Ultimate Polar Bears of the High Arctic Expedition Report June 2025

Ultimate Polar Bear Expedition: Svalbard, June 10th to June 27th, 2025 – There are trips that linger in the soul long after you return to solid ground. And then there are expeditions that define your entire career and stay with you for the rest of your life. The 2025 Ultimate Polar Bear Expedition to Svalbard falls firmly into the latter category. Eighteen extraordinary days in the High Arctic, ten of which were spent deep in the sea ice north of 81 degrees latitude, delivered what can only be described as the most productive and fulfilling polar bear photography experience of my life. Perhaps best of all, it was shared with a wonderful group of like-minded photographers that made the camaraderie as fulfilling as the photography.

We departed Longyearbyen on June 10th aboard our trusted expedition vessel M.S Freya, with a small team of passionate photographers from around the world. The anticipation was electric as we pushed north through calm waters (we had superb weather the entire expedition), heading for the ice edge with hearts full of hope and memory cards ready for the magic of the Arctic. The pack ice would be our home and our canvas. What followed was an experience nothing short of astonishing. The map below traces our journey from Longyearbyen up into the pack ice and back.

Svalbard Ultimate Polar Bear Expedition Notes

  • 10/6 – Departure Longyearbyen aboard M.S Freya
  • 11/6 – S,eergenburg with a pod of Beluga Whales and Mofen Island with a big colony of Walrus
  • 12/6 – Nordenskioldbukta with a lot of ringed seals on the ice
  • 12/6 – Albertinibukta – 7 Polar Bears! 2 Polar Bear females with 2 cubs each and one adult bear
  • 13/6 – 2 x Polar Bear! Plus zodiac excursion to Kapp Bruun with Arctic Fox pups, Walrus and King Eiders
  • 14/6 – Close to Storoya cruising in the pack ice. Found one bear but lost it in the ice. Found another bear on a recent kill (bearded seal) zodiac cruise during the night plus ivory gulls
  • 15/6 – Andreeneset Kvitoya Drive by and a Polar Bear on the pack ice that fell asleep nearby
  • 16/6 – Travelling further north with Walrus mom and calf
  • 17/6 – All day in the pack ice with Ivory gulls, one Bowhead whale and a Polar Bear in the evening
  • 18/6 – Early wake-up call with Polar Bear on a kill and cruise all day in the pack ice. Evening Polar Bear with sunset sky
  • 19/6 Full day in the pack ice. Polar Bear on the ice and many bear tracks
  • 20/6 – Full day in the pack ice and Midsummer BBQ
  • 21/6 – Full day in the pack ice. Polar Bear on a kill (great spot Marco!) Polar Plunge for those who were feeling brave!
  • 22/6 – Morning and afternoon Polar Bears on kills
  • 23/6 – Morning at Albertinibukta with Bowhead whales and Minke Whales later in the day
  • 24/6 – Polar Bear on ice floes (Great spot Peter!) Brasvellbreen glacier cruise from the ship
  • 25/6 – Early morning zodiac cruise at Alkefjellet (two Arctic Foxes)
  • 26/6 – Sailing to Longyearbyen
  • 27/6 Disembarkation

A Bear a Day: Eleven Photo Bears and Eighteen in Total – The defining goal of this expedition was simple but profound: to photograph wild polar bears in their natural habitat. Achieving that goal is never guaranteed in the Arctic; the sea ice moves, conditions shift, and wildlife follow their own rhythms. Yet somehow, over the course of this journey, we encountered a total of eighteen individual polar bears – a bear a day! Eleven of those encounters resulted in what I classify as true photographic opportunities—bears at close range, in beautiful light, behaving naturally. And not just bears at a distance, but bears that approached us, curiously and calmly, in serene Arctic light.

The pack ice north of 81 degrees offered us these moments in abundance. We would often park the vessel, engines off, drifting silently with the ice. We let the Arctic come to us. And it did. Again and again. Some bears were lone males, strolling confidently across the floes. Others were mothers with cubs, cautious and observant. All were healthy, well-fed, and moving with the slow, deliberate and majestic elegance that only polar bears seem to possess. In these moments, standing on the deck of the ship with a camera in hand, there is a stillness and majesty to Nature and the high Arctic that is impossible to capture with mere words.

