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0001 # Spanish translations for docs_digikam_org_color_management___working_space.po 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 # 0005 # Automatically generated, 2023. 0006 # Eloy Cuadra <ecuadra@eloihr.net>, 2023. 0007 msgid "" 0008 msgstr "" 0009 "Project-Id-Version: docs_digikam_org_color_management___working_space\n" 0010 "Report-Msgid-Bugs-To: \n" 0011 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0012 "PO-Revision-Date: 2023-01-29 01:18+0100\n" 0013 "Last-Translator: Eloy Cuadra <ecuadra@eloihr.net>\n" 0014 "Language-Team: Spanish <kde-l10n-es@kde.org>\n" 0015 "Language: es\n" 0016 "MIME-Version: 1.0\n" 0017 "Content-Type: text/plain; charset=UTF-8\n" 0018 "Content-Transfer-Encoding: 8bit\n" 0019 "Plural-Forms: nplurals=2; plural=n != 1;\n" 0020 "X-Generator: Lokalize 22.12.1\n" 0021 0022 #: ../../color_management/working_space.rst:1 0023 msgid "Color Management and Working Space" 0024 msgstr "Gestión del color y espacio de trabajo" 0025 0026 #: ../../color_management/working_space.rst:1 0027 msgid "" 0028 "digiKam, documentation, user manual, photo management, open source, free, " 0029 "learn, easy, image editor, color management, icc, profile, working space" 0030 msgstr "" 0031 "digiKam, documentación, manual del usuario, gestión de fotos, gestión " 0032 "fotográfica, código abierto, libre, gratis, aprender, fácil, editor de " 0033 "imágenes, gestión del color, icc, perfil, espacio de trabajo" 0034 0035 #: ../../color_management/working_space.rst:14 0036 msgid "The Working Space" 0037 msgstr "El espacio de trabajo" 0038 0039 #: ../../color_management/working_space.rst:17 0040 msgid "Color Workflow" 0041 msgstr "" 0042 0043 #: ../../color_management/working_space.rst:19 0044 msgid "" 0045 "So we told digiKam where to find my monitor profile and we have a camera " 0046 "profile that we applied to the image file produced by my RAW processing " 0047 "software. What's the next step in color management?" 0048 msgstr "" 0049 0050 #: ../../color_management/working_space.rst:21 0051 msgid "" 0052 "You need to choose a working color space so you can edit your image. `Lcms " 0053 "<https://www.littlecms.com/>`_ will transform your image from your camera " 0054 "color space to your chosen working space, via the **Profile Connection " 0055 "Space** specified by your camera color profile. Why cannot to just edit " 0056 "images in the color space described by the camera profile?" 0057 msgstr "" 0058 0059 #: ../../color_management/working_space.rst:23 0060 msgid "" 0061 "After all, the camera profile should provide the best *fit* to the colors " 0062 "recorded by my camera, as processed by my RAW processing procedure, right? " 0063 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate " 0064 "good results while editing. For instance, pixels with equal values of RGB " 0065 "should appear neutral. This just want means that for any given pixel in an " 0066 "image that has been converted to a suitable working space, if R=G=B you " 0067 "should see grey or black or white on your screen. Many camera profiles " 0068 "violate this *neutral* condition." 0069 msgstr "" 0070 0071 #: ../../color_management/working_space.rst:29 0072 msgid "" 0073 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color " 0074 "Space to Another one" 0075 msgstr "" 0076 0077 #: ../../color_management/working_space.rst:31 0078 msgid "" 0079 "However, there is one other good reason to not want to edit your image in " 0080 "your camera profile color space. If you look at the size of a typical camera " 0081 "profile, it is on the order of a quarter to a half a megabyte or more. It's " 0082 "got a lot of information about all the changes that need to be made at " 0083 "different regions of color and tonality in the original scene, to get " 0084 "accurate color rendition from the RGB values that come out of the RAW " 0085 "processor. The camera profile is accurate (at least for colors in the " 0086 "original target) but not particularly mathematically smooth. Working space " 0087 "color profiles, on the other hand, are very small in size (half a kilobyte " 0088 "instead of half a megabyte) because they describe a color gamut in terms of " 0089 "smooth, continuous mathematical functions. Working space profiles don't need " 0090 "to make allowances for the *messiness* of real world sensors, so the " 0091 "mathematical manipulations performed during image editing will go much more " 0092 "smoothly and accurately than if you try to edit your image while it is still " 0093 "in the camera color space." 