ExifToolGui’s job ends where the pixels begin. It inspects and fixes what a photo says — dates, credits, keywords, location — and it does not denoise, sharpen or enlarge the image itself. For the frames that need that work, the current tool class is AI photo editors: programs that use learned models to denoise high-ISO shots, upscale low-resolution files and generally rescue detail. This page covers the options linked from this site, described only at the level that can be stated responsibly — what each is for — with no invented version numbers and no prices. It closes the Workflows & Buying Guides hub sequence that starts with the metadata-first Lightroom workflow and the backup workflow. The metadata tools are on the download page.

Why the metadata pass comes first

AI editing produces new files, and new files are where metadata goes to be rewritten, dropped or quietly altered by export settings. Run the order this site teaches — metadata first — and two good things happen. Your masters carry true dates and credits before any editor touches them, so derivatives start from the truth; and you build the checking habit that catches what an export changed, by re-reading the finished file in ExifToolGui afterwards. The workflow is a loop, not a line: fix, edit, re-check. Skipping the first fix means every upscale of a family scan carries the scanner’s wrong date into the future, beautifully denoised and permanently mislabelled.

The options, described plainly

• Topaz Photo — an AI photo editor centred on denoise, sharpening and upscaling problem frames: the low-light shot, the heavy crop, the small old file that needs to become printable. Linked here as Topaz Photo.
• DxO PhotoLab — a RAW editor whose AI denoise is its headline strength, used by photographers who want the noise work inside a full develop workflow rather than as a separate rescue step. Linked here as DxO PhotoLab.
• Luminar Neo — an AI-driven photo editor positioned on creative editing with automated assistance, the option readers who dislike subscription-style suites often ask about. Linked here as Luminar Neo.

Some links on this page are affiliate links — see our affiliate disclosure. Those three descriptions are deliberately category-level. Features, versions and prices change faster than any guide can responsibly track, and the vendors’ own pages — reached through the links — are the place for the current specifics and trial terms.

Choosing by the problem in front of you

Noise is the problem (high-ISO events, old compact-camera files, night scans): denoise-led tools are the shortlist, and the honest test is your own worst file run through a trial, judged at the size you will actually print or share. Resolution is the problem (small originals, deep crops, phone photos destined for a wall): upscaling is the headline feature to test, again on your file, because source quality decides what any upscaler can honestly invent. The whole edit is the problem (you want developing and AI assistance in one place): a full editor with AI features fits better than a single-purpose rescuer. In all three cases the discipline is identical: work on a copy, export deliberately, and re-check the result’s metadata before it joins the library — dates and credits verified in ExifToolGui, location present or absent by your decision, not by an export default.

The archival case deserves its own sentence, because it is where this tool class earns the most gratitude. Old family scans and early digital files arrive with everything stacked against them: noise, low resolution, faded contrast — and, very often, scanner-written dates standing where capture dates should be. The full treatment is the loop in miniature: fix the dates on the scans first (our scanned-photo date guide covers setting a real capture date), denoise and upscale the copies, then verify that the finished files still carry the corrected dates and the family names you keyworded. Sentimental value is still value, and it deserves accurate records as much as client work does.

What AI editing cannot do

It cannot recover information that was never captured — upscaling synthesises plausible detail, it does not retrieve the real detail a bigger sensor would have recorded, and denoising trades texture for smoothness in ways that deserve a zoomed look before you commit a whole set. It cannot fix wrong metadata; a denoised file with the wrong date is still wrong, which is why this page is sequenced after the metadata guides rather than instead of them. And it cannot substitute for the archive habits in the backup workflow: the rescued frame, once you love it, needs the same three-copy protection as everything else you keep.

Frequently Asked Questions

Should AI editing come before or after metadata work?

After. Fix dates, credits and keywords on the masters in ExifToolGui first, edit copies in the AI tool, then re-read the exported file’s metadata and repair anything the export changed. That loop is the whole method.

Which of the three options is best?

The one that handles your actual problem file best in a trial: denoise-led rescue, RAW development with AI denoise, or AI-assisted creative editing are different centres of gravity. This page describes categories honestly and links the vendors; it does not crown a winner without your test file.

Will an AI editor preserve my metadata?

Not automatically — export settings decide what is written, kept or dropped. Verify with ExifToolGui after export: capture date, Artist, Copyright, keywords and GPS state, on every file that matters.

