Affinity Photo is the only serious up-and-comer competition there is for Photoshop. For those who strongly-object to Adobe's repressive transition to landlord rather than vendor, and who aren't required to use Photoshop for professional reasons, it's the way to go.
The program is straightforward, but there is a learning curve. It's NOT like trying to learn 3D.
ON1 is much more of an effects processor than an entire camera to final image workflow. There are certain basic functions that can be carried out in ON1, but whether or not it can replace LR and PS depends entirely on what level, and what you depend on those programs for.
If you do precision retouching, PS still has no peer. We can all hope for more progress in that field. There is Affinity Photo
https://affinity.serif.com/en-us/photo/, an inexpensive (still Mac only) photo processing program which can definitely assume all the fine-tuning adjustments that LR and PS perform, and it's utility as a full-fledged retouching app is approaching that of Adobe. For a professional retoucher, it's not there yet, but is looking very promising. If you use LR and PS primarily for adjustments, then Affinity Photo will fulfill your needs.
For RAW processing, however, the very best conversion on the planet (IMO) is and has been Capture One Pro
https://www.phaseone.com/en/Products/Software/Capture-One-Pro/Highlights.aspx?gclid=CjwKEAjwsMu5BRD7t57R1P2HwBgSJABrtj-RVqwlG3Rx7xPnogpfOVZ8Iafe-kAozhPj5eokfNbckBoC5qzw_wcB. There's a learning curve involved, but it's well-worth the effort. I've found Capture One's raw conversions visibly superior to Camera Raw whether via Photoshop or Lightroom. Plus, PhaseOne offers a CHOICE between full purchase OR a subscription. This is an option that takes the needs and wishes of users OVER maximizing profits by completely disregarding its base like Adobe's odious subscription program does. Capture One also offers capabilities for basic retouching, but for more complex manipulations, there's still a need to move the file to Photoshop or Affinity.
For those who strongly-object to Adobe's insistence on degrading all of its longtime user base from owners to renters, there are now impressive options–depending on your uses. What prevents many from seeking these out is the time investment in learning new interfaces that diverge from the Adobe model. Bend on your knees for Adobe or with a little effort, stand tall. It's our choice.
Lynda.com and KelbyOne.com both offer well-structured courses: either online or on DVD.
'All-around' means different things to different photographers. What are you primarily shooting? Do your sensibilities include ultra-wide angle or super telefoto?
My own work is as a street shooter, urban landscapes, & environmental portraiture. I've found the Nikkor 16-85mm ideal. I really don't care for playing with the graphics of super telefoto nor am I a sports photographer or photojournalist so longer than 85mm is rarely-if-ever needed. Wider than 16mm gets into the 'wow-zowie' distortions that are useful for some photographers, but not for me.
If you have practical need of a longer reach, the Nikkor 18-200mm fulfills most needs.