This is a republication of Reedo’s Naver article. It is not a new experiment or a DMS client case study. The cover and in-article photographs are AI-generated staged scenes, not evidence of actual work.
Being told that tools resemble Lightroom and Photoshop is not enough reason to move an entire familiar photo workflow. In this video, ten Canon RAW photos are imported into LightCraft and PhotoCraft, their light and color are adjusted, and existing presets are imported before finishing and exporting. The experiment looks at both how far the workflow got and where the results fell short.
The outcome is not a simple yes or no. Opening ten photos, choosing presets, and exporting proceeded, but bands caused by dehazing and some preset settings that did not transfer remained issues. The tools were also in early beta at the time of the video, so the first step is to test your workflow with copies rather than entrusting important originals to them directly.
The ten-RAW-photo workflow proceeded, but boundary bands and missing preset settings mean this cannot be called a complete replacement.
AI-generated staged image, not an actual work screen.
Which Files Were Used for the Test?
The presenter selected Canon CR3 photos of a lake, flowers, a garden, and decorative objects, among other subjects, and copied only the ten chosen files without touching the originals. The presenter also downloaded the portable release and checked that its file hash matched the hash in the official release listing. A matching hash is an indication that it is the same file as the release, not a guarantee of every aspect of the program’s safety.
The presenter says the ten selected CR3 files opened without errors, but that does not mean RAW files from every camera will produce the same result. The video also distinguishes compatibility problems with files from other cameras as reference cases. Before moving a whole photo folder, a practical starting point is to open one or two photos taken with your own camera and check that you are not merely editing a small preview.
AI-generated staged scene 2View original
AI-generated staged image, not an actual work screen.
Where Did the Editing Results Differ?
For the lake photo, light was adjusted by lowering the bright clouds and lifting the dark areas of the mountain, but the basic sliders alone made less difference than expected. Raising dehaze to 25 then produced a dark band where the mountain ridge met the sky; returning the value to zero made it disappear. The same band was not obvious in the forest and lotus-lantern photos, and the cause was not determined.
Six existing Lightroom XMP presets were imported into the list, but some settings, including camera profiles and looks, did not transfer. Successfully importing a preset is therefore different from reproducing the colors of the original program exactly. It is also worth noting why different choices were made for different photos: bringing out the teal in the sky and water, or giving warm-toned decorative objects a softer feel.
In the yellow wildflower photo, both presets faded the yellow and lost the vividness of the original. This result illustrates the limits of applying one preset to every photo in a batch. Beyond checking whether the desired mood has been created, you also need to check whether the subject’s defining colors remain and whether the boundary between the sky and mountain looks unnatural.
AI-generated staged scene 3View original
AI-generated staged image, not an actual work screen.
Can the Finishing Work Be Moved Too?
In PhotoCraft, the bottom of a photo of decorative objects was cropped to remove the tip of a shoe, and text was added. There was also an issue where a large text size, entered as though it were in pixels, appeared wider than expected because of point units and the photo’s resolution setting. Reducing the size, positioning the text, and saving as a PSD with layers preserved provides an example of finishing work after basic adjustments.
Finally, all ten photos were selected and exported together using settings including JPEG and sRGB. However, a single ten-photo experiment does not validate stability for large batches or every editing feature. The terms of the current release may change, so this article does not establish pricing or what is available for free. Using copies of your own files, you need to check the full sequence of opening, applying presets, inspecting boundaries, saving, and reopening.
Watch the Video to See Ten RAW Photos Edited and Exported
The standard to take from this experiment is the result in actual files, not the resemblance of the interface. Keep the originals, start with copies, and compare basic adjustments separately from preset application. Only after checking how dehaze bands, color loss, and settings that did not transfer affect your own photos can you decide which parts of your existing workflow to move.
