(news & commentary)
Pixelmator 3.1 is a significant update of a Macintosh staple (US$29.99 Mac App Store): 16-bit per channel is now supported, as well as the Mac Pro, including full (including dual) GPU support and multicore optimizations. An Order Prints function has been added. Upgrades are free to existing users.
Iridient Developer 2.3.3 adds support for Canon EOS M2, Fujifilm X-T1, Olympus E-M10 cameras, plus improves the adaptive noise reduction routines, adds default ICC profiles for many mainstream camera models, and fixes a few other things.
RawDigger 1.0.3 is a useful tool for evaluating what your camera is really capturing in raw files and for evaluating exposure strategies. The new version adds a useful overexposure detection and offset default, some nice tools for Sony ARW files so that you can see where the lossy compression is occurring, plus support for some new cameras (including preliminary support for the Nikon D3300). While you're at the RawDigger site, be sure to check out their latest article on setting exposure. There's actually much more going on in that article than you might first realize. In particular, a number of us are finding that some recent cameras are really dialing down the exposure (the Olympus E-M10 seems to be underexposing compared to the E-M5 in the same situation, for example). But the thing you really want to pay attention to is the implied electron well saturation versus the bits used to record shadow data. In the E-M10 example used for the article, the saturation results in 3840 tonal values, and you're getting into dangerous bit territory probably six stops down, and definitely in danger a couple of stops further. What do I mean by "bit danger"? In highlights, we're using all 12 bits to define a value (for the camera being described by the article; 14 bits for some cameras, like most recent Nikon DSLRs). In the deep shadow values we may only be using 4 bits to define a value (16 possible tonalities). Not only does noise now have a bigger impact on that data, but any move you make to shift that data (e.g. boost shadows) results in limited tonalities being made into higher bit values with gaps between them. The more you move values, the more issues you'll end up with, typically a blotchiness to the details, with a high level of noise.