Two new films: CYANO and COPPER TONE. CYANO is the cyanotype, the iron print John Herschel published in 1842. Paper coated with iron salts turns Prussian blue where light falls on it. CYANO prints your photo in a blue measured from real cyanotypes. The dial is the printing time. Press and hold the print to tone it to sepia and then back to the original photo. COPPER TONE is the red print. Copper toning turns the silver of a black-and-white print into copper ferrocyanide, which is red. Kodak listed it in 1918 as Tone A. The paper stays white. The dial is the toning time. Hold the print to see the silver print under the toner. Photos now open as their original HEIC instead of a re-compressed copy. RAW files develop at full bit depth, so skies are smoother, and Sony ARW files that would not open now develop. Saved prints keep the date, place and camera of the original, so they sit next to it in Photos. Swipe the film name to move through the films. Switching films is faster. Dark branches against the sky no longer get a thin light outline.

Two new films. NEG — the exposure itself: the scene as the sensor records it behind a deep red 720nm filter, before development. Drag the dial across the IR-cut — from the pastel negative of an ordinary phone to the dense red of a converted sensor. Press and hold the photo: the print comes up under your finger. Let go: it sinks back into the negative. Push it: EV now bends the development the way real film responds — harder and darker pushed up, thin and milky pulled down. And look close: the starved channels hiss, the way a sensor really does behind a filter that starves it. SAFELIGHT — the darkroom lamp. Whatever it reaches glows red; everything else sinks into blue dark. Calibrated against red LED panels on the blue hour. The lamp creates no warmth — it finds what is already warm. The EV cell grew a rail — drag it in tenths of a stop.

MOON — a fourth film. Day for night: shoot in daylight, get a moonlit night. Reds sink first, the day sky goes dark. Not a blue wash. THE MANUAL — tap the nameplate: the article now opens on the active film's chapter. Kodak HIE, Aerochrome and the camouflage hunt, the night film that never existed, and Hollywood's nuit americaine. Also: video export now survives switching apps mid-render, a proper mechanical loader instead of the system spinner, and RAW loading no longer freezes the deck.

VIDEO. The film back now takes clips: load a video, tune the instrument on its poster frame, SAVE renders the whole clip — full resolution, original sound. Cleaner tone: exports at higher encoder quality, per-channel dithering for color gradients, RAW decode without system sharpening. Halation retuned to the reference emulsion — the glow now hugs the highlights. Save progress is visible: a strip for photos, a full-screen develop for clips.