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0001 # 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 0002 # This file is distributed under the same license as the Digikam Manual package. 0003 # Tommi Nieminen <translator@legisign.org>, 2023. 0004 # 0005 msgid "" 0006 msgstr "" 0007 "Project-Id-Version: Digikam Manual 8.1.0\n" 0008 "Report-Msgid-Bugs-To: \n" 0009 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0010 "PO-Revision-Date: 2023-05-10 17:38+0300\n" 0011 "Last-Translator: Tommi Nieminen <translator@legisign.org>\n" 0012 "Language-Team: Finnish <kde-i18n-doc@kde.org>\n" 0013 "Language: fi\n" 0014 "MIME-Version: 1.0\n" 0015 "Content-Type: text/plain; charset=UTF-8\n" 0016 "Content-Transfer-Encoding: 8bit\n" 0017 "Plural-Forms: nplurals=2; plural=(n != 1);\n" 0018 "X-Generator: Lokalize 23.04.0\n" 0019 0020 #: ../../color_management/working_space.rst:1 0021 msgid "Color Management and Working Space" 0022 msgstr "Värinhallinta ja työtila" 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 "Työavaruus" 0033 0034 #: ../../color_management/working_space.rst:17 0035 msgid "Color Workflow" 0036 msgstr "Värityönkulku" 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 "digiKamille on siis kerrottu, mistä löytää näyttöprofiili, ja RAW-" 0045 "käsittelyohjelman tuottamaan kuvatiedostoon on käytetty kameraprofiilia. " 0046 "Mikä on värinhallinnan seuraava vaihe?" 0047 0048 #: ../../color_management/working_space.rst:21 0049 msgid "" 0050 "You need to choose a working color space so you can edit your image. `Lcms " 0051 "<https://www.littlecms.com/>`_ will transform your image from your camera " 0052 "color space to your chosen working space, via the **Profile Connection " 0053 "Space** specified by your camera color profile. Why cannot to just edit " 0054 "images in the color space described by the camera profile?" 0055 msgstr "" 0056 "Kuvan muokkaamista varten on valittava värityöavaruus. `LCMS <https://" 0057 "littlecms.com/>`_ muuntaa kuvan kameran väriavaruudesta valitsemaasi " 0058 "työavaruuteen kameran väriprofiilin osoittaman **profiilien yhteysavaruuden* " 0059 "kautta. Miksei kuvia siis voi muokata suoraan kameraprofiilin kuvaamassa " 0060 "väriavaruudessa?" 0061 0062 #: ../../color_management/working_space.rst:23 0063 msgid "" 0064 "After all, the camera profile should provide the best *fit* to the colors " 0065 "recorded by my camera, as processed by my RAW processing procedure, right? " 0066 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate " 0067 "good results while editing. For instance, pixels with equal values of RGB " 0068 "should appear neutral. This just want means that for any given pixel in an " 0069 "image that has been converted to a suitable working space, if R=G=B you " 0070 "should see grey or black or white on your screen. Many camera profiles " 0071 "violate this *neutral* condition." 0072 msgstr "" 0073 "Kameraprofiilinhan tulisi kuvata paras *sovitus* kameran tallentamiin " 0074 "väreihin sellaisina kuin ne RAW-käsittely ne näkee, eikö? Työavaruudet kuten " 0075 "sRGB tai Adobe RGB ovat väriavaruuksia, jotka mahdollistavat hyvät " 0076 "muokkaustulokset. Kuvapisteiden, joiden RGB-arvot ovat samat, tulisi " 0077 "esimerkiksi näyttää neutraaleilta. Kuvan jokaisen työavaruuteen muunnetun " 0078 "kuvapiste, jossa punainen = vihreä = sininen arvo, tulisi siis näytölläsi " 0079 "näkyä harmaana, mustana tai valkoisena. Monet kameraprofiilit rikkovat tätä " 0080 "*neutraaliuden* ehtoa." 0081 0082 #: ../../color_management/working_space.rst:29 0083 msgid "" 0084 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color " 0085 "Space to Another one" 0086 msgstr "" 0087 "digiKam-kuvamuokkaimessa on valikko, jolla vaihtaa nopeasti kuva " 0088 "väriavaruudesta toiseen" 0089 0090 #: ../../color_management/working_space.rst:31 0091 msgid "" 0092 "However, there is one other good reason to not want to edit your image in " 0093 "your camera profile color space. If you look at the size of a typical camera " 0094 "profile, it is on the order of a quarter to a half a megabyte or more. It's " 0095 "got a lot of information about all the changes that need to be made at " 0096 "different regions of color and tonality in the original scene, to get " 0097 "accurate color rendition from the RGB values that come out of the RAW " 0098 "processor. The camera profile is accurate (at least for colors in the " 0099 "original target) but not particularly mathematically smooth. Working space " 0100 "color profiles, on the other hand, are very small in size (half a kilobyte " 0101 "instead of half a megabyte) because they describe a color gamut in terms of " 0102 "smooth, continuous mathematical functions. Working space profiles don't need " 0103 "to make allowances for the *messiness* of real world sensors, so the " 0104 "mathematical manipulations performed during image editing will go much more " 0105 "smoothly and accurately than if you try to edit your image while it is still " 0106 "in the camera color space." 