0094 msgstr "" 0095 0096 #: ../../color_management/working_space.rst:33 0097 msgid "Working Space Profiles are characterized by:" 0098 msgstr "" 0099 0100 #: ../../color_management/working_space.rst:35 0101 msgid "" 0102 "**Gamma** transfer function, which dictates how much the original linear " 0103 "intensity values captured by the camera sensor are altered to make editing " 0104 "easier or more precise. These values from the camera are subjected to the in-" 0105 "camera A-to-D conversion, then interpolated by the RAW processing program to " 0106 "produce the image file." 0107 msgstr "" 0108 0109 #: ../../color_management/working_space.rst:37 0110 msgid "" 0111 "RGB primaries which dictate the range of colors, that is, the color " 0112 "**Gamut**, covered by a given profile." 0113 msgstr "" 0114 0115 #: ../../color_management/working_space.rst:39 0116 msgid "" 0117 "**White point**, usually D50 or D65 though other values may be used, which " 0118 "specifies the white point color temperature of the working space." 0119 msgstr "" 0120 0121 #: ../../color_management/working_space.rst:42 0122 msgid "Confusions Terminology" 0123 msgstr "" 0124 0125 #: ../../color_management/working_space.rst:44 0126 msgid "" 0127 "Before talking more about working spaces, some confusions and confusing " 0128 "terminology needs to be cleared up:" 0129 msgstr "" 0130 0131 #: ../../color_management/working_space.rst:46 0132 msgid "" 0133 "sRGB is both a working color space and an output color space for images " 0134 "intended for the web and for monitor display. If you have a spiffy new " 0135 "monitor with a gamut larger than the gamut covered by sRGB, obviously you " 0136 "might want to reconsider what output profile to use to best take advantage " 0137 "of your wonderful and hopefully calibrated and profiled monitor, but please " 0138 "convert your image to sRGB before sending it on to your friends. sRGB is " 0139 "also the color space that a lot of home and mass-production commercial " 0140 "printers expect image files to be in when sent to the printer. It is also " 0141 "the color space that most programs assume if an image does not have an " 0142 "embedded color profile telling the program what color space should be used " 0143 "to interpret (translate) the RGB numbers. So if you choose to not use color-" 0144 "management, your color-management choices are simple - set everything to " 0145 "sRGB." 0146 msgstr "" 0147 0148 #: ../../color_management/working_space.rst:48 0149 msgid "" 0150 "All JPEGs coming straight out of a camera (even if produced by point-and-" 0151 "shoots cameras that don't allow you to save a RAW file) start life inside " 0152 "the camera as a RAW file produced by the camera's A to D converter. The " 0153 "processor inside the camera interpolates the RAW file, assigns a camera " 0154 "profile, translates the resulting RGB numbers to a working space (usually " 0155 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does " 0156 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs " 0157 "from your camera never need to be assigned a camera or input profile which " 0158 "is then translated to a working space via a Profile Connection Space. JPEGs " 0159 "from a camera are already in a working space." 0160 msgstr "" 0161 0162 #: ../../color_management/working_space.rst:50 0163 msgid "" 0164 "In case anyone is unsure on this point, note that an interpolated RAW file " 0165 "is no longer a RAW file - it has been interpolated and then output as a TIFF " 0166 "whose RGB values need to be translated to a working space, using the camera " 0167 "profile, the Profile Connection Space, and Lcms." 0168 msgstr "" 0169 0170 #: ../../color_management/working_space.rst:52 0171 msgid "" 0172 "To introduce a bit of commonly heard color-management terminology here - the " 0173 "camera profile and your printer's color profile are both device dependent, " 0174 "whereas the working space will be device-independent - it can be used with " 0175 "any image, with any properly color-managed software, without regard for " 0176 "where the image originated." 