Several times faster, export in one window, a new look

1. Export: one window for the settings and the folder. ⌘E and ⌥⌘E open a window with the settings — the set, the file name, the size, the social copy — and the folder, chosen right there from the last seven (a folder on a disconnected disk is shown but can't be picked) or with Other folder…; Export starts writing at once. The file name is your choice: the original name, original + zerno (the default), number + original, the number only with leading zeros, or your own text with a number (“Berlin 2026_001”), and for a single frame simply a custom name (“Berlin, sunset.jpg”); the film and lens are no longer in the name — they are in the file's metadata. If the folder already has such a file, Zerno asks: replace it or keep both — then the new one gets “ 2”. Progress is shorter: “3 of 12 · ~1:20”, without the file name. The custom name field is wide and does not shrink on long names; the social copy switch is called “Make social copy”.
2. No status line under the frame. Marks, zoom, rotation and crop live in the floating bar over the frame, on the right or in the centre (View → Canvas Bar); the file name and the frame badges are in the rack under its number, and the crop size is a small plate at the bottom left. The P·S·F stage badge is just a letter at rest; while the frame is still being printed, a coloured arc grows around it. “Sheet → file” and the chosen screen in the title bar have a grey outline.
3. Ten new presets. Shore — Uncommon Places, 8×10 · Tintype — fairground portrait · Kühn — multi-layer gum, Imagon · Evening news — TV screen · Front page — newsprint offset · The last screening — a faded print · Studio 1895 — dry plate, albumen · Blueprint — cyanotype · Turquoise — Lomochrome Turquoise · Tokyo night — Natura 1600. Each one shows something no preset used before: the CRT screen, newsprint offset, cyanotype, three-colour gum, the tintype, the dry plate, a faded film print, Lomochrome, Natura 1600 and a hand-made RA-4 print from an 8×10 sheet. There are now 47 built-in presets.

1. Colour grain: the Develop screen matches the file, the master grains by layer. Until the master was on screen, colour films showed 2–5 % lighter than they came out in the file: the averaged grain computed tone differently from the full one. Now the tone and strength of the grain on screen are the same as in the file. And on the master the three dye layers shared one grain pattern — the grain came out greyer than the film’s; now each layer has its own.
2. The insertion mark when reordering frames goes out with the drag. After a drop, the accent line between photos sometimes stayed lit until the next drag.
3. The full size in Develop is no longer lost after a film change. Sometimes, after switching to another film, the frame stayed at the screen tier (badge “P” or “S”) and “F” never came, even zoomed far in, until the next edit. The full size now always arrives.
4. Minilab scan: the file at the scanner's size. A minilab delivers 3089 pixels on the long side, and the export now comes out exactly as the export window promises — before, the file came out at master size. The white border around the frame is the same share of the frame on screen and in the file.
5. Reaching the server by its spare names. If zerno.photo can't be reached — a VPN cutting it off, for instance — the program checks the licence and updates and downloads new versions through the server's spare names zernophoto.com and zernophoto.ru.