0107 msgstr "" 0108 0109 #: ../../color_management/working_space.rst:33 0110 msgid "Working Space Profiles are characterized by:" 0111 msgstr "Työavaruusprofiileja luonnehtivat:" 0112 0113 #: ../../color_management/working_space.rst:35 0114 msgid "" 0115 "**Gamma** transfer function, which dictates how much the original linear " 0116 "intensity values captured by the camera sensor are altered to make editing " 0117 "easier or more precise. These values from the camera are subjected to the in-" 0118 "camera A-to-D conversion, then interpolated by the RAW processing program to " 0119 "produce the image file." 0120 msgstr "" 0121 0122 #: ../../color_management/working_space.rst:37 0123 msgid "" 0124 "RGB primaries which dictate the range of colors, that is, the color " 0125 "**Gamut**, covered by a given profile." 0126 msgstr "" 0127 0128 #: ../../color_management/working_space.rst:39 0129 msgid "" 0130 "**White point**, usually D50 or D65 though other values may be used, which " 0131 "specifies the white point color temperature of the working space." 0132 msgstr "" 0133 "**Valkopiste**, yleensä D50 tai D65, vaikka muitakin arvoja voi käyttää, " 0134 "joka määrittää työavaruuden valkoisen pisteen värilämpötilan." 0135 0136 #: ../../color_management/working_space.rst:42 0137 msgid "Confusions Terminology" 0138 msgstr "Termiepäselvyyksiä" 0139 0140 #: ../../color_management/working_space.rst:44 0141 msgid "" 0142 "Before talking more about working spaces, some confusions and confusing " 0143 "terminology needs to be cleared up:" 0144 msgstr "" 0145 "Ennen kuin työavaruuksista puhutaan lisää, on selvitettävä joitakin " 0146 "epäselvyyksiä ja harhaanjohtavia termejä:" 0147 0148 #: ../../color_management/working_space.rst:46 0149 msgid "" 0150 "sRGB is both a working color space and an output color space for images " 0151 "intended for the web and for monitor display. If you have a spiffy new " 0152 "monitor with a gamut larger than the gamut covered by sRGB, obviously you " 0153 "might want to reconsider what output profile to use to best take advantage " 0154 "of your wonderful and hopefully calibrated and profiled monitor, but please " 0155 "convert your image to sRGB before sending it on to your friends. sRGB is " 0156 "also the color space that a lot of home and mass-production commercial " 0157 "printers expect image files to be in when sent to the printer. It is also " 0158 "the color space that most programs assume if an image does not have an " 0159 "embedded color profile telling the program what color space should be used " 0160 "to interpret (translate) the RGB numbers. So if you choose to not use color-" 0161 "management, your color-management choices are simple - set everything to " 0162 "sRGB." 0163 msgstr "" 0164 0165 #: ../../color_management/working_space.rst:48 0166 msgid "" 0167 "All JPEGs coming straight out of a camera (even if produced by point-and-" 0168 "shoots cameras that don't allow you to save a RAW file) start life inside " 0169 "the camera as a RAW file produced by the camera's A to D converter. The " 0170 "processor inside the camera interpolates the RAW file, assigns a camera " 0171 "profile, translates the resulting RGB numbers to a working space (usually " 0172 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does " 0173 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs " 0174 "from your camera never need to be assigned a camera or input profile which " 0175 "is then translated to a working space via a Profile Connection Space. JPEGs " 0176 "from a camera are already in a working space." 0177 msgstr "" 0178 0179 #: ../../color_management/working_space.rst:50 0180 msgid "" 0181 "In case anyone is unsure on this point, note that an interpolated RAW file " 0182 "is no longer a RAW file - it has been interpolated and then output as a TIFF " 0183 "whose RGB values need to be translated to a working space, using the camera " 0184 "profile, the Profile Connection Space, and Lcms." 0185 msgstr "" 0186 0187 #: ../../color_management/working_space.rst:52 0188 msgid "" 0189 "To introduce a bit of commonly heard color-management terminology here - the " 0190 "camera profile and your printer's color profile are both device dependent, " 0191 "whereas the working space will be device-independent - it can be used with " 0192 "any image, with any properly color-managed software, without regard for " 0193 "where the image originated." 