0177 msgstr "" 0178 0179 #: ../../color_management/working_space.rst:54 0180 msgid "" 0181 "Above we have used the words translate and translation as a descriptive " 0182 "metaphor for what Lcms does when it translates RGB values from one color " 0183 "space to another via the Profile Connection Space. The usual and correct " 0184 "terminology is convert and conversion. The four methods of conversion from " 0185 "one color space to another are: perceptual, relative colorimetric, absolute " 0186 "colorimetric, and saturation. Which method of conversion you should use for " 0187 "any given image processing step from RAW file to final output image is " 0188 "beyond the scope of this manual. The standard advice is: when in doubt, use " 0189 "perceptual." 0190 msgstr "" 0191 0192 #: ../../color_management/working_space.rst:56 0193 msgid "" 0194 "Assign a profile means change the meaning of the RGB numbers in an image by " 0195 "embedding a new profile without changing the actual RGB numbers associated " 0196 "with each pixel in the image; convert means embed a new profile, but also " 0197 "change the RGB numbers at the same time so that the meaning of the RGB " 0198 "values - that is, the real-world visible color represented by the trio of " 0199 "RGB numbers associated with each pixel in an image - remains the same before " 0200 "and after the conversion from one space to another. You should be able to do " 0201 "multiple conversions of an image from one working space to another, and with " 0202 "a properly color-managed image editor, even though all the RGB numbers in " 0203 "the image will change with each conversion, the image on your screen should " 0204 "look the same (leaving aside the usually unnoticeable small but inevitable " 0205 "changes from accumulated gamut mismatches and mathematical rounding errors). " 0206 "However, every time you assign a new working space profile rather than " 0207 "convert to a new working space, the appearance of the image should more or " 0208 "less drastically change." 0209 msgstr "" 0210 0211 #: ../../color_management/working_space.rst:58 0212 msgid "" 0213 "Color management is not only relevant if you shoot RAW. Color management " 0214 "affects every stage of the image processing pipeline, whether you start with " 0215 "a RAW file that you, yourself interpolate and translate into a TIFF, or if " 0216 "you start with a JPEG or TIFF produced by your camera." 0217 msgstr "" 0218 0219 #: ../../color_management/working_space.rst:61 0220 msgid "Selecting a Working Space" 0221 msgstr "Seleccionar un espacio de trabajo" 0222 0223 #: ../../color_management/working_space.rst:63 0224 msgid "" 0225 "Which working space do you need to use in digiKam? Working spaces, such as " 0226 "sRGB or Adobe RGB, are color spaces that facilitate good results while " 0227 "editing. For instance, pixels with equal values of RGB should appear " 0228 "neutral. Using a large gamut working space will lead to posterization, while " 0229 "using a small working space will lead to clipping. This trade-off is a " 0230 "consideration for the Image Editor." 0231 msgstr "" 0232 0233 #: ../../color_management/working_space.rst:65 0234 msgid "Most working space profiles are characterized by:" 0235 msgstr "" 0236 0237 #: ../../color_management/working_space.rst:67 0238 msgid "" 0239 "The place of the gamut into the **Diagram** `(1)` of all colors visible to " 0240 "the average human eyes." 0241 msgstr "" 0242 0243 #: ../../color_management/working_space.rst:69 0244 msgid "" 0245 "The **Gamut** `(2)` triangle to define the range of RGB colors of the " 0246 "profile. Red point is on the bottom right corner, Green is on the top, Blue " 0247 "is on the left bottom. Values given around the edge of the gamut passing " 0248 "from the blue, the green and the red points, are the spectral colors in " 0249 "nanometers." 0250 msgstr "" 0251 0252 #: ../../color_management/working_space.rst:71 0253 msgid "" 0254 "The **White point** `(3)` to define the total dynamic range of the profile." 0255 msgstr "" 0256 0257 #: ../../color_management/working_space.rst:73 0258 msgid "" 0259 "The **Gamma** to define the transfer function of the profile (not displayed " 0260 "in the gamut)." 0261 msgstr "" 0262 0263 #: ../../color_management/working_space.rst:79 0264 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam" 0265 msgstr "" 0266 0267 #: ../../color_management/working_space.rst:81 0268 msgid "" 0269 "The practical consequences that result from using different RGB primaries, " 0270 "leading to larger or smaller working spaces, are discussed below. The " 0271 "practical consequences for different choices for the working space white " 0272 "point are beyond the scope of this manual. Here we will talk a little bit " 0273 "about the practical consequences of the working space gamma." 