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

1. Export: one window for the settings and the folder. Ctrl+E and Ctrl+Alt+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, the crop size is a small plate at the bottom left, and “the original, before developing” while you hold Alt is at the top 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. Frames on a CRT no longer take a minute and a half to print. A frame on a CRT paper — a TV set, a Trinitron, a monochrome monitor — was computed entirely by the processor and could take up to a minute and a half on the Develop screen. Now both the film and the CRT itself are computed by the graphics card: the frame on screen takes about a tenth of a second, a 60-megapixel master about two and a half seconds.
2. The star filter works again. With the star filter a frame took so long that the program seemed frozen: tens of minutes on the Develop screen, hours for the master. Now the rays show on screen in under a fifth of a second, a 60-megapixel master takes about two seconds.
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. The white border on a minilab scan no longer grows with the tier. On the scan paper with borders (Summer of the 80s) the white frame got wider as the frame printed up to full size: on the master the border came out twice as wide as set. Now the border is the same share of the frame on screen and in the file, and the minilab delivers an honest 3089 pixels on the long side.
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. Printing is many times faster. Instant film, plates and old glass, mats and embossing, offset, inkjet and the CRT are now computed by the graphics card, and what is left to the processor runs on all of its cores. A 60-megapixel master: offset in 2.4 seconds instead of 42, inkjet 1.9 instead of 17, Prokudin-Gorsky 2.7 instead of 77, carbon with a mat 3 instead of 19, FP-100C 1.3 instead of 12, SX-70 0.4 instead of 3.9. Blotches, streaks, pour marks and the table pattern sit in the same places in the preview and in the file.
2. The Develop screen responds faster. A frame after an edit takes about a tenth of a second with almost any process: offset 0.07 seconds instead of 1.3, Prokudin-Gorsky 0.2 instead of 3.9, carbon 0.12 instead of 1.1, Sovcolor 0.08 instead of 0.9. 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.
3. Series export is four times faster. RAW pictures are decoded on all cores, the next file is opened while a frame prints, and JPEG is written on all cores: 20 frames of 60 megapixels take about three seconds per frame instead of twelve, on a CRT 3.7 instead of 17.5. A RAW preview takes 0.6 seconds instead of 1.6.
4. 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.
5. Large files open faster. The preview of a 100-megapixel picture is ready in 0.9 seconds instead of 1.5, a phone picture in a quarter of a second instead of 0.4.
6. 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 Enter and Esc.
7. “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: it downloads the installer, verifies its checksum and shows it in File Explorer. You run it — “How updates work”.