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0001 # German translations for Digikam Manual package. 0002 # Copyright (C) licensed under the <a href="https://spdx.org/licenses/GFDL-1.2-or-later.html">licensed under the terms of the GNU Free Documentation License 1.2+</a> unless stated otherwise 0003 # This file is distributed under the same license as the Digikam Manual package. 0004 # Automatically generated, 2023. 0005 # 0006 msgid "" 0007 msgstr "" 0008 "Project-Id-Version: Digikam Manual 8.0.0\n" 0009 "Report-Msgid-Bugs-To: \n" 0010 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0011 "PO-Revision-Date: 2023-01-21 10:41+0100\n" 0012 "Last-Translator: Automatically generated\n" 0013 "Language-Team: none\n" 0014 "Language: de\n" 0015 "MIME-Version: 1.0\n" 0016 "Content-Type: text/plain; charset=UTF-8\n" 0017 "Content-Transfer-Encoding: 8bit\n" 0018 "Plural-Forms: nplurals=2; plural=(n != 1);\n" 0019 0020 #: ../../color_management/camera_profiles.rst:1 0021 msgid "Color Management and Camera Profiles" 0022 msgstr "" 0023 0024 #: ../../color_management/camera_profiles.rst:1 0025 msgid "" 0026 "digiKam, documentation, user manual, photo management, open source, free, " 0027 "learn, easy, image editor, color management, icc, profile, camera" 0028 msgstr "" 0029 0030 #: ../../color_management/camera_profiles.rst:14 0031 msgid "The Camera Profiles" 0032 msgstr "" 0033 0034 #: ../../color_management/camera_profiles.rst:17 0035 msgid "Using Camera Profile" 0036 msgstr "" 0037 0038 #: ../../color_management/camera_profiles.rst:19 0039 msgid "" 0040 "Many excellent professional and amateur photographers save all their images " 0041 "as in-camera JPEGs and work exclusively in the sRGB color space. But if you " 0042 "want to work in a larger color space, or if you want to work with RAW files " 0043 "(even if you output sRGB image files from your RAW files), read on." 0044 msgstr "" 0045 0046 #: ../../color_management/camera_profiles.rst:21 0047 msgid "" 0048 "If you are reading this manual you probably are shooting RAW images with a " 0049 "digital dSLR and you are hoping that somewhere in the arcane waters of color " 0050 "management lies the answer to how to get a nice picture from your RAW image " 0051 "file. The next thing you need is the right camera profile for developing " 0052 "your RAW image. But first let's answer the question you really might have " 0053 "been asking." 0054 msgstr "" 0055 0056 #: ../../color_management/camera_profiles.rst:27 0057 msgid "digiKam RAW Preview Using **Embedded JPEG Image**." 0058 msgstr "" 0059 0060 #: ../../color_management/camera_profiles.rst:33 0061 msgid "" 0062 "digiKam RAW Preview Using an Half Sized Demosaiced in 8 bits and " 0063 "**Bilinear** Method." 0064 msgstr "" 0065 0066 #: ../../color_management/camera_profiles.rst:39 0067 msgid "" 0068 "digiKam RAW Import Tool from Image Editor Loading RAW file Demosaiced in 16-" 0069 "bit and **AHD** method." 0070 msgstr "" 0071 0072 #: ../../color_management/camera_profiles.rst:41 0073 msgid "" 0074 "Why doesn't the image produced by RAW converters like `Libraw <https://www." 0075 "libraw.org/>`_ look like the embedded preview displayed by digiKam? All " 0076 "digital camera images start out as RAW files, whether or not the camera " 0077 "allows the user the option to save the image as a RAW file. When you ask the " 0078 "camera to save JPEGs instead of RAW files, the camera uses its on-board " 0079 "processor to convert the RAW file to a JPEG. That embedded preview is what " 0080 "your final image would have looked like if you had set your camera to save " 0081 "JPEGs instead of RAW files." 