Revelar

Fast raw editing for the Mac. Controls that make sense.

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Requires a Mac with Apple silicon and macOS 15 or later.

Revelar's window: two macaws edited with the saved settings, the Color panel open in the sidebar and a folder of raws below the photo.

Sensible tone and color controls

Don't you hate when you fix a photo's exposure and the hues shift in ugly ways? When a color tweak messes with your neutrals, or a push in the highlights leaves a flat, clipped patch?

Every control does one job, and leaves the rest alone.

Top-tier color science, built in. A wide-gamut, scene-referred pipeline keeps every bit of data until you export.

The Tonemapper panel: the display histogram, the tone curve and its faders The Color panel: the hue radar, the saturation and luminance faders and the split tones

Push exposure like film

Highlights roll off like film instead of clipping. Push two stops and a blown red turns pink, not flat, with every detail intact.

The red flower raised by two stops, split down the middle: Revelar's tonemapper on the left, a hard-clipping conversion on the right
Our algorithm vs. other apps

Deep saturated colors

Saturation deepens a color without changing its brightness, the way color film does. Luminance is a separate control, so the two never fight. Each of the six hues has both.

A red macaw, at saturation 0.7 on the left and 1.80 on the right
Deep colors without clipping

Fine tune your hues

Nudge any hue toward its neighbor: yellows toward orange or green, blues toward cyan or violet. Only that hue moves. Grays stay gray.

A blue and yellow macaw, with the yellows moved toward orange and the blues toward cyan on the left, and the yellows toward green and the blues toward violet on the right
Targeted hue skews

Split toning

Tint the highlights and shadows separately. Works in monochrome, too.

A flamingo toned with cool shadows and warm highlights on the left, and warm shadows and cool highlights on the right
Cool shadows, warm highlights

Film look is more than a LUT

Simulate real grain, halation and development chemistry.

Effects modeled on how film emulsion actually behaves, with independent controls to craft your own signature look, not borrow a generic one.

The photo as shotAs shot
The same photo under a film presetCine Print
The same photo under a film presetColor Negative Vivid
The same photo under a film presetMonochrome Negative Fast
The same photo under a film presetSlide Film Vivid

Grain

A physically inspired model: three dye layers, cyan, magenta and yellow, that interact in the final image. Amount sets the graininess. Size sets the film format, from 8 mm to medium format.

A close-up of the macaw eye, as shot on the left and with film grain on the right
Amount 12, size 10 µm

Halation

Light bounces off the back of the film base and re-exposes the emulsion, so bright highlights glow warm. A physically inspired model, with amount, spread and bleed.

A lit billboard at night, with a halation glow on the left and as shot on the right
Amount 0.21, spread 1, bleed 0.13

Emulsion development simulation

A physically informed model of color film development: same-layer inhibition, interlayer inhibition and diffusion. Together they separate saturated colors and boost local contrast. It's what gives color film its look.

The macaws split down the middle: as shot on the left, strong inhibition, interlayer and diffusion on the right
Strong inhibition, interlayer and diffusion

Quick culling of entire photoshoots

Every photo operation at your fingertips

Rating

Rate with ⌘1–⌘5. Reject with ⌘0.

A grid of thumbnails of a dog, with star ratings under them and burst stacks marked with a count badge

Stacking

Burst shots gather into a stack. Press S to spread it out. Rate your pick, and the rest are rejected.

A stack of four photos spread out side by side, with the four-star pick and the other three marked as rejected

Loupe

Press ⌥L and hover for a 50% loupe. Check focus without opening the photo.

A round loupe over one frame of a spread stack, showing the dog's eye and nose at 50 percent

Wide raw compatibility

Raw files from almost any camera. Two decoders, Apple's Core Image and LibRaw with lensfun, back each other up.

A cloud of raw file extensions: DNG, CR3, NEF, ARW, RAF, CR2, ORF, RW2, PEF and many more

State-of-the-art algorithms running on GPU

Built from scratch for the GPU on Apple silicon. Edits take milliseconds. Noise reduction, M1 Pro.
CPU: wavelet threshold, 18–51 MP. GPU: Anscombe and à-trous wavelets, 24 MP.
A die shot of the Apple M1 chip under coloured light: blocks of CPU, GPU and cache in blue and yellow on black
Apple M1 die shot by Fritzchens Fritz, CC0.