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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/working_space.rst:1 0021 msgid "Color Management and Working Space" 0022 msgstr "" 0023 0024 #: ../../color_management/working_space.rst:1 0025 msgid "" 0026 "digiKam, documentation, user manual, photo management, open source, free, " 0027 "learn, easy, image editor, color management, icc, profile, working space" 0028 msgstr "" 0029 0030 #: ../../color_management/working_space.rst:14 0031 msgid "The Working Space" 0032 msgstr "" 0033 0034 #: ../../color_management/working_space.rst:17 0035 msgid "Color Workflow" 0036 msgstr "" 0037 0038 #: ../../color_management/working_space.rst:19 0039 msgid "" 0040 "So we told digiKam where to find my monitor profile and we have a camera " 0041 "profile that we applied to the image file produced by my RAW processing " 0042 "software. What's the next step in color management?" 0043 msgstr "" 0044 0045 #: ../../color_management/working_space.rst:21 0046 msgid "" 0047 "You need to choose a working color space so you can edit your image. `Lcms " 0048 "<https://www.littlecms.com/>`_ will transform your image from your camera " 0049 "color space to your chosen working space, via the **Profile Connection " 0050 "Space** specified by your camera color profile. Why cannot to just edit " 0051 "images in the color space described by the camera profile?" 0052 msgstr "" 0053 0054 #: ../../color_management/working_space.rst:23 0055 msgid "" 0056 "After all, the camera profile should provide the best *fit* to the colors " 0057 "recorded by my camera, as processed by my RAW processing procedure, right? " 0058 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate " 0059 "good results while editing. For instance, pixels with equal values of RGB " 0060 "should appear neutral. This just want means that for any given pixel in an " 0061 "image that has been converted to a suitable working space, if R=G=B you " 0062 "should see grey or black or white on your screen. Many camera profiles " 0063 "violate this *neutral* condition." 0064 msgstr "" 0065 0066 #: ../../color_management/working_space.rst:29 0067 msgid "" 0068 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color " 0069 "Space to Another one" 0070 msgstr "" 0071 0072 #: ../../color_management/working_space.rst:31 0073 msgid "" 0074 "However, there is one other good reason to not want to edit your image in " 0075 "your camera profile color space. If you look at the size of a typical camera " 0076 "profile, it is on the order of a quarter to a half a megabyte or more. It's " 0077 "got a lot of information about all the changes that need to be made at " 0078 "different regions of color and tonality in the original scene, to get " 0079 "accurate color rendition from the RGB values that come out of the RAW " 0080 "processor. The camera profile is accurate (at least for colors in the " 0081 "original target) but not particularly mathematically smooth. Working space " 0082 "color profiles, on the other hand, are very small in size (half a kilobyte " 0083 "instead of half a megabyte) because they describe a color gamut in terms of " 0084 "smooth, continuous mathematical functions. Working space profiles don't need " 0085 "to make allowances for the *messiness* of real world sensors, so the " 0086 "mathematical manipulations performed during image editing will go much more " 0087 "smoothly and accurately than if you try to edit your image while it is still " 0088 "in the camera color space." 0089 msgstr "" 0090 0091 #: ../../color_management/working_space.rst:33 0092 msgid "Working Space Profiles are characterized by:" 0093 msgstr "" 0094 0095 #: ../../color_management/working_space.rst:35 0096 msgid "" 0097 "**Gamma** transfer function, which dictates how much the original linear " 0098 "intensity values captured by the camera sensor are altered to make editing " 0099 "easier or more precise. These values from the camera are subjected to the in-" 0100 "camera A-to-D conversion, then interpolated by the RAW processing program to " 0101 "produce the image file." 0102 msgstr "" 0103 0104 #: ../../color_management/working_space.rst:37 0105 msgid "" 0106 "RGB primaries which dictate the range of colors, that is, the color " 0107 "**Gamut**, covered by a given profile." 