0274 msgstr "" 0275 0276 #: ../../color_management/working_space.rst:83 0277 msgid "" 0278 "The gamma of a color profile dictates what power transform needs to take " 0279 "place to properly convert from an image's embedded color profile (perhaps " 0280 "your working color space) to another color profile with a different gamma, " 0281 "such as (i) the display profile used to display the image on the screen or " 0282 "(ii) perhaps to a new working space, or (iii) perhaps from your working " 0283 "space to your printer's color space." 0284 msgstr "" 0285 0286 #: ../../color_management/working_space.rst:87 0287 msgid "" 0288 "Mathematically speaking, for a power transform you normalize the RGB numbers " 0289 "and raise the resulting numbers to an appropriate power depending on the " 0290 "respective gammas of the starting and ending color space, then re-normalize " 0291 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/" 0292 ">`_ does this for you when there is a need to convert from one color space " 0293 "to another in your workflow." 0294 msgstr "" 0295 0296 #: ../../color_management/working_space.rst:89 0297 msgid "" 0298 "One practical consequence of the gamma of a working space is that the higher " 0299 "the gamma, the more tones are available for editing in the shadows, with " 0300 "consequently fewer tones available in the highlights. So theoretically, if " 0301 "you are working on a very dark-toned (low key) image you might want a " 0302 "working space with a higher gamma. And if you are working on a high key " 0303 "image, say a picture taken in full noon sunlight of a wedding dress with " 0304 "snow as a backdrop, you might want to choose a working space with a lower " 0305 "gamma, so you have more available tonal gradations in the highlights. But in " 0306 "the real world of real image editing, almost everyone uses working spaces " 0307 "with either gamma 1.8 or 2.2." 0308 msgstr "" 0309 0310 #: ../../color_management/working_space.rst:91 0311 msgid "" 0312 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are " 0313 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-" 0314 "RGB uses a luminosity-based tonal response curve instead of a gamma value." 0315 msgstr "" 0316 0317 #: ../../color_management/working_space.rst:93 0318 msgid "" 0319 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working " 0320 "space that gets much mention or use is gamma 1.0, also called linear gamma. " 0321 "Linear gamma is used in HDR (high dynamic range) imaging and also if one " 0322 "wants to avoid introducing gamma-induced errors into one's regular low " 0323 "dynamic range editing. Gamma-induced errors is a topic outside the scope of " 0324 "this manual, but see Gamma errors in picture scaling, for gamma-induced " 0325 "color shifts." 0326 msgstr "" 0327 0328 #: ../../color_management/working_space.rst:95 0329 msgid "" 0330 "Unfortunately and despite their undeniable mathematical advantages, linear " 0331 "gamma working spaces have so few tones in the shadows that they are " 0332 "impossible to use for editing if one is working in 8-bits, and still " 0333 "problematic at 16-bits. When the day comes when we are all doing our editing " 0334 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0335 "we predict that we will all be using working spaces with gamma 1." 0336 msgstr "" 0337 0338 #: ../../color_management/working_space.rst:101 0339 msgid "" 0340 "Depending of the Settings digiKam Can Ask you to Convert to Working Space " 0341 "When Loading in Image Editor" 0342 msgstr "" 0343 0344 #: ../../color_management/working_space.rst:104 0345 msgid "Large or Small Gamut" 0346 msgstr "" 0347 0348 #: ../../color_management/working_space.rst:106 0349 msgid "" 0350 "One major consideration in choosing a working space is that some working " 0351 "spaces are bigger than others, meaning they cover more of the visible " 0352 "spectrum (and perhaps even include some imaginary colors - mathematical " 0353 "constructs that don't really exist). These bigger spaces offer the advantage " 0354 "of allowing you to keep all the colors captured by your camera and preserved " 0355 "by the Lcms conversion from your camera profile to the really big profile " 0356 "connection space." 