For golden hour and tungsten interiors. K2383W — Kodak VISION Color Print 2383, printed for more expression: the teal holds all the way through mid-grey instead of letting go in the mids. Auto Print picks it for the cinema stocks. F3510 — Fujifilm 3510 — is the restrained one: darker, more muted, and it never crosses over. 120 — a fourth frame type, after Solid, Analog, and 35mm. The border carries the maker's real edge print — Kodak prints both edges, with frame numbers at 6×6 pitch; Fuji prints one edge in dot-matrix, once per strip — and every stock brings its own markings. A tint row sets how the edge print reads. Photo editor only. Decoder MIX — blend your own RAW decode. Two sliders, Tone Map and Chroma Boost, take an Apple ProRAW from Normalized toward As Shot; bake the blend when it's right. Export the bake as a linear DNG that opens the same way in any RAW editor, Exif and GPS intact — and Film(ish) reopens its own DNG fully developed. The mix is free; the DNG is Pro.

All-new everything: New advanced controls (Hue vs, Sat vs curves, split toning), completely rebuilt masking and cropping, reworked RAW development, refined exposure controls, improved skin tones, and more. Compact Layout: New layout options for a cleaner, more efficient UI. Hue vs: A new Grading tab featuring three curves along a continuous hue axis. Shift any hue, its saturation, or its luminosity using an eyedropper tool straight from the photo. Split Tone: Quick and easy split toning via a dedicated tool. Advanced Masking: Composite complex masks using Add, Subtract, and Intersect, plus an all-new Brush mask. Highlight Detail: A dedicated slider that restores highlight texture flattened in SDR renders using the photo's HDR gain map. Film Frame: A new frame option simulating a classic 35mm film strip. New in Print: Introducing two paper simulations: EP1 (Kodak Endura Premier) and CA2 (Fujicolor Crystal Archive II). Reworked RAW Development: Develop modes (As Shot, Normalized, Log) now apply to RAW files from any camera, not just Apple ProRAW. Normalized strips away heavy-handed default processing to create a clean, uniform base - ensuring your presets apply predictably across different cameras and shooting conditions.

PRINT FILM A new Print section under Grading. After the negative develops your image, it can be printed onto the stock theatrical prints were made on – Kodak 2383 or Fuji ETERNA-CP 3513DI – with a chain-order option, and a "Print film" text variable to match. SCOPES Histogram, luma waveform, RGB parade, RGB overlay and vectorscope in both editors, in a resizable panel. A new clipping warning marks the areas about to lose highlight or shadow detail – drawn per stock, receding as you pull Whites or Highlights back. GRAIN Softening is rebuilt around film MTF – no longer a flat Gaussian blur. Each ISO now carries the resolving power of its emulsion: fine grain resolves more detail, fast grain less. The slider also goes negative – raw grain over the sharp image. FILM STOCKS New: Fujicolor F-64D and Fujicolor REALA 500D, daylight-balanced cinema negatives. The Fuji ETERNA negatives have new, improved versions. FP1 now carries its real name, Superia 200. LENS BLUR Near and far are separate controls now – foreground bokeh can spill over a sharp subject, the way a real lens renders it. ANALOG EDGE Redesigned border – the torn film edge looks more organic and less repetitive. Inner Glow and Diffusion now blend smoothly when combined. VIDEO Export Frame – one tap saves the current frame to Photos at full resolution. FIXES – LOG footage no longer renders dark with a conversion LUT. – Video export no longer crashes on clips with certain audio formats. – Exports with frames stay in their size tier. – The editor no longer comes back black after switching apps. – HDR exports match the preview's border brightness. – Preset thumbnails no longer open blank in the video editor.

NEW: VIDEO support for TEXT layers and borders NEW: full crop toolset including anamorphic desqueeze and horizon lock (straighten) in VIDEO NEW: effects for VIDEO including gate weave and light leaks NEW: exposure masking available in the VIDEO editor NEW: edit LOG from any camera by bringing your own conversion LUT New in PHOTO: Erase, Selective Color and new YOLO mode in export that will unlock full resolution export (tested up to 102 megapixels) NEW FILM STOCKS Kodak Verita 200D, Ektachrome 100D and Tri-X Reversal 7266 Improved export times and memory handling. Refined halation shape Sharper subject cut-outs for behind-subject text and subject masks Fixes for issues introduced by iOS 27 beta 3 and beta 4