0108 msgstr "" 0109 0110 #: ../../color_management/working_space.rst:39 0111 msgid "" 0112 "**White point**, usually D50 or D65 though other values may be used, which " 0113 "specifies the white point color temperature of the working space." 0114 msgstr "" 0115 0116 #: ../../color_management/working_space.rst:42 0117 msgid "Confusions Terminology" 0118 msgstr "" 0119 0120 #: ../../color_management/working_space.rst:44 0121 msgid "" 0122 "Before talking more about working spaces, some confusions and confusing " 0123 "terminology needs to be cleared up:" 0124 msgstr "" 0125 0126 #: ../../color_management/working_space.rst:46 0127 msgid "" 0128 "sRGB is both a working color space and an output color space for images " 0129 "intended for the web and for monitor display. If you have a spiffy new " 0130 "monitor with a gamut larger than the gamut covered by sRGB, obviously you " 0131 "might want to reconsider what output profile to use to best take advantage " 0132 "of your wonderful and hopefully calibrated and profiled monitor, but please " 0133 "convert your image to sRGB before sending it on to your friends. sRGB is " 0134 "also the color space that a lot of home and mass-production commercial " 0135 "printers expect image files to be in when sent to the printer. It is also " 0136 "the color space that most programs assume if an image does not have an " 0137 "embedded color profile telling the program what color space should be used " 0138 "to interpret (translate) the RGB numbers. So if you choose to not use color-" 0139 "management, your color-management choices are simple - set everything to " 0140 "sRGB." 0141 msgstr "" 0142 0143 #: ../../color_management/working_space.rst:48 0144 msgid "" 0145 "All JPEGs coming straight out of a camera (even if produced by point-and-" 0146 "shoots cameras that don't allow you to save a RAW file) start life inside " 0147 "the camera as a RAW file produced by the camera's A to D converter. The " 0148 "processor inside the camera interpolates the RAW file, assigns a camera " 0149 "profile, translates the resulting RGB numbers to a working space (usually " 0150 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does " 0151 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs " 0152 "from your camera never need to be assigned a camera or input profile which " 0153 "is then translated to a working space via a Profile Connection Space. JPEGs " 0154 "from a camera are already in a working space." 0155 msgstr "" 0156 0157 #: ../../color_management/working_space.rst:50 0158 msgid "" 0159 "In case anyone is unsure on this point, note that an interpolated RAW file " 0160 "is no longer a RAW file - it has been interpolated and then output as a TIFF " 0161 "whose RGB values need to be translated to a working space, using the camera " 0162 "profile, the Profile Connection Space, and Lcms." 0163 msgstr "" 0164 0165 #: ../../color_management/working_space.rst:52 0166 msgid "" 0167 "To introduce a bit of commonly heard color-management terminology here - the " 0168 "camera profile and your printer's color profile are both device dependent, " 0169 "whereas the working space will be device-independent - it can be used with " 0170 "any image, with any properly color-managed software, without regard for " 0171 "where the image originated." 0172 msgstr "" 0173 0174 #: ../../color_management/working_space.rst:54 0175 msgid "" 0176 "Above we have used the words translate and translation as a descriptive " 0177 "metaphor for what Lcms does when it translates RGB values from one color " 0178 "space to another via the Profile Connection Space. The usual and correct " 0179 "terminology is convert and conversion. The four methods of conversion from " 0180 "one color space to another are: perceptual, relative colorimetric, absolute " 0181 "colorimetric, and saturation. Which method of conversion you should use for " 0182 "any given image processing step from RAW file to final output image is " 0183 "beyond the scope of this manual. The standard advice is: when in doubt, use " 0184 "perceptual." 