That completes the desk: metadata fixed, library backed up, problem frames rescued. Browse the full sequence in the Workflows hub, and revisit the comparisons in the Comparisons hub when the next tool decision arrives.

Two different disasters bring readers to this page, and they need different tools. In the first, photos are gone — deleted, or on a card that was formatted or is failing. In the second, the photos are there but broken — files that will not open, images or videos damaged in transfer or by a bad card. Recovery software addresses the first disaster; repair software addresses the second. ExifToolGui does neither — it views and edits metadata in files that exist and open — and this page says so plainly before comparing the tools that do. It lives in the Workflows & Buying Guides hub with the backup workflow that prevents most of these cases, plus the card reader guide for the reader-versus-card diagnosis. The metadata side is on the download page.

First rules, before any tool

• Stop using the card or drive. New data written over deleted files is what makes them unrecoverable; every photo taken on a card with deletions still on it lowers the odds.
• Work on a copy where you can. Recovery belongs on an image or duplicate of the medium, not on the only original, whenever the tool allows it.
• Save recovered files somewhere else. Never recover onto the same card or drive you are recovering from.
• Expect partial results. No tool can guarantee recovery: overwritten data may be unrecoverable, and a physically dead card may need a laboratory, not software. Any page that promises otherwise is selling, not informing.

Recovery vs repair: the distinction that picks the tool

Recovery tools scan storage for files that were deleted or lost — photos on a formatted card, a vanished folder — and reconstruct what the medium still holds. Repair tools take a file you already have, which exists but is corrupt, and rebuild it into something that opens: the category example in this comparison is EaseUS Fixo, which repairs corrupt photo and video files. The disasters feel similar (‘my photos won’t open’) and the tools are not interchangeable: running recovery on a corrupt-but-present file finds nothing to recover, and running repair on a deleted file finds nothing to repair. Diagnose which disaster you have — files missing, or files present but broken — and the table below narrows to the right row.

The tools compared

Some links on this page are affiliate links — see our affiliate disclosure. Compare more than one recovery tool against your actual card before paying for anything: reputable recovery tools let you scan and preview what was found first, and the scan result — not the marketing — is the evidence that your files are still there to be recovered.

Triage order matters as much as tool choice. Before any recovery scan, rule out the cheap explanations: try the card in a second reader and with a different cable, because a card that fails in one reader and reads in another was never a recovery case at all — the isolation routine is in the card reader guide. Only when the card fails everywhere, or files are genuinely missing, does the scan begin; and only when the scan’s preview shows your files do you have evidence that recovery is possible and a basis for choosing between the tools in the table.

After recovery: rebuild the metadata, then the backup

Recovered files often return with wounds metadata tools can actually address: file names that are generic, timestamps from the recovery process rather than the shoot, descriptive fields stripped along the way. That is ExifToolGui’s legitimate role in this story — after recovery, on the recovered copies, verify what capture dates survive, repair the ones that demonstrably do not (using evidence from neighbouring files, never guesses presented as fact), and re-apply credits and keywords. Then close the loop with Back Up the Photo Library You Just Cleaned: the recovered, re-documented library should immediately become a backed-up library, because a second loss after a lucky recovery is the one outcome nobody should accept.

Frequently Asked Questions

Can recovery software guarantee my photos back?

No, and distrust any tool that guarantees it. Recovery depends on the deleted data not having been overwritten and the medium still being readable. Overwritten data may be unrecoverable, and results are routinely partial — some files whole, some damaged, some gone.

My photos exist but will not open. Recovery or repair?

Repair. A present-but-corrupt file is a repair case (the Fixo row in the table). Recovery tools are for files that are deleted or lost. If the files are missing entirely, that is the recovery case.

Can ExifToolGui recover or repair photos?

No. ExifToolGui views and edits metadata in files that exist and open. Its role here is after recovery: checking and repairing metadata on the recovered copies, and documenting the library properly this time.

Prevention beats every row of that table: keep the Workflows hub bookmarked, and make the backup workflow your next read if this page was a close call rather than a catastrophe.