0194 msgstr "" 0195 0196 #: ../../color_management/working_space.rst:54 0197 msgid "" 0198 "Above we have used the words translate and translation as a descriptive " 0199 "metaphor for what Lcms does when it translates RGB values from one color " 0200 "space to another via the Profile Connection Space. The usual and correct " 0201 "terminology is convert and conversion. The four methods of conversion from " 0202 "one color space to another are: perceptual, relative colorimetric, absolute " 0203 "colorimetric, and saturation. Which method of conversion you should use for " 0204 "any given image processing step from RAW file to final output image is " 0205 "beyond the scope of this manual. The standard advice is: when in doubt, use " 0206 "perceptual." 0207 msgstr "" 0208 0209 #: ../../color_management/working_space.rst:56 0210 msgid "" 0211 "Assign a profile means change the meaning of the RGB numbers in an image by " 0212 "embedding a new profile without changing the actual RGB numbers associated " 0213 "with each pixel in the image; convert means embed a new profile, but also " 0214 "change the RGB numbers at the same time so that the meaning of the RGB " 0215 "values - that is, the real-world visible color represented by the trio of " 0216 "RGB numbers associated with each pixel in an image - remains the same before " 0217 "and after the conversion from one space to another. You should be able to do " 0218 "multiple conversions of an image from one working space to another, and with " 0219 "a properly color-managed image editor, even though all the RGB numbers in " 0220 "the image will change with each conversion, the image on your screen should " 0221 "look the same (leaving aside the usually unnoticeable small but inevitable " 0222 "changes from accumulated gamut mismatches and mathematical rounding errors). " 0223 "However, every time you assign a new working space profile rather than " 0224 "convert to a new working space, the appearance of the image should more or " 0225 "less drastically change." 0226 msgstr "" 0227 0228 #: ../../color_management/working_space.rst:58 0229 msgid "" 0230 "Color management is not only relevant if you shoot RAW. Color management " 0231 "affects every stage of the image processing pipeline, whether you start with " 0232 "a RAW file that you, yourself interpolate and translate into a TIFF, or if " 0233 "you start with a JPEG or TIFF produced by your camera." 0234 msgstr "" 0235 0236 #: ../../color_management/working_space.rst:61 0237 msgid "Selecting a Working Space" 0238 msgstr "Työavaruuden valinta" 0239 0240 #: ../../color_management/working_space.rst:63 0241 msgid "" 0242 "Which working space do you need to use in digiKam? Working spaces, such as " 0243 "sRGB or Adobe RGB, are color spaces that facilitate good results while " 0244 "editing. For instance, pixels with equal values of RGB should appear " 0245 "neutral. Using a large gamut working space will lead to posterization, while " 0246 "using a small working space will lead to clipping. This trade-off is a " 0247 "consideration for the Image Editor." 0248 msgstr "" 0249 0250 #: ../../color_management/working_space.rst:65 0251 msgid "Most working space profiles are characterized by:" 0252 msgstr "Useimpia työavaruusprofiileja luonnehtivat:" 0253 0254 #: ../../color_management/working_space.rst:67 0255 msgid "" 0256 "The place of the gamut into the **Diagram** `(1)` of all colors visible to " 0257 "the average human eyes." 0258 msgstr "" 0259 0260 #: ../../color_management/working_space.rst:69 0261 msgid "" 0262 "The **Gamut** `(2)` triangle to define the range of RGB colors of the " 0263 "profile. Red point is on the bottom right corner, Green is on the top, Blue " 0264 "is on the left bottom. Values given around the edge of the gamut passing " 0265 "from the blue, the green and the red points, are the spectral colors in " 0266 "nanometers." 0267 msgstr "" 0268 0269 #: ../../color_management/working_space.rst:71 0270 msgid "" 0271 "The **White point** `(3)` to define the total dynamic range of the profile." 0272 msgstr "" 0273 0274 #: ../../color_management/working_space.rst:73 0275 msgid "" 0276 "The **Gamma** to define the transfer function of the profile (not displayed " 0277 "in the gamut)." 