One particular morning stands etched in memory: a young male emerged from the fog, padding across the ice under soft, diffused light. He approached to within a few meters, sniffing curiously before settling down and resting in front of us. We spent a wonderful amount of time with him in absolute silence. Just the breath of the bear, the creak of the ice, and the soft click of mirrorless shutters. As Nature photographers, these are the moments we dream of.

Spending ten full days in the northern pack ice was, in itself, a once-in-a-lifetime privilege. This region, far beyond the 12 nautical mile limit of Svalbard’s archipelago, remains wild and unregulated—raw Arctic wilderness where the laws of nature, not tourism and bureaucracy, still rule. It’s in these outer reaches, around 81.42 degrees north and 30.56 degrees east—just 20 nautical miles shy of Russian waters—that we found the essence of the polar bear’s world. There was even an opportunity to scout for Polar Bears from the hot tub on the back of the ship!

This was the furthest east I have ever ventured with a group of photographers on a Svalbard expedition. The sea was mirror-calm, allowing us to navigate deep into the ice fields. Ice floes drifted slowly under endless daylight, broken only by the occasional pressure ridge or melt pool glowing turquoise under the midnight sun. Every hour held photographic potential: glowing pastels at 3 a.m., long shadows and golden rim light at midnight, overcast diffusions that made every texture sing.

We never rushed. With 18 days at our disposal, we could take the time to wait, to observe, to drift. Patience rewarded us over and over again. It’s this kind of time-rich, immersive experience that elevates a polar expedition from a trip to a truly transformative journey. The 360º degree video below courtesy Yves Adams – thank you.

While polar bears were our primary focus, the Arctic did not limit its generosity to a single species. Walrus were abundant, often hauled out on ice, bobbing in the water beside the ship, or interacting in social clusters on floes. We enjoyed close-up photography of these massive, tusked mammals in perfect, still conditions—reflections in melt pools, nose-to-nose confrontations, even young calves beside their mothers.

Arctic foxes, typically elusive in summer, surprised us with six separate encounters. On a bird cliff slope, a curious fox went about its morning routine. On another day, we watched two fox cubs playing high on the side of a remote bird cliff. Each fox offered not only photographic opportunities but a deeper insight into this clever and resilient predator’s summer behaviours.

And then there were the birds—a vital part of the Arctic tapestry. Ivory gulls circled gracefully above the ice. Glaucous gulls called overhead. Black-legged Kittiwakes wheeled and dived near ice edges, and both black and Brünnich’s guillemots dotted rocky cliffs and ice margins. Each added a layer of life and energy to the frozen world. For the first time in my life, I was privileged to witness four Bowhead whales surfacing in the calm, pre-dawn hours. Massive, ancient, and rarely seen, they moved with quiet dignity through the glass-like sea. The ship held its breath. We stood together and watched history swim past. For me, this was not a photographic opportunity (whales from ships are rarely photogenic), but a moment to put the camera down and simply enjoy the wild Arctic.

Although the pack ice held most of our attention, our route also allowed us to visit some of Svalbard’s most remote and dramatic locations. At Kvitøya, a ghostly white island shrouded in fog, we paid homage to the history of Arctic exploration and experienced one of the most surreal landscapes on Earth. Storøya gave us panoramic views and solitude, a place where the ice meets sky in perfect harmony. And of course, the massive face of the Brasvellbreen glacier front always inspires awe. This photograph from a previous expedition when it was still permitted to fly drones in this region.

Alkefjellet, with its sheer cliffs and swirling bird colonies, offered a different kind of drama. Thousands of guillemots filled the sky, their cries echoing from rock walls. It was a thunderous reminder of the abundance and chaos of life that clings to even the smallest ledge in the Arctic. Yet, throughout all of this, the focus remained always on the bears. Every decision, every mile travelled, was in pursuit of the next potential encounter. It is essential to recognise the stringent regulations that govern interactions with polar bears in Svalbard. Within the 12-nautical-mile territorial limit of the archipelago, all landings and bear observations are subject to Norwegian law. These laws exist to protect both wildlife and humans.

However, during this expedition, we spent the majority of our time well outside this zone. In the northern pack ice, far beyond the reach of these regulations, we were able to photograph bears in a manner that was both free and ethical, always with the utmost respect for the animals and their environment. We never chased. We let them come to us. It’s a crucial distinction—one that makes all the difference in the world.

