NadouPro Photo Parameters Guide
TIP
Photo Parameters let you control lens angle, depth relationships, color base, and optical character while generating images. Focal length and depth of field set the lens language, color science sets the image’s color foundation, and the lens set chooses the look of a film lens series.
| Parameter | What it controls | Main effect on the image |
|---|---|---|
| Focal Length | Lens angle of view and perspective | How wide the frame feels, and whether space is stretched or compressed |
| Depth of Field | How sharp foreground and background are | Whether subject and environment stay equally sharp, or the subject separates from the background |
| Color Science | The color base of a film stock or camera | Skin tone, highlights, shadows, grain, contrast, and overall color bias |
| Lens | Optical character of a cinema lens series | Sharpness, soft focus, bokeh shape, flare, distortion, and vintage feel |
Supported Models
| Model |
|---|
| GPT Image 2 (Recommended) |
| Nano Banana Pro |
| Nano Banana 2 |
Photo Parameters are available in Text to Image and Image Reference when you select one of the models above.
Focal Length
Focal length sets angle of view, perspective distortion, and spatial compression. Treat the millimeter values like common full-frame lens angles.
| Option | Look | Recommended for |
|---|---|---|
| 10mm Circular Fisheye | Extremely wide, with a clear circular edge and strong perspective distortion | Dreams, psychedelic looks, POV, experimental images, extreme spatial pressure |
| 18mm Ultra Wide | Very wide, with strong perspective stretch, but straight edges do not bend like fisheye | Large scenes, architecture, tight spaces, action blocking, figure-to-environment relationships |
| 25mm Wide Angle | Wide frame with rich environment detail; perspective is clear but more controllable | Establishing shots, street scenes, people moving through space, spatial storytelling |
| 35mm Slightly Wide | Balances people and environment; natural view with slight spatial tension | General narrative shots, two-shots, everyday scenes, director-view previsualization |
| 50mm Standard | Close to natural seeing, stable perspective, not exaggerated | Medium close-ups, regular dialogue, objective storytelling, faithful reconstruction |
| 85mm Medium Telephoto | Narrower view, slight compression, people stand out more | Portraits, close-ups, emotional shots, simplifying a busy background |
| 135mm Telephoto | Narrow view, strong compression, foreground and background feel closer | Distant observation, isolated figures, dense street scenes, compressed spatial layers |
Depth of Field
Depth of field controls how sharp the foreground, subject, and background are. Values use the T-stop convention common in cinematography: smaller numbers usually mean stronger background blur.
| Option | Look | Recommended for |
|---|---|---|
| T1.5 | Foreground and background are clearly blurred, attention stays on the subject | Portraits, emotional close-ups, romantic mood, hiding a complex background |
| T4.0 | Foreground and background are slightly soft, environment is still readable, subject is more prominent | General character shots, dialogue, medium shots, balancing subject and environment |
| T8.0 | Foreground and background stay mostly sharp, global detail is preserved | Group scenes, action blocking, wide shots, shots that need spatial information |
Color Science
Color science sets color bias, grain, contrast, highlight roll-off, and shadow character. It is not a simple filter. It pushes the image toward the look of a classic film stock or digital cinema camera.
Choose None if you do not want a film or camera look. Choose a camera if you want a clear digital cinema camera tendency.