0082 msgstr "" 0083 0084 #: ../../color_management/camera_profiles.rst:43 0085 msgid "" 0086 "Canon for example offers the user several picture styles - neutral, " 0087 "standard, portrait, landscape, and so forth - that determine what kind of " 0088 "processing will be done to the RAW image file to produce the final image, " 0089 "whether or not the processing is done *in-camera* or later, using the " 0090 "proprietary Canon software. This processing software does give the user " 0091 "additional control, but still manipulates the RAW image file in accordance " 0092 "with the chosen picture style. Most of the Canon picture styles add a heavy " 0093 "S-curve and extra color saturation to give the picture more *pop*. Even if " 0094 "you choose the *neutral* picture style (the Canon picture style that gives " 0095 "you the least modified tonality); and select *less contrast*, *less " 0096 "saturation*, *no noise reduction*, and *no sharpening* in the Cannon RAW " 0097 "development software, you will find, if you know what to look for, that an S-" 0098 "curve and also shadow de-noising has been applied to your image." 0099 msgstr "" 0100 0101 #: ../../color_management/camera_profiles.rst:45 0102 msgid "" 0103 "Libraw which digiKam uses to convert RAW files to image files doesn't add an " 0104 "S-curve to your image tonality. Libraw gives you the lights and darks that " 0105 "are actually recorded by the camera sensor. Libraw is one of only a handful " 0106 "of RAW developers that actually gives you the *scene-referred* tonality. And " 0107 "the Libraw scene-referred image is flat-looking, because the camera sensor " 0108 "records light linearly, whereas our eyes are constantly interacting with our " 0109 "brain to accommodate dim and bright areas in a scene, meaning our brain to " 0110 "some extent *applies an S-curve* to the scene to enable us to better focus " 0111 "in on the areas of particular interest as we look around." 0112 msgstr "" 0113 0114 #: ../../color_management/camera_profiles.rst:47 0115 msgid "" 0116 "The embedded JPEG preview looks so much nicer than Libraw's output. What is " 0117 "the value in scene-referred tonality? When you take a picture, presumably " 0118 "you have an idea of what you want the final image to look like. It is much " 0119 "easier to achieve that final image if you don't have to *undo* stuff that " 0120 "has already been done to your image. Once Canon (or Nikon, or Sony, etc.) " 0121 "has applied their proprietary S-curves and shadow de-noising, sharpening, " 0122 "etc. to your image, then your shadows, highlights, edge detail, etc. are " 0123 "already squashed, clipped, chopped, and otherwise altered and mangled. " 0124 "You've thrown information away and you cannot get it back. Especially in the " 0125 "shadows, even with 16-bit images (actually, 12- or 14-bits, depending on the " 0126 "camera, but it's encoded as 16-bits for the computer's convenience), there " 0127 "just isn't that much information to begin with." 0128 msgstr "" 0129 0130 #: ../../color_management/camera_profiles.rst:53 0131 msgid "" 0132 "digiKam Raw Import Tool from Image Editor Allows to Post Process Exposures " 0133 "and Curves just After the Demosaicing." 0134 msgstr "" 0135 0136 #: ../../color_management/camera_profiles.rst:55 0137 msgid "" 0138 "It seems to me that the heart and soul of image processing is the deliberate " 0139 "manipulation of image tonality, color, selective sharpening, and so forth, " 0140 "such that the viewer focuses in on what you, the photographer, found of " 0141 "particular interest when you took the picture. Why give the art of image " 0142 "processing over to some proprietary RAW processing software? In other words, " 0143 "*flat is good* if you'd rather give your images your own artistic " 0144 "interpretation. The alternative is to let the canned, proprietary algorithms " 0145 "produced by Canon, Nikon, Sony, etc. interpret your images for you. On the " 0146 "other hand, there is no denying that for many images, those canned " 0147 "algorithms are really pretty good." 0148 msgstr "" 0149 0150 #: ../../color_management/camera_profiles.rst:57 0151 msgid "" 0152 "You can see the value in starting my image-editing with a scene-referred " 0153 "rendition instead of the eye-popping rendition that you see in the embedded " 0154 "JPEG. But the images produced by digiKam and Libraw look a little bit " 0155 "different. If the image looks very dark, then you asked Libraw to output a " 0156 "16-bit file and you have run into a problem with Libraw not applying a gamma " 0157 "transform before outputting the image file. You can use the Image Editor to " 0158 "apply the appropriate gamma transform to the image file produced by Libraw. " 0159 "Or you can find or make a camera profile with a gamma of 1." 