Crash fixes for iOS 27 Beta 3

NEW – Effects • Lens Blur – bokeh simulation powered by depth-of-field mask • Motion Blur – keep your subject sharp while the frame streaks with motion • Light Leak, rebuilt – six procedural leak patterns NEW – 8 classic film stocks Reverse-engineered from period references: Kodachrome 64, Kodachrome ASA 10 (the 1950s postcard look – free for everyone), High Speed Ektachrome, Agfachrome CT18, Orwochrom UT18, GAF 500, ScotchChrome 1000 and Kodacolor-X. IMPROVED • Grain now switches off from a single Off pill • Anamorphic flare rebuilt with rotation control • Subject cut-outs now work on any subject, not just people FIXED • Faster and more stable across all tools! • iPad landscape layout polished across the photo and video editors • Assorted HDR, export and stability fixes throughout Thanks for using Film(ish)!

New in this version • Text – add titles, captions, and date stamps that develop right into the film, taking on its grain, halation, and glow. 20+ fonts, background bars, and smart camera/date/location stamps. Text can sit behind your subject. • Light Leaks – seven analog light-leak overlays. • Sharper subject cutouts for cleaner masks and "text behind subject." • Edit Stack – see and toggle every adjustment you've made. • Smoother, faster video, refined Double Exposure, cleaner crops, and several export fixes.

New film stocks – MF4 (vintage Fuji slide), MC2 (vintage brown), and Kodak Vision3 50D. Extract HDR – Recover real highlight detail from non-Apple RAW files into a true HDR gain map, derived from your graded image so it tracks every exposure and tone edit. (Requires iOS 18.) Curves "Preserve Hue" – A luminance-preserving master curve so pushing contrast no longer skews colors. Apple Log video – Import and edit Apple Log ProRes footage with correct color. iPad landscape video editor – A new three-column landscape layout that mirrors the photo editor. Plus faster gallery and library scrolling, more reliable HDR export, and a range of stability and quality fixes.

Completely updated UI for the iPad that makes the most of the large screen - optimized landscape orientation layout. New film stocks including KV50T (inspired by Kodak Vision3 500T) and alternative versions for popular stocks like KP1 and FP4. Redevelop raw: a simple and powerful way to adjust exposure using a film-like, non-linear curve for smooth tonal adjustment. New lab features: double exposure, date stamp, double frame. Lens correction: correct distortion, vignette and chromatic aberrations in RAW decoding when lens profile is available. Smaller grain defaults and smaller minimum halation for - for more flexibility when editing high resolution images.

Fixed a bug preventing RAW detection on some devices

11 new film simulations based on stocks like Kodak Vision3 250D, Rollei Digibase CN 200 PRO, Kodak Royal Gold 200, Fuji Pro 400H, Fujichrome Velvia 50 and more. Including stocks with a new spectral filter for a even more analog color rendition. Updated halation and diffusion engines with sharper, richer halation. Now able to source highlights from HDR photos to amplify effects. Faster workflows with batch actions: add preset, paste edits, batch export. Fast preview added to app settings: lower fidelity grain and effects in preview to optimize editing performance on older devices, same quality export. Updated geometry toolbar with horizontal perspective, vertical perspective, lens distortion and anamorphic desqueeze. Option to save over the original - keeps your library clean and can be reverted from Apple Photos at any time. Pin your favorite stocks and presets to keep them handy and pick one as the default to start your edits. Back-up your presets in iCloud. Share presets.

UI update to streamline photo editing and selection

5 new film stocks Improved video editing speed HDR video export Color density control added to HSL Fixed a bug preventing some Sony RAW files from rendering Other small improvements and bug fixes

Film(ish) 1.0.2 New • Develop RAW — tune the RAW decode live: midpoint, compression, black & white points, saturation, noise reduction. Pro. • RAW album — the picker now has a dedicated RAW collection on the Collections tab, updated automatically as you import. • Horizon auto-level — one-tap straightening in the Crop panel, powered by on-device Vision. • Halo Threshold — new slider to tune where halation starts glowing. • Settings — gear icon on the home screen for Apple ProRAW untoned preference, default home tab, and default edit mode. Fixes • Photo picker now preserves the crops you made in Apple Photos. • iCloud photos on optimized-storage devices no longer render black. • Video cells show duration as mm:ss. • Mask eye toggle now actually toggles after an edit. • "Replace current edit?" prompt when a shared photo arrives while you have unsaved work.

Fixed an issue where some users couldn't see the Pro price or complete the upgrade. Thanks for the reports.