0278 msgstr "" 0279 0280 #: ../../color_management/working_space.rst:79 0281 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam" 0282 msgstr "" 0283 0284 #: ../../color_management/working_space.rst:81 0285 msgid "" 0286 "The practical consequences that result from using different RGB primaries, " 0287 "leading to larger or smaller working spaces, are discussed below. The " 0288 "practical consequences for different choices for the working space white " 0289 "point are beyond the scope of this manual. Here we will talk a little bit " 0290 "about the practical consequences of the working space gamma." 0291 msgstr "" 0292 0293 #: ../../color_management/working_space.rst:83 0294 msgid "" 0295 "The gamma of a color profile dictates what power transform needs to take " 0296 "place to properly convert from an image's embedded color profile (perhaps " 0297 "your working color space) to another color profile with a different gamma, " 0298 "such as (i) the display profile used to display the image on the screen or " 0299 "(ii) perhaps to a new working space, or (iii) perhaps from your working " 0300 "space to your printer's color space." 0301 msgstr "" 0302 0303 #: ../../color_management/working_space.rst:87 0304 msgid "" 0305 "Mathematically speaking, for a power transform you normalize the RGB numbers " 0306 "and raise the resulting numbers to an appropriate power depending on the " 0307 "respective gammas of the starting and ending color space, then re-normalize " 0308 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/" 0309 ">`_ does this for you when there is a need to convert from one color space " 0310 "to another in your workflow." 0311 msgstr "" 0312 0313 #: ../../color_management/working_space.rst:89 0314 msgid "" 0315 "One practical consequence of the gamma of a working space is that the higher " 0316 "the gamma, the more tones are available for editing in the shadows, with " 0317 "consequently fewer tones available in the highlights. So theoretically, if " 0318 "you are working on a very dark-toned (low key) image you might want a " 0319 "working space with a higher gamma. And if you are working on a high key " 0320 "image, say a picture taken in full noon sunlight of a wedding dress with " 0321 "snow as a backdrop, you might want to choose a working space with a lower " 0322 "gamma, so you have more available tonal gradations in the highlights. But in " 0323 "the real world of real image editing, almost everyone uses working spaces " 0324 "with either gamma 1.8 or 2.2." 0325 msgstr "" 0326 0327 #: ../../color_management/working_space.rst:91 0328 msgid "" 0329 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are " 0330 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-" 0331 "RGB uses a luminosity-based tonal response curve instead of a gamma value." 0332 msgstr "" 0333 0334 #: ../../color_management/working_space.rst:93 0335 msgid "" 0336 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working " 0337 "space that gets much mention or use is gamma 1.0, also called linear gamma. " 0338 "Linear gamma is used in HDR (high dynamic range) imaging and also if one " 0339 "wants to avoid introducing gamma-induced errors into one's regular low " 0340 "dynamic range editing. Gamma-induced errors is a topic outside the scope of " 0341 "this manual, but see Gamma errors in picture scaling, for gamma-induced " 0342 "color shifts." 0343 msgstr "" 0344 0345 #: ../../color_management/working_space.rst:95 0346 msgid "" 0347 "Unfortunately and despite their undeniable mathematical advantages, linear " 0348 "gamma working spaces have so few tones in the shadows that they are " 0349 "impossible to use for editing if one is working in 8-bits, and still " 0350 "problematic at 16-bits. When the day comes when we are all doing our editing " 0351 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0352 "we predict that we will all be using working spaces with gamma 1." 0353 msgstr "" 0354 0355 #: ../../color_management/working_space.rst:101 0356 msgid "" 0357 "Depending of the Settings digiKam Can Ask you to Convert to Working Space " 0358 "When Loading in Image Editor" 0359 msgstr "" 0360 0361 #: ../../color_management/working_space.rst:104 0362 msgid "Large or Small Gamut" 0363 msgstr "" 0364 0365 #: ../../color_management/working_space.rst:106 0366 msgid "" 0367 "One major consideration in choosing a working space is that some working " 0368 "spaces are bigger than others, meaning they cover more of the visible " 0369 "spectrum (and perhaps even include some imaginary colors - mathematical " 0370 "constructs that don't really exist). These bigger spaces offer the advantage " 0371 "of allowing you to keep all the colors captured by your camera and preserved " 0372 "by the Lcms conversion from your camera profile to the really big profile " 0373 "connection space." 