To the best of my knowledge, this was the first dedicated polar bear photography expedition to Svalbard, featuring a comprehensive 18-day itinerary. That extra time proved invaluable. It allowed us to explore farther, respond flexibly to changing conditions, and, most importantly, spend ten full, uninterrupted days in the heart of the pack ice. There were no forced diversions, no unnecessary landings. Just ice, bears, and the profound silence of the Arctic. The photographs included in this report represent only a small fraction of those taken during the expedition. It will likely be many months or even years before I have the opportunity to fully mine all the gems from this trip.

Such a long-duration expedition also fostered something else: camaraderie. Onboard the ship, a deep bond formed between the photographers. We shared meals, techniques, stories, and laughter. We stood shoulder-to-shoulder on deck, eyes locked on the horizon. That sense of shared purpose—of mutual respect for the craft and for the wilderness—was as vital to the experience as the bears themselves.

As I write this, safely back in the world of green trees and mobile reception, I find myself still adrift in that world of ice and light. The images are extraordinary, but it’s the feeling that stays with me: the calm, the connection, the privilege. The high Arctic is an incredibly special place and it is always a privilege to travel there to experience a true polar wilderness.

Our next polar bear expedition to Svalbard is scheduled for April 2026. We will journey in early spring, when the landscape is still cloaked in winter white and the low sun paints everything in gold. That trip will offer new challenges and new rewards—frozen fjords, early cubs, and pristine snowscapes.

I am also currently developing plans for a second, extended 18-day expedition for late autumn 2027. This will be a unique opportunity to experience Svalbard as the light fades into polar night, and the bears move toward the edges of the returning ice. In the meantime, we have just a few places left on our April Winter light expedition next year, 2026.

For now, I carry this summer’s expedition with deep gratitude. To those who joined me—thank you for your trust, your passion, and your companionship. And to the Arctic: thank you for reminding us that magic still exists, far to the north (away from the politics of the world), where the ice never sleeps – Stay Wild.

Canon EOS R1 Firmware Update 1.1.0 July 2025

Canon has today released new firmware for the EOS R1. The firmware is now available to download from Canon Japan. It will propagate to other Canon sites throughout the day. There are a number of interesting new features, but unfortunately, the capability to bind pre-capture to a MFN button is not yet amongst them (clearly the Canon Engineers did not get the memo!). Canon EOS R1 Firmware v1.1.0 includes the following changes:

  • The security function has been improved.
  • A password can now be requested when the power is turned on.
    • You will need to set a password the first time.You can change the settings so that the password request screen does not appear.You can check the history of password changes, network information changes, etc.
  • You can now update the firmware on the camera alone by downloading it from the Internet.
  • A “finder display priority mode” has been added, which turns on the viewfinder when the camera’s rear sensor detects a person. 
  • 100/120Hz flicker can now be automatically detected during live view.
  • It is now possible to register the focus position in the preset function of the camera remote application CR-A100. When used with the Robotic Camera System CR-S700R, this makes it easier for the photographer to focus on the intended subject distance and take pictures.
  • Added [Panning Assist] to the menu. When panning with a compatible lens, camera shake correction and subject blur correction are performed during exposure.
  • The servo AF characteristics have been expanded to include [Case Special], which is suitable for shooting subjects through a net, such as badminton and volleyball.
  • Added support for the digital camera software development support kit (EDSDK/CCAPI).
  • A function has been added that allows you to protect an image at the same time as rating it.
  • Supports CFexpress cards up to 8TB.
    • Cards over 8TB require a low level format in the camera.
    • Any card over 8TB will be treated as an 8TB card.
    • Cards over 2TB cannot be used for firmware updates
  • A setting has been added to lower the image capture frame rate to prevent heat generation when connecting the CR-A100 and taking remote shots over long periods of time.
  • When transferring images with voice memos via FTP, the order of transfer has been changed to voice memo, then image. Also, if a voice memo is added to an image waiting to be transferred, the image and voice memo will be transferred last.
  • The number of shots recorded during pre-continuous shooting can now be set in single increments.
  • [Airplane Mode] has been added to the shooting button customization.
  • It is now possible to simulate exposure when using a strobe.
  • AF tracking performance has been improved for subjects that are difficult to focus on when shooting video.
  • Fixed an issue that could cause Err70 to occur when enlarging the display after shooting with [Blackout Free Display] set to “On” and [Servo AF 1st Frame Release/One-Shot AF Release] set to “Release Priority.”
  • Fixed an issue where Err70 could occur during Bluetooth communication due to interference from other Bluetooth devices.
  • Fixed the phenomenon that Err70 would very rarely occur when repeatedly shooting in “High-speed continuous shooting +”.
  • Fixed the phenomenon that Err70 would very rarely occur when shooting with the electronic shutter immediately after starting up the camera.
  • Fixed the phenomenon that Err70 occurs very rarely when recording video with the “FHD239.8P/200.0P” setting.
  • Fixed an issue that occasionally caused Err70 to occur when using the camera in movie mode with the frame rate set to “50.00P” and [Movie Digital IS] set to “On” or “Strong.”
  • Fixed an issue that could cause Err70 to occur while waiting to shoot when [Pre-recording] was set to “On” and [Auto Transfer] to image.canon was set to “Yes”.
  • Fixed an issue that could cause the camera to stop working properly if [Review] was set to “Off” and the monitor displayed a low brightness image after taking pre-continuous shots.
  • Fixed an issue that could cause video recording to be impossible when using remote live view shooting in EOS Utility with HDMI output.
  • Fixed an issue where large RAW images could not be transferred via Camera Connect.
  • Fixed the issue of being unable to connect to a Wi-Fi 7 compatible router.