Every photo workflow on this site starts at the same place: getting files off a card and onto the computer, intact, so the metadata pass can begin. The card reader is the unglamorous tool that decides how that ingest feels — and when a card misbehaves, the reader is also the first suspect to eliminate. This guide frames the reader brands photographers shortlist, as examples to check through Amazon links with this site’s tag, and explains how to match a reader to your cards. It sits in the Workflows & Buying Guides hub with external SSDs, the backup workflow and the recovery comparison. The metadata tools wait on the download page.

Some links on this page are affiliate links — see our affiliate disclosure. As with our SSD guide, no prices are printed: listings carry the current figures, and reader line-ups change by card generation.

The examples readers check first

• ProGrade Digital card readers — a reader line built specifically for professional photo and video cards, including SD and CFexpress models: check ProGrade readers on Amazon.
• Lexar Professional card readers — Lexar’s reader range for its professional card lines, again spanning SD and CFexpress: check Lexar readers on Amazon.

Two brands are enough for a shortlist because the deciding factor is rarely the logo: it is whether the reader matches your card types and your computer’s ports. Buy the match, from a maker whose business is cards and readers, and the ingest step disappears into the background — which is where it belongs.

Match the reader to your cards first

Card families are not interchangeable, and neither are their slots. SD cards (including the UHS generations) and CFexpress cards (Type A and Type B are physically different) each need a reader built for them; a multi-format reader only helps if its slots are the formats you actually shoot. Start from your camera bag, not from the product page: list the exact card types you own today and the ones your next camera body is likely to use, then choose a reader (or a pair) that covers that list. The second match is the computer side: the reader’s cable and connector must suit your machine’s ports, and an adapter chain between a fast reader and a slow port quietly turns ingest back into a wait. Photographers running both SD and CFexpress commonly end up with either one dual-slot reader that genuinely covers both formats, or two dedicated readers — both patterns are fine; the wrong-format purchase is the only real mistake.

Reader, card or cable? Troubleshooting the ingest

When transfers fail or a card does not appear, isolate before you conclude the worst. Try the same card in a different reader (or a different slot), and a known-good card in the suspect reader; swap the cable before blaming either. This matters beyond convenience: a card that is actually failing needs the recovery discipline — stop writing to it, image it, work on the image — while a card that only fails in one reader needs a new reader. Our recovery comparison covers the failing-card branch. Once files are safely across, the routine of this site takes over: verify the ingest by opening the folder in ExifToolGui, confirm dates and counts look sane, run the metadata pass, and refresh backups per the backup workflow. Readers that support both of your card families make that routine a single plug-in rather than a juggling act.

Ingest verification deserves thirty seconds of ritual, because the reader is where silent trouble enters a library. After a transfer, compare the file count on the card with the count that arrived; open the first and last frames; and only format the card in the camera, never in the reader, once the copies are verified and the backup refresh has run. If counts disagree, the card stays unformatted and the diagnosis above begins. That tiny ceremony, repeated every ingest, is what makes ‘the reader ate my shoot’ a story other people tell.

Buying notes that stay true

• Inventory your card types (SD generation, CFexpress Type A or B) before opening a single listing.
• Match the connector to your computer’s ports; budget for the right cable as part of the reader.
• Prefer makers whose core business is cards and readers — the two shortlist examples above are that kind of maker.
• Keep the old reader when you upgrade: a second reader is the cheapest card-vs-reader diagnostic there is.
• Check the live listing for your region and card format; no price is quoted on this page on purpose.

Frequently Asked Questions

Do I need separate readers for SD and CFexpress?

You need slots for both formats if you shoot both. Some readers cover both in one unit; others are dedicated. What matters is that every card type you own has a matching slot — SD and CFexpress, and CFexpress Type A versus Type B, are physically distinct.

My card does not show up. Is it the card or the reader?

Isolate it: the same card in another reader, and a known-good card in yours. If the card fails everywhere, treat it as a failing card — stop writing to it and follow the recovery comparison linked above. If it only fails in one reader, replace the reader.

Why are no speeds or prices listed here?

Achieved ingest speed depends on the card, the reader and the computer’s port together, and prices move. This page gives the durable decision — format match, port match, reputable maker — and links live listings for the current numbers.

Read the companion hardware guide, Best External SSDs for Photo Work, and browse the rest of the Workflows hub for the full desk setup.