0357 msgstr "" 0358 0359 #: ../../color_management/working_space.rst:112 0360 msgid "" 0361 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color " 0362 "Profile Show in digiKam" 0363 msgstr "" 0364 0365 #: ../../color_management/working_space.rst:114 0366 msgid "" 0367 "But keeping all the possible colors comes at a price. It seems that any " 0368 "given digital image (pictures of daffodils with saturated yellows being one " 0369 "common exception) likely only contains a small subset of all the possible " 0370 "visible colors that your camera is capable of capturing. This small subset " 0371 "is easily contained in one of the smaller working spaces. Using a very large " 0372 "working space mean that editing your image (applying curves, saturation, " 0373 "etc.) can easily produce colors that your eventual output device (printer, " 0374 "monitor) simply cannot display." 0375 msgstr "" 0376 0377 #: ../../color_management/working_space.rst:116 0378 msgid "" 0379 "So the conversion from your working space to your output device space (say " 0380 "your printer) will have to remap the out of gamut colors in your edited " 0381 "image, some of which might even be totally imaginary, to your printer color " 0382 "space with its much smaller gamut, leading to inaccurate colors at best and " 0383 "at worst to banding (posterization - gaps in what should be a smooth color " 0384 "transition, say, across an expanse of blue sky) and clipping (your carefully " 0385 "crafted muted transitions across delicate shades of red, for example, might " 0386 "get remapped to a solid block of dull red after conversion to your printer's " 0387 "color space)." 0388 msgstr "" 0389 0390 #: ../../color_management/working_space.rst:118 0391 msgid "" 0392 "In other words, large gamut working spaces, improperly handled, can lead to " 0393 "lost information on output. Small gamut working spaces can clip information " 0394 "on input. Here is some oft-repeated advice:" 0395 msgstr "" 0396 0397 #: ../../color_management/working_space.rst:120 0398 msgid "For images intended for the web, use sRGB." 0399 msgstr "" 0400 0401 #: ../../color_management/working_space.rst:122 0402 msgid "" 0403 "For the most accuracy in your image editing (that is, making the most of " 0404 "your *bits* with the least risk of banding or clipping when you convert your " 0405 "image from your working space to an output space), use the smallest working " 0406 "space that includes all the colors in the scene that you photographed, plus " 0407 "a little extra room for those new colors you intentionally produce as you " 0408 "edit." 0409 msgstr "" 0410 0411 #: ../../color_management/working_space.rst:124 0412 msgid "" 0413 "If you are working in 8-bits rather than 16-bits, choose a smaller space " 0414 "rather than a larger space." 0415 msgstr "" 0416 0417 #: ../../color_management/working_space.rst:126 0418 msgid "" 0419 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0420 "gamut working space to avoid loosing color information. Then convert this " 0421 "archival TIFF to your working space of choice (saving the converted working " 0422 "TIFF under a new name, of course). See here for more details." 0423 msgstr "" 0424 0425 #: ../../color_management/working_space.rst:132 0426 msgid "digiKam Queue Manager Allows to Batch Convert Color Space" 0427 msgstr "" 0428 0429 #: ../../color_management/working_space.rst:135 0430 msgid "Gamma Properties" 0431 msgstr "Propiedades de la gama" 0432 0433 #: ../../color_management/working_space.rst:137 0434 msgid "" 0435 "The gamma of a color profile dictates what power transform needs to take " 0436 "place to properly convert from an image's embedded color profile (perhaps " 0437 "your working color space or your camera color profile) to another color " 0438 "profile with a different gamma, such as your chosen working space, or the " 0439 "display profile used to display the image on the screen or perhaps from one " 0440 "working space to another, or perhaps from your working space to your " 0441 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit " 0442 "image with a linear gamma, which means that a histogram of the resulting " 0443 "image file shows the actual amount of light that each pixel on the camera " 0444 "sensor captured during the exposure (paraphrasing this page). (Which is why " 0445 "at present applying a camera profile to the Libraw output also requires " 0446 "applying an appropriate gamma transform to get to the desired working space, " 0447 "unless the camera profile also uses gamma=1.)" 