Download firmware v1.1.0

Global Rescue Suspends Rescue and Evacuation Services in Greenland July 2025

For those of you with Global Rescue Insurance policies, please be aware of the following important update regarding travel in Greenland:

We are writing to inform you of an operational update: Global Rescue is suspending member field rescues and evacuations from Greenland.  At this time, we do not feel confident that we can provide the level of service in Greenland that our members expect due to the lack of reliable operational resources in the region. 

Global Rescue will continue to offer: 

  • 24/7 medical advisory services for members travelling in Greenland. 
  • Fee-for-service transport in the event of an emergency, when feasible. 

For questions or further clarification, please contact Member Services team at memberservices@globalrescue.com or +1 (617) 459-4200 

Wild Nature Photo Travel partners and is an affiliate with Global Rescue.

Puffins and Razorbills of Grimsey Island Workshop Reports May June 2025

Puffins, Solitude, and the Soul of the Arctic – There are few places left in the world where you can photograph wildlife in complete solitude—where the only sound is the rush of wind across dramatic basalt cliffs, the echoing cackle of seabirds, and the soft high-speed click of your mirrorless cameras electronic shutter. Grimsey Island, perched on the Arctic Circle just off the north coast of Iceland, is one of those places. It is wild, raw, and unforgiving—but in its ruggedness lies extraordinary beauty and a rare opportunity for intimate encounters with wildlife. Grimsey is the hidden gem of Iceland, packing a photographic punch well above its size and weight.

This May and June, I had the great privilege of leading two back-to-back photography expeditions to Grimsey Island focused primarily on the charismatic Atlantic Puffin, but with ample opportunities to photograph a host of other seabirds and Arctic landscapes. The trips—May 27th to June 2nd and June 3rd to June 8th—delivered not only exceptional bird photography but also some of the most dramatic weather and moody light I’ve encountered in recent years.

Grimsey isn’t easy to reach, and that’s a good thing. Its remoteness keeps it pristine and blissfully free from crowds. To get there, we journeyed north to the Icelandic town of Dalvík, where we boarded the ferry for the three-hour crossing. The first group arrived smoothly, with calm seas and mild winds—a gentle welcome to the north. But the second trip was greeted by nature’s fury: high winds exceeding 30 metres per second and ocean swells over five meters delayed our departure by a full day. While the delay wasn’t ideal, it provided an impromptu opportunity to explore some Lightroom processing and discuss the optimal camera settings for the upcoming photography.  The one-day delay also served as a reminder that in the Arctic, nature always has the final say.

Once we landed on Grimsey, however, everything fell into place. Our home for the week was a humble guesthouse near the island’s southern cliffs—a perfect base from which to venture out for both early morning and late evening sessions. Grimsey is a relatively small island with only a few basic roads. Nevertheless, a car (4WD) is of significant benefit for moving around quickly and accessing the more remote and higher sea cliffs. At both of these workshops, we took a 4WD with us on the car ferry so we could maximise our photography on the island. Other groups don’t necessarily offer car transport on the island, but this can be a significant error of judgment in inclement weather. Over the course of our trip, we watched several groups uncomfortably trudging uphill through the rain with their camera gear, headed for the high cliffs. Meanwhile, we travelled comfortably to the top by 4WD with all our gear, arriving dry and ready to photograph.