0185 msgstr "" 0186 0187 #: ../../color_management/working_space.rst:56 0188 msgid "" 0189 "Assign a profile means change the meaning of the RGB numbers in an image by " 0190 "embedding a new profile without changing the actual RGB numbers associated " 0191 "with each pixel in the image; convert means embed a new profile, but also " 0192 "change the RGB numbers at the same time so that the meaning of the RGB " 0193 "values - that is, the real-world visible color represented by the trio of " 0194 "RGB numbers associated with each pixel in an image - remains the same before " 0195 "and after the conversion from one space to another. You should be able to do " 0196 "multiple conversions of an image from one working space to another, and with " 0197 "a properly color-managed image editor, even though all the RGB numbers in " 0198 "the image will change with each conversion, the image on your screen should " 0199 "look the same (leaving aside the usually unnoticeable small but inevitable " 0200 "changes from accumulated gamut mismatches and mathematical rounding errors). " 0201 "However, every time you assign a new working space profile rather than " 0202 "convert to a new working space, the appearance of the image should more or " 0203 "less drastically change." 0204 msgstr "" 0205 0206 #: ../../color_management/working_space.rst:58 0207 msgid "" 0208 "Color management is not only relevant if you shoot RAW. Color management " 0209 "affects every stage of the image processing pipeline, whether you start with " 0210 "a RAW file that you, yourself interpolate and translate into a TIFF, or if " 0211 "you start with a JPEG or TIFF produced by your camera." 0212 msgstr "" 0213 0214 #: ../../color_management/working_space.rst:61 0215 msgid "Selecting a Working Space" 0216 msgstr "" 0217 0218 #: ../../color_management/working_space.rst:63 0219 msgid "" 0220 "Which working space do you need to use in digiKam? Working spaces, such as " 0221 "sRGB or Adobe RGB, are color spaces that facilitate good results while " 0222 "editing. For instance, pixels with equal values of RGB should appear " 0223 "neutral. Using a large gamut working space will lead to posterization, while " 0224 "using a small working space will lead to clipping. This trade-off is a " 0225 "consideration for the Image Editor." 0226 msgstr "" 0227 0228 #: ../../color_management/working_space.rst:65 0229 msgid "Most working space profiles are characterized by:" 0230 msgstr "" 0231 0232 #: ../../color_management/working_space.rst:67 0233 msgid "" 0234 "The place of the gamut into the **Diagram** `(1)` of all colors visible to " 0235 "the average human eyes." 0236 msgstr "" 0237 0238 #: ../../color_management/working_space.rst:69 0239 msgid "" 0240 "The **Gamut** `(2)` triangle to define the range of RGB colors of the " 0241 "profile. Red point is on the bottom right corner, Green is on the top, Blue " 0242 "is on the left bottom. Values given around the edge of the gamut passing " 0243 "from the blue, the green and the red points, are the spectral colors in " 0244 "nanometers." 0245 msgstr "" 0246 0247 #: ../../color_management/working_space.rst:71 0248 msgid "" 0249 "The **White point** `(3)` to define the total dynamic range of the profile." 0250 msgstr "" 0251 0252 #: ../../color_management/working_space.rst:73 0253 msgid "" 0254 "The **Gamma** to define the transfer function of the profile (not displayed " 0255 "in the gamut)." 0256 msgstr "" 0257 0258 #: ../../color_management/working_space.rst:79 0259 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam" 0260 msgstr "" 0261 0262 #: ../../color_management/working_space.rst:81 0263 msgid "" 0264 "The practical consequences that result from using different RGB primaries, " 0265 "leading to larger or smaller working spaces, are discussed below. The " 0266 "practical consequences for different choices for the working space white " 0267 "point are beyond the scope of this manual. Here we will talk a little bit " 0268 "about the practical consequences of the working space gamma." 0269 msgstr "" 0270 0271 #: ../../color_management/working_space.rst:83 0272 msgid "" 0273 "The gamma of a color profile dictates what power transform needs to take " 0274 "place to properly convert from an image's embedded color profile (perhaps " 0275 "your working color space) to another color profile with a different gamma, " 0276 "such as (i) the display profile used to display the image on the screen or " 0277 "(ii) perhaps to a new working space, or (iii) perhaps from your working " 0278 "space to your printer's color space." 