0448 msgstr "" 0449 0450 #: ../../color_management/working_space.rst:139 0451 msgid "" 0452 "One practical consequence of the gamma of a working space is that the higher " 0453 "the gamma, the more discrete tones are available for editing in the shadows, " 0454 "with consequently fewer tones available in the highlights. Changing the " 0455 "gamma of an image redistributes the number of tones available in the lighter " 0456 "and darker areas of an image. Theoretically, if you are working on a very " 0457 "dark-toned (low key) image you might want a working space with a higher " 0458 "gamma. And if you are working on a high key image, say a picture taken in " 0459 "full noon sunlight of a wedding dress with snow as a backdrop, you might " 0460 "want to choose a working space with a lower gamma, so you have more " 0461 "available tonal gradations in the highlights." 0462 msgstr "" 0463 0464 #: ../../color_management/working_space.rst:141 0465 msgid "" 0466 "Theory aside, in the real world of real image editing, almost everyone uses " 0467 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are " 0468 "two notable exceptions." 0469 msgstr "" 0470 0471 #: ../../color_management/working_space.rst:143 0472 msgid "" 0473 "sRGB uses a transfer function close to that of a CRT (and thus not " 0474 "necessarily relevant to image editing or to display on an LCD). Unlike most " 0475 "other RGB color spaces the sRGB gamma can not be expressed as a single " 0476 "numerical value. The overall gamma is approximately 2.2, consisting of a " 0477 "linear (gamma 1.0) section near black, and a non-linear section elsewhere " 0478 "involving a 2.4 exponent and a gamma (slope of log output versus log input) " 0479 "changing from 1.0 through about 2.3, which makes for some complicated math " 0480 "during image processing." 0481 msgstr "" 0482 0483 #: ../../color_management/working_space.rst:145 0484 msgid "" 0485 "L*-RGB uses as its transfer function the same perceptually uniform transfer " 0486 "function as the CIELab color space. *When storing colors in limited " 0487 "precision values* using a perceptually uniform transfer function *can " 0488 "improve the reproduction of tones*." 0489 msgstr "" 0490 0491 #: ../../color_management/working_space.rst:147 0492 msgid "" 0493 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working " 0494 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted " 0495 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you " 0496 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) " 0497 "imaging and also if one wants to avoid introducing gamma-induced errors into " 0498 "one's regular low dynamic range editing." 0499 msgstr "" 0500 0501 #: ../../color_management/working_space.rst:149 0502 msgid "" 0503 "**Gamma-induced errors** is a topic outside the scope of this manual but " 0504 "it's commonly-encountered that gamma-induced error that is caused by " 0505 "incorrectly calculating luminance in a nonlinear RGB working space. And in a " 0506 "similar vein, the calculations involved in mixing colors together to produce " 0507 "new colors (such as using a digital filter to add warmth to an image) result " 0508 "in gamma errors unless the new colors are calculated by first transforming " 0509 "all the relevant values back to their linear values." 0510 msgstr "" 0511 0512 #: ../../color_management/working_space.rst:151 0513 msgid "" 0514 "Unfortunately and despite their undeniable mathematical advantages, linear " 0515 "gamma working spaces have so few tones in the shadows that they are " 0516 "impossible to use for editing if one is working in 8-bit, and still " 0517 "problematic at 16-bit. When the day comes when we are all doing our editing " 0518 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0519 "We can predict that we will all be using working spaces with gamma=1." 0520 msgstr "" 0521 0522 #: ../../color_management/working_space.rst:154 0523 msgid "Tonal Steps and Gamut Size" 0524 msgstr "" 0525 0526 #: ../../color_management/working_space.rst:156 0527 msgid "" 0528 "How many discrete tonal steps are there in a digital image? In an 8-bit " 0529 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit " 0530 "image theoretically you have 65536 steps. But remember, those 16-bit started " 0531 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 " 0532 "steps) as produced by the camera's A-to-D converter - the extra bits to " 0533 "reach 16-bit start out as just padding. The available tones are not " 0534 "distributed evenly from light to dark. In linear gamma mode (as the camera " 0535 "sensor sees things), there's a whole lot more tones in the highlights than " 0536 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right " 0537 "but don't blow the highlights." 