An external SSD earns its place in a photo workflow three ways: as the fast working drive a batch metadata job runs against, as one leg of a backup pattern, and as the drive that travels when the library does. This guide frames the external SSDs most often chosen for photo work as examples to check — with Amazon links carrying this site’s tag — and then spends most of its length on the part that outlives any model cycle: how to choose. It belongs to the Workflows & Buying Guides hub, next to the backup workflow and card readers for photographers. The metadata side of the desk is on the download page.

Some links on this page are affiliate links — see our affiliate disclosure. Prices are deliberately not printed here: they move, and the linked listings are the place to check the current figure for your region and capacity.

The examples readers check first

• Samsung T7 portable SSD — the previous-generation example in Samsung’s portable line, widely used as a photo working and travel drive: check Samsung T7 listings on Amazon.
• Samsung T9 portable SSD — the newer-generation example in the same line, the one our backup workflow links as its rotating off-site copy: check Samsung T9 listings on Amazon.
• SanDisk Extreme Pro portable SSD — the rugged-line example from SanDisk’s portable range, the other name photographers routinely shortlist: check SanDisk Extreme Pro listings on Amazon.

Treat those three as a starting shortlist, not a ranking carved in stone: generations refresh, capacities and regional line-ups differ, and the right answer depends on the ports your computer actually has and the size of the library the drive must hold. What does not change is the checklist below.

Choose by the job, then by the drive

Capacity from your library, not from the shelf. Measure the library the drive must hold — masters, exports and working room — and buy above that figure with headroom for a year or two of shooting; a drive bought exactly at today’s library size is next year’s migration project. Connection from your computer. A portable SSD can only run as fast as the port it plugs into, so match the drive’s interface to the ports your machines actually offer rather than to the best port on a spec sheet. Role from your pattern. A working drive lives on the desk and wants speed and capacity; a backup drive wants to be the second copy, stored apart; a travel drive wants to be small, bus-powered and replaceable. One drive playing all three roles is one drive whose loss hurts three ways — see the backup workflow for how the roles separate.

Using an external SSD in a metadata workflow

ExifToolGui batch work — shifting dates across a season of photos, writing credits to a whole archive, verifying tags file by file — reads and writes many small pieces of many files, and it feels noticeably better on an SSD than on a spinning drive, especially across thousands of files. The disciplined pattern: keep masters on the fast drive while a batch is in progress, verify the results by re-reading in ExifToolGui, and only then refresh the backup copies from the finished state. Editing against the backup copy itself inverts the safety order; the SSD guide and the backup workflow are written to be read as a pair for exactly that reason. If a drive or card ever starts misbehaving — files vanishing or failing to open — stop writing to it and read Recover Deleted or Corrupt Photos before anything else touches it.

Housekeeping is the unglamorous half of SSD ownership for photo work. Give the drive a file system your machines share if it must move between computers, or dedicate it to one machine if it will not; eject it properly rather than pulling the cable, especially mid-batch; and keep a plain text note in its root folder recording what lives on it and when it was last verified against the library. None of that is product-specific — it is how a fast drive stays a trustworthy drive across years of shoots.

Buying notes that stay true

• Buy capacity for the library you will have, not the one you have.
• Match the connector to your computers; carry the right cable and treat it as part of the drive.
• One drive is a copy, not a backup — pair any purchase with the 3-2-1 pattern.
• Check the current listing for your region: models, capacities and bundles vary, and no price is quoted on this page on purpose.
• Label the drive with its role and the date it entered service; future-you, mid-restore, will be grateful.

Frequently Asked Questions

Which of the three examples should I buy?

The one whose capacity clears your library with headroom and whose connection matches your computer’s ports. The three listed — Samsung T7, Samsung T9 and SanDisk Extreme Pro portable SSDs — are the standard shortlist examples; the listings linked above carry the current variants.

Why are there no prices or speed figures on this page?

Prices change constantly and vary by region and capacity, and headline speeds depend on the host port. Publishing stale figures would mislead; the linked listings show the live numbers for the exact variant you are considering.

Can I run my whole library from an external SSD?

Many photographers do, with the drive as the working copy — provided it is not also the only copy. Working from an external SSD plus a separate backup (cloud and/or NAS) is the pattern this site’s backup workflow describes.

Complete the desk with the card reader guide, and keep the whole set of workflows in view in the Workflows hub.