0374 msgstr "" 0375 0376 #: ../../color_management/working_space.rst:112 0377 msgid "" 0378 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color " 0379 "Profile Show in digiKam" 0380 msgstr "" 0381 0382 #: ../../color_management/working_space.rst:114 0383 msgid "" 0384 "But keeping all the possible colors comes at a price. It seems that any " 0385 "given digital image (pictures of daffodils with saturated yellows being one " 0386 "common exception) likely only contains a small subset of all the possible " 0387 "visible colors that your camera is capable of capturing. This small subset " 0388 "is easily contained in one of the smaller working spaces. Using a very large " 0389 "working space mean that editing your image (applying curves, saturation, " 0390 "etc.) can easily produce colors that your eventual output device (printer, " 0391 "monitor) simply cannot display." 0392 msgstr "" 0393 0394 #: ../../color_management/working_space.rst:116 0395 msgid "" 0396 "So the conversion from your working space to your output device space (say " 0397 "your printer) will have to remap the out of gamut colors in your edited " 0398 "image, some of which might even be totally imaginary, to your printer color " 0399 "space with its much smaller gamut, leading to inaccurate colors at best and " 0400 "at worst to banding (posterization - gaps in what should be a smooth color " 0401 "transition, say, across an expanse of blue sky) and clipping (your carefully " 0402 "crafted muted transitions across delicate shades of red, for example, might " 0403 "get remapped to a solid block of dull red after conversion to your printer's " 0404 "color space)." 0405 msgstr "" 0406 0407 #: ../../color_management/working_space.rst:118 0408 msgid "" 0409 "In other words, large gamut working spaces, improperly handled, can lead to " 0410 "lost information on output. Small gamut working spaces can clip information " 0411 "on input. Here is some oft-repeated advice:" 0412 msgstr "" 0413 0414 #: ../../color_management/working_space.rst:120 0415 msgid "For images intended for the web, use sRGB." 0416 msgstr "" 0417 0418 #: ../../color_management/working_space.rst:122 0419 msgid "" 0420 "For the most accuracy in your image editing (that is, making the most of " 0421 "your *bits* with the least risk of banding or clipping when you convert your " 0422 "image from your working space to an output space), use the smallest working " 0423 "space that includes all the colors in the scene that you photographed, plus " 0424 "a little extra room for those new colors you intentionally produce as you " 0425 "edit." 0426 msgstr "" 0427 0428 #: ../../color_management/working_space.rst:124 0429 msgid "" 0430 "If you are working in 8-bits rather than 16-bits, choose a smaller space " 0431 "rather than a larger space." 0432 msgstr "" 0433 0434 #: ../../color_management/working_space.rst:126 0435 msgid "" 0436 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0437 "gamut working space to avoid loosing color information. Then convert this " 0438 "archival TIFF to your working space of choice (saving the converted working " 0439 "TIFF under a new name, of course). See here for more details." 0440 msgstr "" 0441 0442 #: ../../color_management/working_space.rst:132 0443 msgid "digiKam Queue Manager Allows to Batch Convert Color Space" 0444 msgstr "digiKamin jononhallinta sallii väriavaruuden muuntamisen eräajona" 0445 0446 #: ../../color_management/working_space.rst:135 0447 msgid "Gamma Properties" 0448 msgstr "Gammaominaisuudet" 0449 0450 #: ../../color_management/working_space.rst:137 0451 msgid "" 0452 "The gamma of a color profile dictates what power transform needs to take " 0453 "place to properly convert from an image's embedded color profile (perhaps " 0454 "your working color space or your camera color profile) to another color " 0455 "profile with a different gamma, such as your chosen working space, or the " 0456 "display profile used to display the image on the screen or perhaps from one " 0457 "working space to another, or perhaps from your working space to your " 0458 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit " 0459 "image with a linear gamma, which means that a histogram of the resulting " 0460 "image file shows the actual amount of light that each pixel on the camera " 0461 "sensor captured during the exposure (paraphrasing this page). (Which is why " 0462 "at present applying a camera profile to the Libraw output also requires " 0463 "applying an appropriate gamma transform to get to the desired working space, " 0464 "unless the camera profile also uses gamma=1.)" 