Koloristika • The Camera

Koloristika builds the picture itself.

Open the stock camera and the phone hands you a finished photo. Face detection, scene recognition, exposure blending, a neural network deciding what your sky should look like. All of it decided before you ever see the shot.

Koloristika starts a step earlier, at the sensor, and assembles the image from raw data. Demosaic, tone, noise, color, the whole build. Two things do that work, and they hold each other up.

One is the color science. SUCOMO3 shaped the biggest films of the last decade. DSTOCK is what came next, and it lands here first. The cinema industry gets it after you. Film is chemistry. So is this. SILVERLITH carries density from rich dye layers to silver-retained bleach bypass. Saturation comes out the way film subtracts it, never the way a slider adds it. The result is a photograph, not a render.

The other is the RAW engine. Every shot keeps the full-sensor RAW, whole, the way the sensor saw it. Because the negative is always there, nothing you decide is ever spent. Reframe a shot to a longer lens or a cinema format a year later, and nothing is cut from the RAW. Let Auto Horizon straighten a tilt at capture, then put it back if you disagree. Change the look a hundred times. The edit sits on the negative and never touches it.

The two are not really separate. The color science is what makes the picture worth keeping. The RAW engine is what keeps it yours to change. Nothing else is built this way.

The shot is yours. So is everything you make from it.

THE PROOF

THE EDITOR. Six sliders, each modeled from real film. Density, exposure, upper density, temperature, tint, subtractive saturation. Horizontal for big moves, vertical for fine ones. Every edit non-destructive, every edit auto-saved.

REFRAME. A director's viewfinder for a shot you already own. Recompose after capture, with a longer simulated lens in real millimeters and cinema or photo formats. The RAW never gets cut.

AUTO HORIZON. Straightens a tilted horizon at capture, up to ten degrees. Change it or clear it in Reframe.

DOUBLET. A real double exposure as a new RAW. Two of your captures added at the sensor, photon for photon, before the picture is built. One editable negative, not a JPG overlay. The densities come out right because they were never faked. The first on iOS to do it in RAW.

DRX. Two extra stops of dynamic range. One shot, two renders, fused by luminance. Not HDR, not bracketing.

CLR. Color Locus Reset. Chroma noise that falls outside real color gets walked back to the edge of what light can actually be. The grain stays.

SCOUT MODE. Cinema and photography ratios. Focal-length equivalents across Super16, Super35, VistaVision, and 65mm. Simulated lenses beyond the physical one. FrameStamp burns format, focal length, ratio, coordinates, and date into one black bar. GPS stays on the device.

CHROMOGRAM. The seven dominant hues of a frame, read live and sized by area. Burn it into the export with the color data.

FORMULATIONS. F1, F2, F3. Your look, applied at capture. Change it later. The edit is always there.

TONE SEED. Every edit in eight characters. Share the code, share the look.

GALLERY. Chronological, with badges on every thumbnail. Calendar view. Map view.

EXPORT. JPG or TIFF. Full or half resolution. 8-bit or 16-bit.

QUICK ACCESS. Lock Screen widget, Control Center, Camera Control on iPhone 16 and later.

Thirty-six shots free, no clock. Then a subscription, monthly or yearly.

Your photos stay on your device. No accounts with us, no tracking, no ads. iCloud sync, if you want it, is your own. The negative is yours. So is everything you make from it.

Terms of Use:

https://www.apple.com/legal/internet-services/itunes/dev/stdeula/

Privacy Policy:

https://www.thebrim.pictures/koloristika-privacy.html