0279 msgstr "" 0280 0281 #: ../../color_management/working_space.rst:87 0282 msgid "" 0283 "Mathematically speaking, for a power transform you normalize the RGB numbers " 0284 "and raise the resulting numbers to an appropriate power depending on the " 0285 "respective gammas of the starting and ending color space, then re-normalize " 0286 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/" 0287 ">`_ does this for you when there is a need to convert from one color space " 0288 "to another in your workflow." 0289 msgstr "" 0290 0291 #: ../../color_management/working_space.rst:89 0292 msgid "" 0293 "One practical consequence of the gamma of a working space is that the higher " 0294 "the gamma, the more tones are available for editing in the shadows, with " 0295 "consequently fewer tones available in the highlights. So theoretically, if " 0296 "you are working on a very dark-toned (low key) image you might want a " 0297 "working space with a higher gamma. And if you are working on a high key " 0298 "image, say a picture taken in full noon sunlight of a wedding dress with " 0299 "snow as a backdrop, you might want to choose a working space with a lower " 0300 "gamma, so you have more available tonal gradations in the highlights. But in " 0301 "the real world of real image editing, almost everyone uses working spaces " 0302 "with either gamma 1.8 or 2.2." 0303 msgstr "" 0304 0305 #: ../../color_management/working_space.rst:91 0306 msgid "" 0307 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are " 0308 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-" 0309 "RGB uses a luminosity-based tonal response curve instead of a gamma value." 0310 msgstr "" 0311 0312 #: ../../color_management/working_space.rst:93 0313 msgid "" 0314 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working " 0315 "space that gets much mention or use is gamma 1.0, also called linear gamma. " 0316 "Linear gamma is used in HDR (high dynamic range) imaging and also if one " 0317 "wants to avoid introducing gamma-induced errors into one's regular low " 0318 "dynamic range editing. Gamma-induced errors is a topic outside the scope of " 0319 "this manual, but see Gamma errors in picture scaling, for gamma-induced " 0320 "color shifts." 0321 msgstr "" 0322 0323 #: ../../color_management/working_space.rst:95 0324 msgid "" 0325 "Unfortunately and despite their undeniable mathematical advantages, linear " 0326 "gamma working spaces have so few tones in the shadows that they are " 0327 "impossible to use for editing if one is working in 8-bits, and still " 0328 "problematic at 16-bits. When the day comes when we are all doing our editing " 0329 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0330 "we predict that we will all be using working spaces with gamma 1." 0331 msgstr "" 0332 0333 #: ../../color_management/working_space.rst:101 0334 msgid "" 0335 "Depending of the Settings digiKam Can Ask you to Convert to Working Space " 0336 "When Loading in Image Editor" 0337 msgstr "" 0338 0339 #: ../../color_management/working_space.rst:104 0340 msgid "Large or Small Gamut" 0341 msgstr "" 0342 0343 #: ../../color_management/working_space.rst:106 0344 msgid "" 0345 "One major consideration in choosing a working space is that some working " 0346 "spaces are bigger than others, meaning they cover more of the visible " 0347 "spectrum (and perhaps even include some imaginary colors - mathematical " 0348 "constructs that don't really exist). These bigger spaces offer the advantage " 0349 "of allowing you to keep all the colors captured by your camera and preserved " 0350 "by the Lcms conversion from your camera profile to the really big profile " 0351 "connection space." 0352 msgstr "" 0353 0354 #: ../../color_management/working_space.rst:112 0355 msgid "" 0356 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color " 0357 "Profile Show in digiKam" 0358 msgstr "" 0359 0360 #: ../../color_management/working_space.rst:114 0361 msgid "" 0362 "But keeping all the possible colors comes at a price. It seems that any " 0363 "given digital image (pictures of daffodils with saturated yellows being one " 0364 "common exception) likely only contains a small subset of all the possible " 0365 "visible colors that your camera is capable of capturing. This small subset " 0366 "is easily contained in one of the smaller working spaces. Using a very large " 0367 "working space mean that editing your image (applying curves, saturation, " 0368 "etc.) can easily produce colors that your eventual output device (printer, " 0369 "monitor) simply cannot display." 