You have just spent real effort on your photo library in ExifToolGui — dates repaired, credits and keywords written, locations decided. That cleaned library is now worth more than the raw card dumps it came from, and it usually exists in exactly one place. This workflow fixes that: a simple, durable backup pattern for a metadata-cleaned library, built from a cloud copy plus local hardware, using the tools linked from this site. It sits in the Workflows & Buying Guides hub alongside the metadata-first workflow, external SSDs for photo work and recovery options for when prevention came too late. ExifToolGui itself is on the download page.

The pattern: copies in different places, on purpose

The durable idea in backup is not a product; it is separation. Keep at least three copies of the library, on at least two different kinds of storage, with at least one copy somewhere else — the classic 3-2-1 pattern. A single external drive beside the computer fails the ‘somewhere else’ test (theft, fire and flood take both), and a cloud folder alone fails the ‘different kinds’ test if the account or the sync misbehaves. The workflow below builds the pattern from two purchases most photographers make anyway — a cloud plan and local drives — plus one habit: backing up after the metadata pass, so the copies being protected are the cleaned masters, not pre-fix drafts.

The cloud copy: pCloud

One off-site copy should be automatic and boring. The cloud option linked from this site is pCloud, used here in the plain role of remote storage for a full library copy: point it at the cleaned masters folder, let the initial upload finish, and treat its job as done when the remote copy matches the local one. Some links on this page are affiliate links — see our affiliate disclosure. Whichever cloud service a reader uses, the workflow requirements are the same: the whole library, not a selection; uploads verified, not assumed; and the account protected like the asset it now holds, because the cloud copy is the one that survives a bad day at home.

The local copies: a NAS and a portable SSD

Local copies are for speed — restoring a folder from the shelf beats re-downloading a library. Two local forms cover most desks. A network-attached storage box holds the always-on local copy that every machine in the house can reach; readers shopping for one can start from Synology NAS enclosures on Amazon. A portable SSD holds the travelling or rotating copy — the one that can live off-site at a relative’s house or in a desk at work, which quietly satisfies the separation rule; the current example linked from our SSD guide is the Samsung T9 portable SSD on Amazon. The model-by-model discussion is in Best External SSDs for Photo Work; here, the role matters more than the model: one local copy reachable, one local copy removable.

The routine that keeps it true

• Back up after the metadata pass, not before: the copies must contain the fixed dates and credits.
• Verify by sampling: open a few backed-up files in ExifToolGui and confirm the metadata you wrote is present in the copies.
• Rotate the portable copy off-site on a rhythm you will actually keep — monthly beats a perfect plan abandoned by March.
• Test a restore once: copy one folder back from each backup and open it. An untested backup is a hope, not a backup.
• Never edit the only copy: metadata work happens on the master; backups are refreshed from it, never edited in place.

Two refinements separate a durable pattern from a pile of copies. First, keep the untouched camera originals distinguishable from the cleaned masters — a clearly named archive folder for as-shot files, a working library for the corrected ones — so a future fix can always start from the true original. Second, let at least one copy be versioned in effect: when you refresh a backup after a big metadata session, you are replacing yesterday’s truth with today’s, so the off-site rotation doubles as your undo window for anything you regret in the latest pass. Separation plus one step of history is what makes the pattern forgiving.

Notice what this workflow does not promise: it does not resurrect files already lost. If the situation is a deleted or corrupted library rather than a healthy one to protect, start with Recover Deleted or Corrupt Photos — and then come back here, because a successful recovery is the best possible argument for never needing one again.

Frequently Asked Questions

Is one external drive a backup?

It is a copy, which is a start, but it fails the separation test: it lives where the original lives and stores the same single kind of copy. The pattern on this page adds a second local form and one off-site (cloud) copy.

Should I back up before or after fixing metadata?

After — the point of the exercise is protecting the cleaned library. Backing up the pre-fix state as well does no harm, but the copies you verify and rotate should be the corrected masters.

How do I know the backup kept my metadata?

Sample it: open backed-up files in ExifToolGui and read the fields you wrote (dates, Artist, Copyright, keywords). Backup tools copy files; verifying the contents of a few copies proves the whole pipeline.

Protect the work, then keep making it: more guides are in the Workflows hub, and the reader hardware angles continue in Best Card Readers for Photographers.