0538 msgstr "" 0539 0540 #: ../../color_management/working_space.rst:158 0541 msgid "" 0542 "One major consideration in choosing a working space is that some working " 0543 "spaces are bigger than others, meaning they cover more of the visible " 0544 "spectrum (and as a consequence include some imaginary colors - mathematical " 0545 "constructs that don't really exist). These bigger spaces offer the advantage " 0546 "of allowing you to keep all the colors captured by your camera and preserved " 0547 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera " 0548 "profile to the super-wide-gamut profile connection space and out again to " 0549 "your chosen working space." 0550 msgstr "" 0551 0552 #: ../../color_management/working_space.rst:160 0553 msgid "" 0554 "But keeping all the possible colors comes at a price, as explained below. " 0555 "And it seems that any given digital image likely only contains a small " 0556 "subset of all the possible visible colors that your camera is capable of " 0557 "capturing. This small subset is easily contained in one of the smaller " 0558 "working spaces." 0559 msgstr "" 0560 0561 #: ../../color_management/working_space.rst:162 0562 msgid "" 0563 "Using a very large working space means that editing your image (applying " 0564 "curves, increasing saturation, etc.) can easily produce colors that your " 0565 "eventual output device (printer, monitor) simply cannot reproduce (you " 0566 "cannot see these colors while you're editing, either). So the conversion " 0567 "from your working space to your output device space (say your printer) will " 0568 "have to remap the out-of-gamut colors in your edited image, some of which " 0569 "might even be totally imaginary, to your printer color space with its much " 0570 "smaller color gamut." 0571 msgstr "" 0572 0573 #: ../../color_management/working_space.rst:164 0574 msgid "" 0575 "This remapping process will lead to inaccurate colors and loss of saturation " 0576 "at best. Even worse, the remapping can easily lead to banding (posterization " 0577 "- gaps in what should be a smooth color transition, across an expanse of " 0578 "blue sky) and clipping (e.g. your carefully crafted muted transitions across " 0579 "delicate shades of red, for example, might get remapped to a solid block of " 0580 "dull red after conversion to your printer's color space). Also, the experts " 0581 "say that 8-bit images just don't have enough tones to stretch across a wide " 0582 "gamut working space without banding and loss of saturation, even before " 0583 "conversion to an output space. So if you choose a large gamut working space, " 0584 "make sure you start with a 16-bit image." 0585 msgstr "" 0586 0587 #: ../../color_management/working_space.rst:171 0588 msgid "" 0589 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information" 0590 msgstr "" 0591 0592 #: ../../color_management/working_space.rst:173 0593 msgid "" 0594 "To summarize, large gamut working spaces, improperly handled, can lead to " 0595 "lost information on output. Small gamut working spaces can clip information " 0596 "on input. Medium-sized gamut working spaces try to strike a happy medium." 0597 msgstr "" 0598 0599 #: ../../color_management/working_space.rst:175 0600 msgid "Here are some oft-repeated bits of advice on choosing a working space:" 0601 msgstr "" 0602 0603 #: ../../color_management/working_space.rst:177 0604 msgid "" 0605 "For images intended for the web, use (or at least convert the final image " 0606 "to) sRGB." 0607 msgstr "" 0608 0609 #: ../../color_management/working_space.rst:179 0610 msgid "" 0611 "For the most accuracy in your image editing (that is, making the most of " 0612 "your limited *bits* with the least risk of banding or clipping when you " 0613 "convert your image from your working space to an output space), use the " 0614 "smallest working space that includes all the colors in the scene that you " 0615 "photographed, plus a little extra room for those new colors you " 0616 "intentionally produce as you edit." 0617 msgstr "" 0618 0619 #: ../../color_management/working_space.rst:181 0620 msgid "" 0621 "If you are working in 8-bits rather than 16-bits, choose a smaller rather " 0622 "than a larger working space to avoid clipping and banding." 0623 msgstr "" 0624 0625 #: ../../color_management/working_space.rst:183 0626 msgid "" 0627 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0628 "gamut working space to avoid loosing color information. Then convert this " 0629 "archival TIFF to your medium-gamut or large-gamut working space of choice " 0630 "(saving the converted working TIFF under a new name, of course)." 0631 msgstr ""