0370 msgstr "" 0371 0372 #: ../../color_management/working_space.rst:116 0373 msgid "" 0374 "So the conversion from your working space to your output device space (say " 0375 "your printer) will have to remap the out of gamut colors in your edited " 0376 "image, some of which might even be totally imaginary, to your printer color " 0377 "space with its much smaller gamut, leading to inaccurate colors at best and " 0378 "at worst to banding (posterization - gaps in what should be a smooth color " 0379 "transition, say, across an expanse of blue sky) and clipping (your carefully " 0380 "crafted muted transitions across delicate shades of red, for example, might " 0381 "get remapped to a solid block of dull red after conversion to your printer's " 0382 "color space)." 0383 msgstr "" 0384 0385 #: ../../color_management/working_space.rst:118 0386 msgid "" 0387 "In other words, large gamut working spaces, improperly handled, can lead to " 0388 "lost information on output. Small gamut working spaces can clip information " 0389 "on input. Here is some oft-repeated advice:" 0390 msgstr "" 0391 0392 #: ../../color_management/working_space.rst:120 0393 msgid "For images intended for the web, use sRGB." 0394 msgstr "" 0395 0396 #: ../../color_management/working_space.rst:122 0397 msgid "" 0398 "For the most accuracy in your image editing (that is, making the most of " 0399 "your *bits* with the least risk of banding or clipping when you convert your " 0400 "image from your working space to an output space), use the smallest working " 0401 "space that includes all the colors in the scene that you photographed, plus " 0402 "a little extra room for those new colors you intentionally produce as you " 0403 "edit." 0404 msgstr "" 0405 0406 #: ../../color_management/working_space.rst:124 0407 msgid "" 0408 "If you are working in 8-bits rather than 16-bits, choose a smaller space " 0409 "rather than a larger space." 0410 msgstr "" 0411 0412 #: ../../color_management/working_space.rst:126 0413 msgid "" 0414 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0415 "gamut working space to avoid loosing color information. Then convert this " 0416 "archival TIFF to your working space of choice (saving the converted working " 0417 "TIFF under a new name, of course). See here for more details." 0418 msgstr "" 0419 0420 #: ../../color_management/working_space.rst:132 0421 msgid "digiKam Queue Manager Allows to Batch Convert Color Space" 0422 msgstr "" 0423 0424 #: ../../color_management/working_space.rst:135 0425 msgid "Gamma Properties" 0426 msgstr "" 0427 0428 #: ../../color_management/working_space.rst:137 0429 msgid "" 0430 "The gamma of a color profile dictates what power transform needs to take " 0431 "place to properly convert from an image's embedded color profile (perhaps " 0432 "your working color space or your camera color profile) to another color " 0433 "profile with a different gamma, such as your chosen working space, or the " 0434 "display profile used to display the image on the screen or perhaps from one " 0435 "working space to another, or perhaps from your working space to your " 0436 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit " 0437 "image with a linear gamma, which means that a histogram of the resulting " 0438 "image file shows the actual amount of light that each pixel on the camera " 0439 "sensor captured during the exposure (paraphrasing this page). (Which is why " 0440 "at present applying a camera profile to the Libraw output also requires " 0441 "applying an appropriate gamma transform to get to the desired working space, " 0442 "unless the camera profile also uses gamma=1.)" 0443 msgstr "" 0444 0445 #: ../../color_management/working_space.rst:139 0446 msgid "" 0447 "One practical consequence of the gamma of a working space is that the higher " 0448 "the gamma, the more discrete tones are available for editing in the shadows, " 0449 "with consequently fewer tones available in the highlights. Changing the " 0450 "gamma of an image redistributes the number of tones available in the lighter " 0451 "and darker areas of an image. Theoretically, if you are working on a very " 0452 "dark-toned (low key) image you might want a working space with a higher " 0453 "gamma. And if you are working on a high key image, say a picture taken in " 0454 "full noon sunlight of a wedding dress with snow as a backdrop, you might " 0455 "want to choose a working space with a lower gamma, so you have more " 0456 "available tonal gradations in the highlights." 