Most photo workflows start in the editor and treat metadata as an afterthought — which is how wrong dates, missing credits and stray GPS coordinates survive into finished, exported, shared files. This workflow reverses the order: a short, deliberate metadata pass in ExifToolGui first, then editing and organising in Lightroom with clean files. ExifToolGui (Bogdan Hrastnik’s GUI, continued as V6 by Frank Bijnen) handles the forensic work through Phil Harvey’s ExifTool; Lightroom does what it is for — developing and managing the corrected library. The workflow lives in the Workflows & Buying Guides hub with the backup workflow and AI editing after metadata. Tools start at the download page.

Why metadata first, in one argument

Editors trust embedded metadata. Import order, timeline views, smart collections and export naming all read capture time; search and filtering read keywords and captions; clients and stock pipelines read credit and rights fields. If those fields are wrong at import, every downstream convenience quietly automates the error — the trip sorts wrong, the wrong name is credited, the location you meant to keep private is embedded in the export. Fixing the fields at the file level, before import, means every tool that touches the file afterwards inherits the truth. ExifToolGui is the right instrument for that pass because it shows everything ExifTool recognises and writes at that depth — not just the fields an import dialog happens to surface.

Step 1: the fix pass in ExifToolGui

• Verify capture times. Sort by DateTimeOriginal; fix a wrong camera clock with Modify → DateTime shift, set exact dates where a single value is wrong, then run DateTime equalize so EXIF and XMP agree.
• Write credit once. In the Workspace, set Artist and Copyright on the whole selection — the values every later export should carry.
• Keyword the keepers. Apply the shared event/place keywords to the batch, then add per-photo terms to the standouts.
• Decide location deliberately. Keep GPS in your masters if it serves your archive; plan to strip it from sharing copies later, not from the masters by accident.
• Re-read to verify. Click away and back; the stored values, not the typed ones, are what Lightroom will inherit.

Work on copies until the pass is routine, as with every batch write on this site. The detailed mechanics live in the Tutorials cluster — date shifting, batch editing and Workspace building are each covered step by step — but the pass itself takes minutes once the Workspace panel for it exists.

Step 2: import and finish in Lightroom

Import the corrected files and let the library work on true data: the timeline is right on day one, and the credits and keywords you wrote at file level are the starting point rather than a repair job. From here the workflow is the familiar one — organise, develop, export — with one discipline added: when an export needs different metadata behaviour (location removed for a public copy, for example), make that copy deliberately and keep the master untouched. If you later edit in Lightroom or Photoshop and do not yet have them, the route for readers is Adobe Photography (Lightroom and Photoshop). Some links on this page are affiliate links — see our affiliate disclosure. How Bridge-style library management compares with the specialist pass is covered in ExifToolGui vs Adobe Bridge.

Step 3 (optional): rescue the problem frames

Every shoot has a few frames that matter and are technically poor — noisy, soft, low-resolution. Those belong to a different tool class than metadata editors: AI photo editors and denoisers. Where readers ask for an option, the one linked from this site is Topaz Photo, used for denoise and upscale work on selected frames rather than whole folders. Keep the order: rescue after the metadata pass, and re-check the rescued file’s metadata afterwards (exports from any editor can rewrite fields), because the file that returns to the library should still carry the dates and credits you fixed in step 1. The fuller tour of this step is After the Metadata: AI Denoise and Upscale Options.

The habit that holds it together

Metadata-first is a habit, not a project: fix, then finish, every time, in that order. Pair it with the companion discipline in Back Up the Photo Library You Just Cleaned — a cleaned library is worth protecting properly — and a folder of camera files becomes an archive whose contents you can assert, not merely assume.

Frequently Asked Questions

Why not just fix metadata inside Lightroom after import?

Because import builds order, collections and exports on the embedded values from the first minute, and library-level fixes do not always rewrite the file-level fields other tools will read later. A file-level pass in ExifToolGui fixes the source every tool inherits.

Does ExifToolGui edit photos like Lightroom does?

No. ExifToolGui views and edits metadata only — it develops nothing. That division is the workflow: ExifToolGui for the data about the photo, Lightroom for the photo itself.

What if an editor’s export changes my metadata?

It can — exports may rewrite or drop fields depending on settings. Re-open exported keepers in ExifToolGui and re-read the key fields; restoring a field on the export copy takes seconds once checking is a habit.

More workflows are collected in the Workflows hub; the metadata tools themselves are on the download page.