0160 msgstr "" 0161 0162 #: ../../color_management/camera_profiles.rst:59 0163 msgid "" 0164 "If your image has pink highlights, check your **White Balance** settings in " 0165 "the RAW Import tool, especially the **highlights** options." 0166 msgstr "" 0167 0168 #: ../../color_management/camera_profiles.rst:65 0169 msgid "" 0170 "digiKam Raw Import Tool from Image Editor Allows to Tune Many Options about " 0171 "the Camera Colorimetric Values." 0172 msgstr "" 0173 0174 #: ../../color_management/camera_profiles.rst:67 0175 msgid "" 0176 "If the image isn't dark but it looks really weird, probably you made some " 0177 "injudicious choices in the Raw Import user-interface from Image Editor. The " 0178 "Libraw interface conveniently allows you to *dial in* options. However, " 0179 "convenience always comes at a price. First, the interface might not provide " 0180 "access to all the options. And second, to get the most from the Libraw " 0181 "interface, you have to know what the buttons, sliders, etc. in the interface " 0182 "actually do." 0183 msgstr "" 0184 0185 #: ../../color_management/camera_profiles.rst:70 0186 msgid "Camera Profile Specificity" 0187 msgstr "" 0188 0189 #: ../../color_management/camera_profiles.rst:72 0190 msgid "" 0191 "Why are the Canon and Nikon colors better than the colors produced by " 0192 "Libraw? Color rendition is one place where the Canon (and presumably Nikon) " 0193 "proprietary RAW developing software does a really good job." 0194 msgstr "" 0195 0196 #: ../../color_management/camera_profiles.rst:74 0197 msgid "" 0198 "The proprietary RAW processing software is coupled with camera profiles that " 0199 "are specific to RAW images coming from your make and model of camera, when " 0200 "processed using your make and model camera's proprietary RAW processing " 0201 "software. With digikam's Libraw user interface, you can apply Canon's camera " 0202 "model picture style specific color profile to the Libraw output during the " 0203 "RAW development process, and the colors will still not be exactly the same " 0204 "as what Canon produces." 0205 msgstr "" 0206 0207 #: ../../color_management/camera_profiles.rst:76 0208 msgid "" 0209 "Digital cameras have an array of millions of little light sensors inside, " 0210 "making up either a CCD or a CMOS chip. These light-sensing pixels are color-" 0211 "blind - they only record the amount, not the color, of light falling on " 0212 "them. So to allow pixels to record color information, each pixel is capped " 0213 "by a transparent red, green, or blue lens, usually alternating in what is " 0214 "called a Bayer array (except for Sigma Faveon sensors, which work " 0215 "differently). A RAW image is nothing more than an array of values indicating " 0216 "*how much light* passed through the red, blue, or green lens cap to reach " 0217 "the sensor." 0218 msgstr "" 0219 0220 #: ../../color_management/camera_profiles.rst:78 0221 msgid "" 0222 "Clearly, pixel response to light is the result of lots of camera specific " 0223 "factors including: the nature of the sensor array itself, the precise " 0224 "coloring/transmissive qualities of the lens caps, and the particular analog " 0225 "to digital conversion and post-conversion processing that happens inside the " 0226 "camera to produce the RAW image that gets stored on the card." 0227 msgstr "" 0228 0229 #: ../../color_management/camera_profiles.rst:81 0230 msgid "Analog to Digital Conversion" 0231 msgstr "" 0232 0233 #: ../../color_management/camera_profiles.rst:83 0234 msgid "" 0235 "*Analog* means continuously varying, like how much water you can put in a " 0236 "glass. *Digitizing* an analog signal means that the continuously changing " 0237 "levels from the analog signal source are *rounded* to discrete quantities " 0238 "convenient to the binary numbers used by computers. The analog to digital " 0239 "conversion that takes place inside the camera is necessary because the light-" 0240 "sensing pixels are analog in nature - they collect a charge proportionate to " 0241 "the amount of light that reaches them." 0242 msgstr "" 0243 0244 #: ../../color_management/camera_profiles.rst:85 0245 msgid "" 0246 "The accumulated charge on each pixel is then turned into a discrete, digital " 0247 "quantity by the camera's analog to digital converter. Which by the way " 0248 "explains why a 14-bit converter is better than a 12-bit converter - more " 0249 "precision in the conversion output means less information is thrown away in " 0250 "the conversion process." 0251 msgstr "" 0252 0253 #: ../../color_management/camera_profiles.rst:87 0254 msgid "" 0255 "Especially in pictures taken with low light conditions, a noise is " 0256 "integrated while the analog to digital conversion. digiKam and Libraw " 0257 "interface provides a **Noise Reduction** correction based on wavelets which " 0258 "can be applied while demosaicing." 0259 msgstr "" 0260 0261 #: ../../color_management/camera_profiles.rst:93 0262 msgid "" 0263 "digiKam Raw Import Tool from Image Editor Allows Wavelets Noise Reduction " 0264 "While Demosaicing." 0265 msgstr "" 0266 0267 #: ../../color_management/camera_profiles.rst:96 0268 msgid "Camera Profile and RAW Treatment" 0269 msgstr "" 0270 0271 #: ../../color_management/camera_profiles.rst:98 0272 msgid "" 0273 "The whole point of interpolation using demosaicing algorithms such as " 0274 "`Libraw <https://www.libraw.org/>`_'s default AHD is to guess what color and " 0275 "intensity of light actually fell on any given pixel by interpolating " 0276 "information gathered from that single pixel plus its neighboring pixels. " 0277 "Every RAW processing program makes additional assumptions such as when is it " 0278 "signal and when is it background noise, or at what point has the sensor well " 0279 "reached full saturation. The resulting output of all these algorithms and " 0280 "assumptions that RAW processing software makes is a trio of RGB values for " 0281 "each pixel in the image. Given the same RAW file, different RAW processors " 0282 "will output different RGB values." 0283 msgstr "" 0284 0285 #: ../../color_management/camera_profiles.rst:104 0286 msgid "" 0287 "digiKam Raw Import Tool from Image Editor Allow to Tune the Color Profile to " 0288 "Apply While Demosaicing." 0289 msgstr "" 0290 0291 #: ../../color_management/camera_profiles.rst:107 0292 msgid "Generic Camera Profile" 0293 msgstr "" 0294 0295 #: ../../color_management/camera_profiles.rst:109 0296 msgid "" 0297 "This website section has information on where to find ready-made camera " 0298 "profiles. If you poke around the digiKam users forum archives, you'll find " 0299 "additional advice. If you keep hunting and experimenting, likely you will " 0300 "find a generic profile that works *well enough*. However, as stated above, " 0301 "it's an unfortunate fact of digital imaging that the camera profiles " 0302 "supplied by Canon, Nikon, and the like don't work as well with RAW " 0303 "converters other than each camera manufacturer's own proprietary RAW " 0304 "converter. Which is why proprietary programs, have to make their own " 0305 "profiles for all the cameras that they support. So eventually you may decide " 0306 "that you want a camera profile that is specific to your camera, your " 0307 "lighting conditions, and your RAW processing workflow." 0308 msgstr "" 0309 0310 #: ../../color_management/camera_profiles.rst:115 0311 msgid "The Draft of Color Management Logic While a RAW Workflow Processing." 0312 msgstr "" 0313 0314 #: ../../color_management/camera_profiles.rst:118 0315 msgid "Lighting Conditions and RAW Workflow" 0316 msgstr "" 0317 0318 #: ../../color_management/camera_profiles.rst:120 0319 msgid "" 0320 "Many commercial services provide profiling services, for a fee, of course. " 0321 "Or you can use `Argyll <http://www.argyllcms.com/>`_ to profile your camera " 0322 "yourself. If you want to profile your own camera, you will need an `IT8 " 0323 "target <https://en.wikipedia.org/wiki/IT8#Targets>`_, that is, an image " 0324 "containing squares of known colors. Along with the IT8 target, you will " 0325 "receive the appropriate set of known values for each square of color on the " 0326 "target." 