0457 msgstr "" 0458 0459 #: ../../color_management/working_space.rst:141 0460 msgid "" 0461 "Theory aside, in the real world of real image editing, almost everyone uses " 0462 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are " 0463 "two notable exceptions." 0464 msgstr "" 0465 0466 #: ../../color_management/working_space.rst:143 0467 msgid "" 0468 "sRGB uses a transfer function close to that of a CRT (and thus not " 0469 "necessarily relevant to image editing or to display on an LCD). Unlike most " 0470 "other RGB color spaces the sRGB gamma can not be expressed as a single " 0471 "numerical value. The overall gamma is approximately 2.2, consisting of a " 0472 "linear (gamma 1.0) section near black, and a non-linear section elsewhere " 0473 "involving a 2.4 exponent and a gamma (slope of log output versus log input) " 0474 "changing from 1.0 through about 2.3, which makes for some complicated math " 0475 "during image processing." 0476 msgstr "" 0477 0478 #: ../../color_management/working_space.rst:145 0479 msgid "" 0480 "L*-RGB uses as its transfer function the same perceptually uniform transfer " 0481 "function as the CIELab color space. *When storing colors in limited " 0482 "precision values* using a perceptually uniform transfer function *can " 0483 "improve the reproduction of tones*." 0484 msgstr "" 0485 0486 #: ../../color_management/working_space.rst:147 0487 msgid "" 0488 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working " 0489 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted " 0490 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you " 0491 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) " 0492 "imaging and also if one wants to avoid introducing gamma-induced errors into " 0493 "one's regular low dynamic range editing." 0494 msgstr "" 0495 0496 #: ../../color_management/working_space.rst:149 0497 msgid "" 0498 "**Gamma-induced errors** is a topic outside the scope of this manual but " 0499 "it's commonly-encountered that gamma-induced error that is caused by " 0500 "incorrectly calculating luminance in a nonlinear RGB working space. And in a " 0501 "similar vein, the calculations involved in mixing colors together to produce " 0502 "new colors (such as using a digital filter to add warmth to an image) result " 0503 "in gamma errors unless the new colors are calculated by first transforming " 0504 "all the relevant values back to their linear values." 0505 msgstr "" 0506 0507 #: ../../color_management/working_space.rst:151 0508 msgid "" 0509 "Unfortunately and despite their undeniable mathematical advantages, linear " 0510 "gamma working spaces have so few tones in the shadows that they are " 0511 "impossible to use for editing if one is working in 8-bit, and still " 0512 "problematic at 16-bit. When the day comes when we are all doing our editing " 0513 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0514 "We can predict that we will all be using working spaces with gamma=1." 0515 msgstr "" 0516 0517 #: ../../color_management/working_space.rst:154 0518 msgid "Tonal Steps and Gamut Size" 0519 msgstr "" 0520 0521 #: ../../color_management/working_space.rst:156 0522 msgid "" 0523 "How many discrete tonal steps are there in a digital image? In an 8-bit " 0524 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit " 0525 "image theoretically you have 65536 steps. But remember, those 16-bit started " 0526 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 " 0527 "steps) as produced by the camera's A-to-D converter - the extra bits to " 0528 "reach 16-bit start out as just padding. The available tones are not " 0529 "distributed evenly from light to dark. In linear gamma mode (as the camera " 0530 "sensor sees things), there's a whole lot more tones in the highlights than " 0531 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right " 0532 "but don't blow the highlights." 