| Option | Reference | Look | Recommended for |
|---|---|---|---|
| None | No film or camera specified | No extra color science is applied; the model keeps its default color | When the style is unclear, or you first want to check composition and subject |
| ARRI ALEXA 35 | ARRI ALEXA 35 digital cinema color science | Natural, warm skin, slightly warm neutrals, soft highlight roll-off; a stable all-purpose digital cinema baseline | Drama, portraits, night, natural light, a reliable cinematic look |
| ARRI ALEXA 65 | ARRI ALEXA 65 digital cinema color science | Builds on ALEXA’s natural skin and soft highlights, with a more epic, refined, spatially open feel | Epic scenes, architecture, landscapes, large-scale shots, high-end portraits |
| Sony VENICE 2 | Sony VENICE 2 digital cinema color science | Clean and soft, slightly rosy skin, high color separation, a clear commercial look | City, ads, fashion, portraits, clean high-end commercials |
| RED V-Raptor | RED V-Raptor digital cinema color science | Sharp, high contrast, cooler, more digital and harder | Sci-fi, action, cyber, dark looks, metal and machine textures |
| Blackmagic URSA Cine | Blackmagic URSA Cine digital cinema color science | Saturated, warm, direct texture, independent-production character | Indie films, music videos, documentary drama, lower-budget shots that still need a film look |
| Panavision DXL2 | Panavision DXL2 digital cinema color science | Thick and warm, skin and shadows feel more like a feature, with a Hollywood narrative tone | Feature drama, retro commercials, epic, portraits, warm and heavy images |
| Vision3 50D | Kodak Vision3 50D | Very fine grain, wide dynamic range, slightly warm midtones, natural highlight roll-off | Daylight, exteriors, natural light, restrained cinematic texture |
| Vision3 500T | Kodak Vision3 500T | Tungsten-balanced; daylight shadows go blue, higher contrast, visible grain, a night-scene feel | Night, low light, warm/cool contrast, dramatic tension |
| Portra 400 | Kodak Portra 400 | Warm skin, soft highlights, restrained color, fine grain | Portraits, character stills, warm and intimate relationships |
| Pro 400H | Fuji Pro 400H | Cool green bias, creamy highlights, cyan shadows, a strong airy feel | Weddings, youth films, summer, clear and soft everyday scenes |
| Velvia 50 | Fuji Velvia 50 | Reversal-film look, deep blue-green, high saturation, high contrast, narrow latitude | Landscapes, mountains, nature documentary, strong color impact |
| HP5 400 | Ilford HP5 400 | Black-and-white silver-halide texture, natural grain, rich shadow detail, unforced contrast | Social documentary, street, battlefield feel, rough and honest visuals |
Lens
A lens set is a real lens series, not a single lens and not the focal-length control. Focal length is still set by Focal Length. The lens set controls the shared optical bias of that series across different focal lengths.
| Option | Look | Recommended for |
|---|---|---|
| None | No lens series specified, no extra optical character | When the lens style is unclear, or you first want to check composition and color |
| Zeiss Ultra Prime | Sharp, clean, modern, stable edges, low stylization | Ads, products, tech looks, high-definition realism, a clean baseline |
| ARRI Signature Prime | Soft, creamy skin, modern high-end, smooth bokeh | High-end portraits, fashion, lyrical frames, soft but not vintage |
| Canon K-35 | Vintage, soft, slight diffusion, old-Hollywood feel | Vintage portraits, nostalgia, art-house, feminine characters, gentle emotion |
| Cooke S4 | Neutral, natural, a standard cinematic look, versatile | Drama, dialogue, general narrative, when the lens should not steal the scene |
| Cooke Panchro | Old-school, vintage, slightly soft and warm, period character | Period pieces, indie films, nostalgia, low-contrast warm frames |
| Cooke SF 1.8x | Anamorphic widescreen, horizontal stretch, oval bokeh, obvious horizontal flare | Sci-fi, action, feature-scale widescreen, neon night, strong style |
| Helios | Swirly bokeh, dreamy blur, clear artistic edge distortion | Art films, dreams, memory, music videos, subjective emotion |
| Panavision C-series | Vintage anamorphic widescreen, soft, slight chromatic aberration, golden-age mood | Vintage features, classic Hollywood, sunset backlight, nostalgic widescreen storytelling |
| Panavision Primo | Modern precision, sharp without going cold, high-end feature feel | Commercial features, high-end drama, ads, portraits, professional but not harsh |
| Hawk Class X | Anamorphic widescreen, stronger flare, harder texture | Action, sci-fi, cyberpunk, night, strong optical presence |
Usage Notes
Set lens language with focal length and depth of field first, then set the color base with color science, and finally add optical flavor with the lens set.
If the subject already has a strong style, you do not need to fill every parameter. Color science and lens can both stay on None, so the prompt, subject, and composition lead.
Anamorphic widescreen sets are easier to notice in night scenes, highlight points, backlight, and wide frames. If the image has no clear light source or background layers, oval bokeh, horizontal flare, and edge stretch may be hard to see.
Do not repeat focal length, depth of field, color science, or lens choices in the prompt after you have set them in Photo Parameters. Writing the same requests again — a specific film stock, camera, lens model, or blur look — can fight the panel settings and make the result weaker or unstable.