0465 msgstr "" 0466 0467 #: ../../color_management/working_space.rst:139 0468 msgid "" 0469 "One practical consequence of the gamma of a working space is that the higher " 0470 "the gamma, the more discrete tones are available for editing in the shadows, " 0471 "with consequently fewer tones available in the highlights. Changing the " 0472 "gamma of an image redistributes the number of tones available in the lighter " 0473 "and darker areas of an image. Theoretically, if you are working on a very " 0474 "dark-toned (low key) image you might want a working space with a higher " 0475 "gamma. And if you are working on a high key image, say a picture taken in " 0476 "full noon sunlight of a wedding dress with snow as a backdrop, you might " 0477 "want to choose a working space with a lower gamma, so you have more " 0478 "available tonal gradations in the highlights." 0479 msgstr "" 0480 0481 #: ../../color_management/working_space.rst:141 0482 msgid "" 0483 "Theory aside, in the real world of real image editing, almost everyone uses " 0484 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are " 0485 "two notable exceptions." 0486 msgstr "" 0487 0488 #: ../../color_management/working_space.rst:143 0489 msgid "" 0490 "sRGB uses a transfer function close to that of a CRT (and thus not " 0491 "necessarily relevant to image editing or to display on an LCD). Unlike most " 0492 "other RGB color spaces the sRGB gamma can not be expressed as a single " 0493 "numerical value. The overall gamma is approximately 2.2, consisting of a " 0494 "linear (gamma 1.0) section near black, and a non-linear section elsewhere " 0495 "involving a 2.4 exponent and a gamma (slope of log output versus log input) " 0496 "changing from 1.0 through about 2.3, which makes for some complicated math " 0497 "during image processing." 0498 msgstr "" 0499 0500 #: ../../color_management/working_space.rst:145 0501 msgid "" 0502 "L*-RGB uses as its transfer function the same perceptually uniform transfer " 0503 "function as the CIELab color space. *When storing colors in limited " 0504 "precision values* using a perceptually uniform transfer function *can " 0505 "improve the reproduction of tones*." 0506 msgstr "" 0507 0508 #: ../../color_management/working_space.rst:147 0509 msgid "" 0510 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working " 0511 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted " 0512 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you " 0513 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) " 0514 "imaging and also if one wants to avoid introducing gamma-induced errors into " 0515 "one's regular low dynamic range editing." 0516 msgstr "" 0517 0518 #: ../../color_management/working_space.rst:149 0519 msgid "" 0520 "**Gamma-induced errors** is a topic outside the scope of this manual but " 0521 "it's commonly-encountered that gamma-induced error that is caused by " 0522 "incorrectly calculating luminance in a nonlinear RGB working space. And in a " 0523 "similar vein, the calculations involved in mixing colors together to produce " 0524 "new colors (such as using a digital filter to add warmth to an image) result " 0525 "in gamma errors unless the new colors are calculated by first transforming " 0526 "all the relevant values back to their linear values." 0527 msgstr "" 0528 0529 #: ../../color_management/working_space.rst:151 0530 msgid "" 0531 "Unfortunately and despite their undeniable mathematical advantages, linear " 0532 "gamma working spaces have so few tones in the shadows that they are " 0533 "impossible to use for editing if one is working in 8-bit, and still " 0534 "problematic at 16-bit. When the day comes when we are all doing our editing " 0535 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0536 "We can predict that we will all be using working spaces with gamma=1." 0537 msgstr "" 0538 0539 #: ../../color_management/working_space.rst:154 0540 msgid "Tonal Steps and Gamut Size" 0541 msgstr "" 0542 0543 #: ../../color_management/working_space.rst:156 0544 msgid "" 0545 "How many discrete tonal steps are there in a digital image? In an 8-bit " 0546 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit " 0547 "image theoretically you have 65536 steps. But remember, those 16-bit started " 0548 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 " 0549 "steps) as produced by the camera's A-to-D converter - the extra bits to " 0550 "reach 16-bit start out as just padding. The available tones are not " 0551 "distributed evenly from light to dark. In linear gamma mode (as the camera " 0552 "sensor sees things), there's a whole lot more tones in the highlights than " 0553 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right " 0554 "but don't blow the highlights." 