0327 msgstr "" 0328 0329 #: ../../color_management/camera_profiles.rst:122 0330 msgid "" 0331 "If you plan to use Argyll to profile your camera, check the documentation " 0332 "for a list of recommended targets. To profile your camera, you photograph " 0333 "the IT8 target under specified lighting conditions (for example, in " 0334 "daylight, usually taken to mean noon on a sunny day in the summer, with " 0335 "nothing nearby that might cast shadows or reflect color casts) and save the " 0336 "image as a RAW file. Then you process the RAW file using your particular RAW " 0337 "processing software+settings and run the resulting image file through the " 0338 "profiling software. The profiling software compares the RGB values in the " 0339 "image produced by your camera+lighting conditions+RAW processing routine " 0340 "with the RGB values in the original target and then produces your camera " 0341 "(icc) profile." 0342 msgstr "" 0343 0344 #: ../../color_management/camera_profiles.rst:124 0345 msgid "" 0346 "Profiling a camera is exactly analogous to profiling a monitor. When " 0347 "profiling a monitor, the profiling software tells the graphics card to send " 0348 "squares of color with particular RGB values to the screen. The " 0349 "spectrophotometer measures the actual color that is produced on the screen. " 0350 "When profiling a camera, the known colors are the RGB colors in the original " 0351 "patches on the IT8 target, which the profiling software compares to the " 0352 "colors produced by the digital image of the target, which was photographed " 0353 "in selected lighting conditions, saved as RAW, then processed with specific " 0354 "RAW processing software plus settings." 0355 msgstr "" 0356 0357 #: ../../color_management/camera_profiles.rst:126 0358 msgid "" 0359 "How to apply a camera profile to the 16-bit image file produced by my open " 0360 "source RAW processing software? If you are using the `Libraw <https://www." 0361 "libraw.org/>`_ interface from digiKam, here is how to tell digiKam which " 0362 "camera profile to use." 0363 msgstr "" 0364 0365 #: ../../color_management/camera_profiles.rst:132 0366 msgid "" 0367 "The digiKam Batch Queue Manager Raw Converter has also the Same Noise " 0368 "Reduction and Color Profiles Options than Image Editor" 0369 msgstr "" 0370 0371 #: ../../color_management/camera_profiles.rst:135 0372 msgid "Profiles Point to Real Colors" 0373 msgstr "" 0374 0375 #: ../../color_management/camera_profiles.rst:137 0376 msgid "" 0377 "A color profile describes the color gamut of the device or space to which it " 0378 "belongs by specifying what real color in the real world corresponds to each " 0379 "trio of RGB values in the color space of the device (camera, monitor, " 0380 "printer) or working space." 0381 msgstr "" 0382 0383 #: ../../color_management/camera_profiles.rst:139 0384 msgid "" 0385 "With a camera profile, for every RGB trio of values associated with every " 0386 "pixel in the image file produced from the RAW file by the RAW processing " 0387 "software, this RGB image file trio corresponds to real color as seen by a " 0388 "real observer in the real world (or rather, as displayed on the IT8 target " 0389 "if you produced your own camera profile, but it amounts to the same thing - " 0390 "the goal of profiling your camera is to make the picture of the target look " 0391 "like the target)." 0392 msgstr "" 0393 0394 #: ../../color_management/camera_profiles.rst:141 0395 msgid "" 0396 "You cannot see an image by looking at its RGB values. Rather you see an " 0397 "image by displaying it on a monitor or by printing it. When you profile your " 0398 "monitor, you produce a monitor profile which RGB trio of values that the " 0399 "graphics card sends to the screen will produce on the screen with real color " 0400 "as seen by a real observer in the real world." 