Photomator 3.4.15 Mac

Photomator 3.4.15 opens more than 650 RAW formats, including Apple ProRAW and compressed Fujifilm files. The latest update extends that list to Sony Alpha ILCE-7M5, FUJIFILM GFX 100S II and Nikon Z5II bodies.

Fix color and tone

Color adjustment tools cover exposure, white balance, curves and selective edits. Presets for landscape and black-and-white looks give a starting point that can be copied from one photo and pasted onto a batch.

Select subjects without manual masks

Automatic selection isolates the subject, sky or background using on-device machine learning. The feature leans on Apple's Core ML, while Metal and Core Image handle rendering.

Remove objects and straighten lines

Clone and repair tools remove unwanted objects. Crop, straighten and perspective adjustments fix geometry, and edits can sync back to the Photos app or iCloud Drive.

Proof colors set to your display instead of your output

Out of the box, Photomator uses the Mac’s display color profile for previews. Photographers who print or deliver for sRGB screens should switch this under View > Proof Colors to match the target output. The default is workable, but a mismatch here can make a carefully graded landscape look flat on a client’s monitor.

A second stop is the RAW engine. By default, Photomator hands RAW decoding to Apple’s Core Image pipeline. In Preferences, under the Editing tab, you can flip decoding to “Extended RAW” for files from supported bodies. The difference is subtle in even light but more visible in deep shadows on Sony and Nikon files, where Extended RAW pulls cleaner blacks with less color noise. The trade-off is slightly slower rendering on Intel machines; Apple Silicon users rarely notice it.

Three more switches worth a look:

• Show clipping indicators — off by default, these red and blue overlays flag blown highlights and crushed shadows before you export.
• Auto-straighten on import — handy if you shoot handheld architecture, but it guesses wrong on deliberate Dutch angles. Keep it off unless you trust it.
• Edit in ProRes Wide Gamut — for photographers who also pull stills from video, this keeps color consistent between Final Cut and Photomator.

It won’t replace a Lightroom catalog

One question that surfaces repeatedly is whether a photomator download replaces a Lightroom catalog. It does not. The app is not a digital asset manager; it does not build a library database or store previews in a proprietary container. It opens files directly from disk, the Photos app, or iCloud Drive and saves edits as sidecar data. For someone deep in a Lightroom workflow, that means no migration, no catalog import. It also means you keep your folder structures as they are.

Another common thread is whether the AI selections require an internet connection. They do not. Subject, sky and background masks run on-device through Core ML, so they work on a MacBook in the middle of nowhere. The same goes for Denoise and upscaling — both lean on the Neural Engine if one is present, otherwise they fall back to the GPU.

People also ask about the difference between a photomator free download and the full version. The app installs as a single application with all tools active. RAW support, batch editing, presets, and machine-learning features are present from the first launch. There is no watermark on export and no feature-gating behind a subscription prompt inside the editing workspace.

On the hardware side, the key note is that Denoise and subject selection are noticeably faster on M-series chips. An M1 MacBook Air handles a 45-megapixel RAW selection in under two seconds. An Intel MacBook Pro from 2019 takes about four times longer on the same file. The app runs on both architectures, but the Neural Engine makes a measurable difference.

Workflow: matching a look across a shoot

One of the fastest ways to work with Photomator is the match-and-batch approach for an editorial shoot or a wedding gallery. The steps are linear and repeatable.

Start with the hero shot — the frame where the light, skin tone and white balance are spot-on. Open it, set white balance with the eyedropper on a neutral grey area, then apply a preset if the shoot calls for a consistent style. The built-in “Editorial Portrait” preset is a reliable baseline for skin tones, but pulling back its contrast by 10 to 15 percent keeps it from looking heavy.

Next, fine-tune the tone curve. For an outdoor session in harsh sun, a slight S-curve with lifted shadows and a modest highlight roll-off prevents the background from blowing out. Apply selective color adjustments to the subject if the AI subject mask picked up too much warmth from reflected light — a common problem with brick walls at golden hour.

Once the hero shot looks right, open the Edit menu and choose Copy Adjustments. Select the rest of the shoot in the browser, right-click, and Paste Adjustments. Photomator applies the same white balance, curve, preset and selective edits to the batch. The paste is not blind: each file can be tweaked individually afterward, and the sync respects masks — a sky adjustment on the hero shot won’t paste onto a frame that has no sky selected.

For the last step, select the entire batch and run Export. The app can resize, sharpen for screen, and embed a copyright string in one pass. If the final destination is a client gallery, export at 2048 pixels on the long edge with sRGB embedding and a 72 DPI tag. The whole process, from hero edit to exported gallery, fits inside twenty minutes for a hundred frames.

A working photographer’s morning

A real-estate photographer shoots a four-bedroom house in mixed light — cloudy windows, warm overheads, cool shadows under cabinets. The shoot produces 140 ARW files from a Sony body. Back at the desk, the photographer wants to deliver a clean, color-matched set before lunch.

She drops the folder onto Photomator. The browser shows thumbnails built from the RAW data, not low-quality JPEG previews, so blown window frames are visible immediately. She selects the kitchen hero shot, applies the “Architecture” preset, then pulls the temperature slider slightly toward blue to neutralize the warm ceiling lights. The AI sky selection isolates the windows; she reduces highlights by a full stop and lifts shadows under the cabinets with a curves adjustment limited to the subject mask.

She copies those adjustments and pastes them across all kitchen frames. For the living room, a different white balance is needed — the curtains tinted the window light green — so she edits a new hero shot and pastes in batches per room. The clone tool removes a smoke detector from the ceiling in four frames. No layers, no export presets to configure: the clone works directly on the RAW stream.

Finally, she exports the full set as JPEG with “Resize to 2400 px long edge” and sharpening set to “Screen — standard.” The batch runs in under four minutes on an M2 MacBook Air. By 11:30, the gallery is in the client’s inbox. The workflow moved entirely inside one application, with no round-trips to a cataloging tool and no manual masking.

Photomator 3.4.15 fixes bugs and improves performance. Compressed RAW images from Sony Alpha ILCE-7M5, FUJIFILM GFX 100S II and FUJIFILM GFX 100RF cameras now open correctly, as do High Efficiency and High Efficiency Star RAW files from Nikon Z5II and Z50II bodies. The update also adds RAW support for Panasonic LUMIX DC-S1RM2 images captured in High Resolution mode.

• macOS 13 or later
• Apple Silicon or Intel 64-bit processor