The stars of the show were, of course, the Atlantic Puffins. These endearing seabirds return to Grimsey in the thousands each spring to nest high on the cliffs that ring the island’s perimeter. Unlike other sites in Iceland where the birds are often skittish or the cliffs too distant for intimate photography, Grimsey offers something truly special: proximity. Not only does it provide an incredible opportunity to get close to these fantastic birds, but it also offers the chance to photograph these birds in a stunning Arctic setting.

Each day, we were able to approach puffins within mere meters, lying flat on the soft grass as they hung out on the high cliffs or returned to their burrows. With patience and respect for their space, they allowed us into their world. We photographed them in dramatic light, and during moody, misty afternoons that added emotional depth to the frames.

What makes Grimsey exceptional is not just the access, but the solitude. Unlike well-trodden sites on the mainland, we had entire stretches of cliff to ourselves. No tourists and no other visitors. No other groups. Just us, the birds, and the Arctic wind. It’s a kind of photographic meditation—one that allows you to connect deeply with the landscape and your subject.

While puffins were the headline act, they were far from the only performers. Grimsey is a seabird sanctuary, alive with an astonishing diversity of species. Razorbills nested alongside puffins, their bold monochrome plumage striking against the green moss and black cliffs. Black-legged Kittiwakes shrieked and soared on coastal updrafts, offering opportunities for stunning in-flight images as they banked and hovered in the wind. Mixed amongst them were northern Fulmars and common murres.

We watched and photographed Common Murres and Guillemots packed shoulder-to-shoulder on the narrow cliff ledges, each pair tending to a single egg balanced precariously on bare rock. Northern Fulmars glided effortlessly past our lenses on fixed wings, while Arctic Terns dive-bombed intruders with typical ferocity.

We were fortunate to encounter several rarer species as well, including Black Guillemots, the delicate Red-necked Phalarope in its breeding plumage, and even the elusive Little Auk. Each day brought new sightings—Snipe performing aerial displays, Golden Plovers calling from lichen-covered rocks and buttercup-covered fields, Snow Buntings flitting along the coastal paths.

Throughout the two trips, we documented and photographed an impressive list of 30 species. I did not personally photograph every single species, but very much enjoyed keeping a list of those species we encountered.

  • Atlantic Puffin
  • Razorbill
  • Black-legged Kittiwake
  • Common Murre
  • Brünnich’s Guillemot
  • Black Guillemot
  • Northern Fulmar
  • Arctic Tern
  • Red-necked Phalarope
  • Snipe
  • Golden Plover
  • Snow Bunting
  • Redwing Thrush
  • Raven
  • Common Eider
  • Long-tailed Duck
  • Black-headed Gull
  • Gannet
  • Black-tailed Godwit
  • Common Ringed Plover
  • Ruddy Turnstone
  • Eurasian Oystercatcher
  • Sanderling
  • Common Redshank
  • Arctic Skua
  • Dunlin
  • Mallard
  • White Wagtail
  • Meadow Pipit
  • Canada Goose

Each species presented its own photographic challenges and rewards, from fast flight patterns to elusive behaviour. But the overarching theme was access—Grimsey offers unparalleled proximity to birds in their natural environment, free from the pressure and disruption of human traffic.

The Arctic teaches patience and rewards those who are flexible. Throughout our time on Grimsey, we encountered an extraordinary range of weather conditions: wind, sun, sea fog, and sudden downpours. But far from being an obstacle, the changing weather only enhanced our photography. I have long mandated that dramatic weather makes dramatic photographs, and Grimsey delivered in spades for both our workshops.

One particularly memorable morning, fog and mist rolled in off the ocean, blanketing the cliffs in a pale, blue-grey hue. Visibility dropped, but the mood became magical. Puffins stood like statues in the mist, their colourful beaks luminous against the muted backdrop. That afternoon, the fog burned off to reveal crisp skies and overcast light, and we returned to the same spot to photograph puffins against the ocean.

Another evening brought towering clouds that swept across the island like theatre curtains, letting shafts of light fall onto the sea. With long lenses and careful compositions, we captured seabirds soaring through these natural spotlights—a breathtaking juxtaposition of nature’s grandeur and raw simplicity.

Grimsey isn’t just about birds. The island itself is staggeringly beautiful. A windswept plateau broken by basalt cliffs and rolling meadows, it feels like a place lost in time. We explored beyond the nesting colonies to photograph the broader landscape: coastal rock formations, dramatic sky-scapes, and wild, empty vistas that echo the purity of the far north.