0401 msgstr "" 0402 0403 #: ../../color_management/camera_profiles.rst:143 0404 msgid "" 0405 "What the monitor profile and the camera profile have in common is the part " 0406 "about that real color as seen by a real observer in the real world. " 0407 "Different trios of RGB numbers in, respectively, the monitor and camera " 0408 "color spaces point to the same real, visible color in the real world. Real " 0409 "colors in the real world provide the reference point for translating between " 0410 "all the color profiles your image will ever encounter on its way from camera " 0411 "to screen to editing program to print or the web." 0412 msgstr "" 0413 0414 #: ../../color_management/camera_profiles.rst:145 0415 msgid "" 0416 "Real people don't even see the same colors when they look at the world, do " 0417 "they? A long time ago (1931, although refinements continue to be made), the " 0418 "International Color Consortium decided to map out and mathematically " 0419 "describe all the colors visible to real people in the real world. So they " 0420 "showed a whole bunch of people a whole bunch of colors and asked them to say " 0421 "when this color matched that color, where the two visually matching colors " 0422 "were in fact produced by differing combinations of wavelengths. What was the " 0423 "value of such a strange procedure? Human color perception depends on the " 0424 "fact that we have three types of cone receptors with peak sensitivity to " 0425 "light at wavelengths of approximately 430, 540, and 570 nm, but with " 0426 "considerable overlap in sensitivity between the different cone types. One " 0427 "consequence of how we see color is that many different combinations of " 0428 "differing wavelengths of light will look like the same color." 0429 msgstr "" 0430 0431 #: ../../color_management/camera_profiles.rst:147 0432 msgid "" 0433 "The ICC produced the `CIE-XYZ color space <https://en.wikipedia.org/wiki/" 0434 "CIE_1931_color_space>`_ s which mathematically describes and models all the " 0435 "`colors visible to an ideal human <https://en.wikipedia.org/wiki/" 0436 "Color_vision>`_ observer (*ideal* in the sense of modeling the tested " 0437 "responses of lots of individual humans). This color space is not a color " 0438 "profile in the normal sense of the word. Rather it provides an absolute " 0439 "**Profile Connecting Space** (PCS) for translating color RGB values from one " 0440 "color space to another." 0441 msgstr "" 0442 0443 #: ../../color_management/camera_profiles.rst:149 0444 msgid "" 0445 "CIE-XYZ is not the only Profile Connection Space. Another commonly used " 0446 "Profile Connection Space is `CIE-Lab <https://en.wikipedia.org/wiki/" 0447 "Lab_color_space>`_, which is mathematically derived from the CIE-XYZ space. " 0448 "CIE-Lab is intended to be **perceptually uniform**, meaning a change of the " 0449 "same amount in a color value should produce a change of about the same " 0450 "visual importance." 0451 msgstr "" 0452 0453 #: ../../color_management/camera_profiles.rst:151 0454 msgid "" 0455 "The three coordinates of CIE-Lab represent the lightness of the color (**L = " 0456 "0** yields black and **L = 100** indicates diffuse white; specular white may " 0457 "be higher), its position between red/magenta and green (**a**, negative " 0458 "values indicate green while positive values indicate magenta) and its " 0459 "position between yellow and blue (**b**, negative values indicate blue and " 0460 "positive values indicate yellow)." 0461 msgstr "" 0462 0463 #: ../../color_management/camera_profiles.rst:153 0464 msgid "" 0465 "To be useful, color profiles need to be coupled with software that performs " 0466 "the translation from one color space to another via the Profile Connection " 0467 "Space. In digiKam, translation from one color space to another usually is " 0468 "done by `Lcms <https://www.littlecms.com/>`_, the **Little Color Management " 0469 "Software**." 0470 msgstr ""