0533 msgstr "" 0534 0535 #: ../../color_management/working_space.rst:158 0536 msgid "" 0537 "One major consideration in choosing a working space is that some working " 0538 "spaces are bigger than others, meaning they cover more of the visible " 0539 "spectrum (and as a consequence include some imaginary colors - mathematical " 0540 "constructs that don't really exist). These bigger spaces offer the advantage " 0541 "of allowing you to keep all the colors captured by your camera and preserved " 0542 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera " 0543 "profile to the super-wide-gamut profile connection space and out again to " 0544 "your chosen working space." 0545 msgstr "" 0546 0547 #: ../../color_management/working_space.rst:160 0548 msgid "" 0549 "But keeping all the possible colors comes at a price, as explained below. " 0550 "And it seems that any given digital image likely only contains a small " 0551 "subset of all the possible visible colors that your camera is capable of " 0552 "capturing. This small subset is easily contained in one of the smaller " 0553 "working spaces." 0554 msgstr "" 0555 0556 #: ../../color_management/working_space.rst:162 0557 msgid "" 0558 "Using a very large working space means that editing your image (applying " 0559 "curves, increasing saturation, etc.) can easily produce colors that your " 0560 "eventual output device (printer, monitor) simply cannot reproduce (you " 0561 "cannot see these colors while you're editing, either). So the conversion " 0562 "from your working space to your output device space (say your printer) will " 0563 "have to remap the out-of-gamut colors in your edited image, some of which " 0564 "might even be totally imaginary, to your printer color space with its much " 0565 "smaller color gamut." 0566 msgstr "" 0567 0568 #: ../../color_management/working_space.rst:164 0569 msgid "" 0570 "This remapping process will lead to inaccurate colors and loss of saturation " 0571 "at best. Even worse, the remapping can easily lead to banding (posterization " 0572 "- gaps in what should be a smooth color transition, across an expanse of " 0573 "blue sky) and clipping (e.g. your carefully crafted muted transitions across " 0574 "delicate shades of red, for example, might get remapped to a solid block of " 0575 "dull red after conversion to your printer's color space). Also, the experts " 0576 "say that 8-bit images just don't have enough tones to stretch across a wide " 0577 "gamut working space without banding and loss of saturation, even before " 0578 "conversion to an output space. So if you choose a large gamut working space, " 0579 "make sure you start with a 16-bit image." 0580 msgstr "" 0581 0582 #: ../../color_management/working_space.rst:171 0583 msgid "" 0584 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information" 0585 msgstr "" 0586 0587 #: ../../color_management/working_space.rst:173 0588 msgid "" 0589 "To summarize, large gamut working spaces, improperly handled, can lead to " 0590 "lost information on output. Small gamut working spaces can clip information " 0591 "on input. Medium-sized gamut working spaces try to strike a happy medium." 0592 msgstr "" 0593 0594 #: ../../color_management/working_space.rst:175 0595 msgid "Here are some oft-repeated bits of advice on choosing a working space:" 0596 msgstr "" 0597 0598 #: ../../color_management/working_space.rst:177 0599 msgid "" 0600 "For images intended for the web, use (or at least convert the final image " 0601 "to) sRGB." 0602 msgstr "" 0603 0604 #: ../../color_management/working_space.rst:179 0605 msgid "" 0606 "For the most accuracy in your image editing (that is, making the most of " 0607 "your limited *bits* with the least risk of banding or clipping when you " 0608 "convert your image from your working space to an output space), use the " 0609 "smallest working space that includes all the colors in the scene that you " 0610 "photographed, plus a little extra room for those new colors you " 0611 "intentionally produce as you edit." 0612 msgstr "" 0613 0614 #: ../../color_management/working_space.rst:181 0615 msgid "" 0616 "If you are working in 8-bits rather than 16-bits, choose a smaller rather " 0617 "than a larger working space to avoid clipping and banding." 0618 msgstr "" 0619 0620 #: ../../color_management/working_space.rst:183 0621 msgid "" 0622 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0623 "gamut working space to avoid loosing color information. Then convert this " 0624 "archival TIFF to your medium-gamut or large-gamut working space of choice " 0625 "(saving the converted working TIFF under a new name, of course)." 0626 msgstr ""