1. The grid of a large project fills faster. The tile of a frame you have not opened yet is computed at its own size instead of being reduced from the Develop screen: with heavy processes — Sovcolor, the instant card, carbon — a screen of the grid is ready several times sooner; open the frame and the tile is updated from Develop. Files are opened several at a time — four on computers with 32 GB of memory or more, three with 16 GB — and phone portraits open faster. After later updates the grid shows the previous previews at once while the new ones are computed.
2. The Develop screen responds faster with coarse-grained films. Until the master is on screen, grain is computed averaged — the same tone and strength, while the exact clumping of the grain shows on the master, at 1:1 and in the file. With Sovcolor a knob step takes 0.03 s instead of 0.25; with the CRT it is twice as fast.
3. Offset, inkjet, CRT and gum bichromate print several times faster. All of their printing now runs on the graphics card: an offset master takes 0.6 s instead of 2.9, inkjet 0.6 instead of 1.9, CRT 0.6 instead of 2.1, tricolour gum 1.1 instead of 5.8; on the Develop screen a knob responds within tens of milliseconds, and a batch export of CRT or gum is two to three times faster. Gum layers and paper mottle now sit in the same places in the preview and in the file.
4. Instant films print several times faster. The Polaroid and Instax card, the peel-apart edge and border, development mottle, roller streaks, roller chatter and the Silk emboss now run on the graphics card: an SX-70 master with its card takes 0.2 s instead of 0.8, FP-100C 0.3 instead of 1.7; on the Develop screen an SX-70 knob responds within 30 ms instead of 130, and a peel-apart tile in the grid takes 18 ms instead of 140. Development mottle, streaks and the torn peel-apart edge now sit in the same places in the preview and in the file.
5. Three-colour plates, wet collodion and the star filter print faster. Registration of the three plates, the halation ring from the glass, the collodion pour and its edge, the dry plate and the ray filter now run on the graphics card: on the Develop screen three-colour plates respond in 0.05 s instead of 0.44, collodion in 0.03 instead of 0.09, the star filter in 0.04 instead of 0.19; a three-colour master takes 0.8 s instead of 1.6, a collodion master 0.26 instead of 0.68. The collodion pour now sits in the same places in the preview and in the file.
6. The table, mats and embossing print several times faster. The table and the shadow under the sheet, the mat, embossed lines, the stamp and the signature now run on the graphics card: the master of a sheet on the linen table with a line and a stamp takes 0.3 s instead of 2.9, a matted sheet 0.7 instead of 1.2; on the Develop screen the table responds within 0.02 s instead of 0.27. The table pattern sits in the same places in the preview and in the file. A batch export holds a third of the memory it used to.
7. Large originals print faster. Cropping with rotation, orientation, reduction to the master, the scene light and the graduated filter now run on the graphics card: a 135 master from a 60 MP file takes 0.47 s instead of 0.65 and needs a third less memory; SX-70 with its card 0.18 s instead of 0.28.
8. Batch export is two and a half times faster. While one frame prints and is written, the next file is already being opened, and JPEG is written on all cores — byte for byte the same file: a run of 135 masters from 60 MP RAW now takes 0.8–0.9 s per frame instead of 2.1–2.3. Carbon and three-colour gum print about a tenth faster, and a large sheet with a mat needs 2 GB less graphics memory.
9. Masters print faster. Glow, bloom, veil, soft focus, halation and the film edge effect now take fewer passes over the frame — with the same result down to the last bit: a full frame from 60 MP comes out 15–35% faster (Portra in 0.34 s instead of 0.44, three plates in 0.54 instead of 0.74), and the PRINT screen responds a quarter faster.
10. Buttons and switches share one style — the export dialog's. Rounded capsules across the program: the title bar, the Select and Develop bars, the rack, presets, About and Settings. A chosen value is a lighter capsule with a border, without the accent: only one button per screen is filled with the accent — the main action (“Export”). Switches turn the accent colour when on. In About, the font and library licences open from the “About fonts and libraries…” link; in windows that are only for reading, the main button is the one that closes them (“Close”, “Got it”, and in the licence window when the licence works), on Return and Esc.
11. “When cropped” has two modes instead of three. In Settings: “Negative” — the crop cuts the negative (less film under the picture: coarser grain, a lower master ceiling; the 120 and sheet film edge only on a whole frame) or “Frame” — the crop is the frame (the camera saw exactly this: grain from the whole frame, and the 120 and sheet film edge is drawn at any frame size when the proportions match the window). One setting for the whole project. The “Texture only” mode is gone: older projects with it count as “Negative” — their grain is the same, the only difference was the master ceiling on export.

The program checks for a new version once a day and offers it by itself. How to update by hand and why macOS asks for permission for every build — “How updates work”.