The beauty of the free market is you don't have to buy it if it doesn't suit your needs.

As for the issue with no internet, I'm pretty sure it would have worked for you in Africa if you had downloaded it previously, even if you had missed a payment. Once it's on your computer, you can just keep using it, you just won't get updates if your payments are behind. Most folks just have an automatic deduction from their credit card. It's quite painless, really.

But again, it's your call.

A lot of the reason the price of gas goes up in California is all the regulations and requirements (not to mention taxes) the Govt imposes on the industry. It seems every local jurisdiction has its own emission standards, that require the oil companies to formulate a special blend of gasoline just for them. With limited number of refineries available, and California not wanting any new ones "in my backyard", it becomes very difficult for the companies to meet demand, especially during peak driving season. Here in NM, and in other parts of the country not as radical as CA, the price has been dropping steadily.

BTW, CC does not reside on the cloud, nor do your photographs, unless you choose to put them there. The only time you even need to be connected to the internet is for updates.

Gene, I have no problem at all getting my images from the camera to the computer. I use the dedicated cable that came with my Nikons and transfer the images to my photo folders. In fact, I have no problem processing the images in Lightroom and exporting the images as JPGs into dedicated desktop folders.
My problem is attempting to view them later on. The images won't open or they freeze up and I get all these error messages. But not all the time. 50% of the time I have no problem. I am running Windows 10 and never had a problem with Windows 7 or 8 or XP for that matter. But all the problems I have are not just specific to photo viewing. I can experience these problems just viewing something from the Staples website. So I think it is an operating system problem and has nothing to do with photography.
Ironically, I paid slightly more for this 27-inch Dell than I did with my 27-inch iMac. But I have no complaints on how the images look on this Dell. They look as good as they did on the old iMac.

JPEGs are not meant as "digital negatives" that must be post-processed. They are meant for immediate use. As such, the in-camera process must be set up correctly for the way you want to record the scene. If you blow the white balance, you can't really fix it, any more than you can repair blown out highlights or plugged up shadows.

Next time, save raw images. Raw files retain the EXIF data of JPEG files, which camera MANUFACTURER provided post-processing software can reference, but the FULL, UNPROCESSED, digitized data from the sensor is there, so you can get ANY white balance you want, whether "correct" or special effect.

JPEG files have to be created PERFECTLY in the camera if they are to look their best. JPEG files can be considered quite similar to color slides. Everything about the look of a JPEG should be controlled with exposure, white balance, and the menu settings in the camera (Hue, Saturation, Contrast, Sharpness, Picture Style, etc.). Ideally, you do PRE-processing, not POST-processing.

If you always include a gray patch reference in one frame of each sequence recorded in a particular lighting situation, you can do "click balance" in your post-processing software, and apply that white balance to all other images recorded in the same light.

When I record JPEGs, I try to use a "custom white balance" — Nikon calls it a "preset white balance". I carry an ExpoDisc, a Delta-1 Gray Card, and a One Shot Digital Calibration Target. Each has different advantages, but can be used for getting the white balance right in a JPEG. Each may also be used as a "click reference" for raw file processing. The ultimate white balance reference, if you're going for perfect color match, is the ColorChecker PassPort. It creates a profile for your camera and the lighting you are using.

I learned a long time ago that when the light is changing, or I'm moving to location after location where the light is different, I should probably save raw images, even if I'm trying my best to get perfect JPEGs.

I used thousands of rolls of slide film back in the 1980s. So I'm used to nailing exposure and color balance at the camera as a discipline. Back then, we used gray cards and in-camera meters, plus incident light meters and color temperature meters. We always had a gel filter holder and a pack of Wratten filter gels ready for color correcting the light source to the film. Slide film has no real latitude, and you cannot change anything once it is exposed (assuming normal processing). The film that ran through your camera is what is projected or scanned, later.

So handling JPEG capture is just an easier extension of that color transparency workflow. I think of a JPEG as something I have to "bake" precisely with camera settings. I have NO INTENTION of ever editing a JPEG. That discipline, ironically, gives me just enough latitude to edit one when it needs a slight tweak. The closer I get to the desired result, the more latitude I have to adjust it. The farther I get from the desired result, the LESS latitude there is for adjustment.

THAT brings me back to raw. When you save a raw file, it contains all the unprocessed but digitized data that is available. Essentially, it has latitude similar to color negative film. You can develop it any way you choose, with far more control. If you use the manufacturer's software, you can probably start with the EXIF data recorded for the JPEG preview in the file, and then dial in any of the camera menu presets they present in the software. So if you blow the white balance setting, it's no big deal. Using a perfectly calibrated monitor, you can dial in whatever white balance you want. And because you have ALL the recorded data to play with, you can fine-tune the image to look better than an out-of-camera JPEG would look. You can change hue, color tone, contrast, brightness, exposure, sharpness, saturation, white balance... So if you are in a situation that is changing rapidly, you can hedge your exposure bets by saving raw files.