At times, the play between scale and subject became a powerful compositional element. A lone puffin perched on the edge of a massive sea stack. A pair of Black-legged kittiwakes on their nest. A group of murres slicing through shafts of light over a cobalt sea. Grimsey gives photographers room to breathe—to pull back and frame the subject in its environment with honesty and reverence.

Perhaps what made both trips so special was not just the wildlife or the location, but the people. Our small, tight-knit groups quickly bonded over shared meals, gear chats, photo reviews, and the inevitable jokes that come after long days in the field. We worked as a team—scouting, spotting, sharing tips and excitement. When one of us found a nesting site or a particularly photogenic perch, the news spread quickly and everyone benefited. There was no competition, just a shared passion and respect for nature and photography. Evenings were spent reviewing images, charging batteries, and discussing light, behaviour, and composition. More than a few nights ended well after midnight, reluctant to put our cameras down even as fatigue set in.

Personally, I shot over 22,000 images during the two workshops on Grimsey Island (not hard when your R1 camera goes at 40 FPS with birds in flight!). After an initial first pass, I was able to delete around 13,000 images, leaving approximately 9,000 keepers (sharp photographs with interesting compositions that are worth a second look). That is an extraordinary number of photographs to sort, edit, process, and catalogue, and the photographs in this report represent just a very small fraction of those I chose to keep and have processed to date. It will likely be many years before I finish mining photographs from these two workshops. This makes Grimsey Island one of the most productive locations in the Arctic to photograph Arctic birds.

Grimsey Island is not a destination to add to your bucket list. It’s something more profound: a place to slow down, to reconnect with the rhythm of nature, and to immerse yourself in the art of observation. It’s a place where puffins aren’t props for selfies but sentinels of a wild world that still exists if you’re willing to seek it. Both of these trips reminded me why I fell in love with wildlife photography in the first place. It’s not about the number of images or the reach of your lens—it’s about presence. About being there. About watching a puffin return to its burrow against the wind, or witnessing the sudden flash of an Arctic Skua as it harasses a tern mid-flight.

If you’re looking for an experience that combines intimate wildlife encounters, cinematic landscapes, and genuine solitude, Grimsey offers something truly rare. I’ll be back—and I hope to see you there, lying flat on a clifftop, your lens trained on a puffin with the wind in your face and the Arctic sun at your back. Details for our June 2026 trip are now online, and places are limited. Please contact me for details – Until next time, stay wild.

Lightroom Order of Operations with A.I Editing – July 2025

The order of operations in Adobe Lightroom’s Develop module has long been misunderstood by many. Historically, it has not really mattered all that much in which order you make adjustments in the Develop module, as Lightroom would re-order the adjustments into its preferred order when rendering a finished file. With the adjustments being parametric (simply a list of instructions for how to adjust the image) there was never much concern over where you started or finished with your edit workflow. It has always been good practice to work from top to bottom in the Develop module, but now with the introduction of AI editing, there is a preferred workflow as noted below:

  1. Open and edit a photo using AI-powered features like DenoiseMaskingLens BlurGenerative Remove, etc.
  2. When a photo has AI-powered edit settings, the AI Edit Status button is turned on. The button will have a yellow highlight when some AI settings need to be updated to render your photo properly.  
  3. Select AI Edit Status to view the details of all the edits made with AI-powered features.
  4. Select Refresh to update only the corresponding AI setting. It’s recommended to review the results before updating subsequent AI settings in the list.
  1. AI Edit Status is shown with an Update All button.
  2. Select Update All to update all highlighted AI settings in top-down order.

Note: The AI Edit Status button is available on Adobe Camera Raw, Lightroom on desktop, Lightroom Classic, Lightroom on mobile, and Lightroom on the web. Follow the mentioned workflow to access the AI Edit Status button in your preferred Lightroom surface.  Order of AI edit operations – The order of operations also applies to Lightroom on desktop and Lightroom Classic.  The recommended order of operations to avoid unexpected results and achieve the best output is as follows: 

  1. HDR
  2. DenoiseRaw DetailsSuper Resolution
  3. Reflections Removal 
  4. Distracting People Removal
  5. Generative Expand (Currently available only in Adobe Camera Raw as Tech Preview)
  6. Generative RemoveContent-Aware RemoveHeal, and Clone
  7. Lens Blur
  8. Lens Profile 
  9. Crop and Transform
  10. Adaptive Profiles
  11. Global Adjustments
  12. Masking