0555 msgstr "" 0556 0557 #: ../../color_management/working_space.rst:158 0558 msgid "" 0559 "One major consideration in choosing a working space is that some working " 0560 "spaces are bigger than others, meaning they cover more of the visible " 0561 "spectrum (and as a consequence include some imaginary colors - mathematical " 0562 "constructs that don't really exist). These bigger spaces offer the advantage " 0563 "of allowing you to keep all the colors captured by your camera and preserved " 0564 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera " 0565 "profile to the super-wide-gamut profile connection space and out again to " 0566 "your chosen working space." 0567 msgstr "" 0568 0569 #: ../../color_management/working_space.rst:160 0570 msgid "" 0571 "But keeping all the possible colors comes at a price, as explained below. " 0572 "And it seems that any given digital image likely only contains a small " 0573 "subset of all the possible visible colors that your camera is capable of " 0574 "capturing. This small subset is easily contained in one of the smaller " 0575 "working spaces." 0576 msgstr "" 0577 0578 #: ../../color_management/working_space.rst:162 0579 msgid "" 0580 "Using a very large working space means that editing your image (applying " 0581 "curves, increasing saturation, etc.) can easily produce colors that your " 0582 "eventual output device (printer, monitor) simply cannot reproduce (you " 0583 "cannot see these colors while you're editing, either). So the conversion " 0584 "from your working space to your output device space (say your printer) will " 0585 "have to remap the out-of-gamut colors in your edited image, some of which " 0586 "might even be totally imaginary, to your printer color space with its much " 0587 "smaller color gamut." 0588 msgstr "" 0589 0590 #: ../../color_management/working_space.rst:164 0591 msgid "" 0592 "This remapping process will lead to inaccurate colors and loss of saturation " 0593 "at best. Even worse, the remapping can easily lead to banding (posterization " 0594 "- gaps in what should be a smooth color transition, across an expanse of " 0595 "blue sky) and clipping (e.g. your carefully crafted muted transitions across " 0596 "delicate shades of red, for example, might get remapped to a solid block of " 0597 "dull red after conversion to your printer's color space). Also, the experts " 0598 "say that 8-bit images just don't have enough tones to stretch across a wide " 0599 "gamut working space without banding and loss of saturation, even before " 0600 "conversion to an output space. So if you choose a large gamut working space, " 0601 "make sure you start with a 16-bit image." 0602 msgstr "" 0603 0604 #: ../../color_management/working_space.rst:171 0605 msgid "" 0606 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information" 0607 msgstr "" 0608 0609 #: ../../color_management/working_space.rst:173 0610 msgid "" 0611 "To summarize, large gamut working spaces, improperly handled, can lead to " 0612 "lost information on output. Small gamut working spaces can clip information " 0613 "on input. Medium-sized gamut working spaces try to strike a happy medium." 0614 msgstr "" 0615 0616 #: ../../color_management/working_space.rst:175 0617 msgid "Here are some oft-repeated bits of advice on choosing a working space:" 0618 msgstr "" 0619 0620 #: ../../color_management/working_space.rst:177 0621 msgid "" 0622 "For images intended for the web, use (or at least convert the final image " 0623 "to) sRGB." 0624 msgstr "" 0625 0626 #: ../../color_management/working_space.rst:179 0627 msgid "" 0628 "For the most accuracy in your image editing (that is, making the most of " 0629 "your limited *bits* with the least risk of banding or clipping when you " 0630 "convert your image from your working space to an output space), use the " 0631 "smallest working space that includes all the colors in the scene that you " 0632 "photographed, plus a little extra room for those new colors you " 0633 "intentionally produce as you edit." 0634 msgstr "" 0635 0636 #: ../../color_management/working_space.rst:181 0637 msgid "" 0638 "If you are working in 8-bits rather than 16-bits, choose a smaller rather " 0639 "than a larger working space to avoid clipping and banding." 0640 msgstr "" 0641 0642 #: ../../color_management/working_space.rst:183 0643 msgid "" 0644 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0645 "gamut working space to avoid loosing color information. Then convert this " 0646 "archival TIFF to your medium-gamut or large-gamut working space of choice " 0647 "(saving the converted working TIFF under a new name, of course)." 0648 msgstr ""