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0001 # 0002 msgid "" 0003 msgstr "" 0004 "Project-Id-Version: Digikam Manual 8.0.0\n" 0005 "Report-Msgid-Bugs-To: \n" 0006 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0007 "PO-Revision-Date: 2023-01-14 18:31+0100\n" 0008 "Last-Translator: KDE Francophone <kde-francophone@kde.org>\n" 0009 "Language-Team: French <kde-francophone@kde.org>\n" 0010 "Language: fr\n" 0011 "MIME-Version: 1.0\n" 0012 "Content-Type: text/plain; charset=UTF-8\n" 0013 "Content-Transfer-Encoding: 8bit\n" 0014 "Plural-Forms: nplurals=2; plural=(n > 1);\n" 0015 0016 #: ../../color_management/camera_profiles.rst:1 0017 msgid "Color Management and Camera Profiles" 0018 msgstr "" 0019 0020 #: ../../color_management/camera_profiles.rst:1 0021 msgid "" 0022 "digiKam, documentation, user manual, photo management, open source, free, " 0023 "learn, easy, image editor, color management, icc, profile, camera" 0024 msgstr "" 0025 0026 #: ../../color_management/camera_profiles.rst:14 0027 msgid "The Camera Profiles" 0028 msgstr "" 0029 0030 #: ../../color_management/camera_profiles.rst:17 0031 msgid "Using Camera Profile" 0032 msgstr "" 0033 0034 #: ../../color_management/camera_profiles.rst:19 0035 msgid "" 0036 "Many excellent professional and amateur photographers save all their images " 0037 "as in-camera JPEGs and work exclusively in the sRGB color space. But if you " 0038 "want to work in a larger color space, or if you want to work with RAW files " 0039 "(even if you output sRGB image files from your RAW files), read on." 0040 msgstr "" 0041 0042 #: ../../color_management/camera_profiles.rst:21 0043 msgid "" 0044 "If you are reading this manual you probably are shooting RAW images with a " 0045 "digital dSLR and you are hoping that somewhere in the arcane waters of color " 0046 "management lies the answer to how to get a nice picture from your RAW image " 0047 "file. The next thing you need is the right camera profile for developing " 0048 "your RAW image. But first let's answer the question you really might have " 0049 "been asking." 0050 msgstr "" 0051 0052 #: ../../color_management/camera_profiles.rst:27 0053 msgid "digiKam RAW Preview Using **Embedded JPEG Image**." 0054 msgstr "" 0055 0056 #: ../../color_management/camera_profiles.rst:33 0057 msgid "" 0058 "digiKam RAW Preview Using an Half Sized Demosaiced in 8 bits and " 0059 "**Bilinear** Method." 0060 msgstr "" 0061 0062 #: ../../color_management/camera_profiles.rst:39 0063 msgid "" 0064 "digiKam RAW Import Tool from Image Editor Loading RAW file Demosaiced in 16-" 0065 "bit and **AHD** method." 0066 msgstr "" 0067 0068 #: ../../color_management/camera_profiles.rst:41 0069 msgid "" 0070 "Why doesn't the image produced by RAW converters like `Libraw <https://www." 0071 "libraw.org/>`_ look like the embedded preview displayed by digiKam? All " 0072 "digital camera images start out as RAW files, whether or not the camera " 0073 "allows the user the option to save the image as a RAW file. When you ask the " 0074 "camera to save JPEGs instead of RAW files, the camera uses its on-board " 0075 "processor to convert the RAW file to a JPEG. That embedded preview is what " 0076 "your final image would have looked like if you had set your camera to save " 0077 "JPEGs instead of RAW files." 0078 msgstr "" 0079 0080 #: ../../color_management/camera_profiles.rst:43 0081 msgid "" 0082 "Canon for example offers the user several picture styles - neutral, " 0083 "standard, portrait, landscape, and so forth - that determine what kind of " 0084 "processing will be done to the RAW image file to produce the final image, " 0085 "whether or not the processing is done *in-camera* or later, using the " 0086 "proprietary Canon software. This processing software does give the user " 0087 "additional control, but still manipulates the RAW image file in accordance " 0088 "with the chosen picture style. Most of the Canon picture styles add a heavy " 0089 "S-curve and extra color saturation to give the picture more *pop*. Even if " 0090 "you choose the *neutral* picture style (the Canon picture style that gives " 0091 "you the least modified tonality); and select *less contrast*, *less " 0092 "saturation*, *no noise reduction*, and *no sharpening* in the Cannon RAW " 0093 "development software, you will find, if you know what to look for, that an S-" 0094 "curve and also shadow de-noising has been applied to your image." 0095 msgstr "" 0096 0097 #: ../../color_management/camera_profiles.rst:45 0098 msgid "" 0099 "Libraw which digiKam uses to convert RAW files to image files doesn't add an " 0100 "S-curve to your image tonality. Libraw gives you the lights and darks that " 0101 "are actually recorded by the camera sensor. Libraw is one of only a handful " 0102 "of RAW developers that actually gives you the *scene-referred* tonality. And " 0103 "the Libraw scene-referred image is flat-looking, because the camera sensor " 0104 "records light linearly, whereas our eyes are constantly interacting with our " 0105 "brain to accommodate dim and bright areas in a scene, meaning our brain to " 0106 "some extent *applies an S-curve* to the scene to enable us to better focus " 0107 "in on the areas of particular interest as we look around." 0108 msgstr "" 0109 0110 #: ../../color_management/camera_profiles.rst:47 0111 msgid "" 0112 "The embedded JPEG preview looks so much nicer than Libraw's output. What is " 0113 "the value in scene-referred tonality? When you take a picture, presumably " 0114 "you have an idea of what you want the final image to look like. It is much " 0115 "easier to achieve that final image if you don't have to *undo* stuff that " 0116 "has already been done to your image. Once Canon (or Nikon, or Sony, etc.) " 0117 "has applied their proprietary S-curves and shadow de-noising, sharpening, " 0118 "etc. to your image, then your shadows, highlights, edge detail, etc. are " 0119 "already squashed, clipped, chopped, and otherwise altered and mangled. " 0120 "You've thrown information away and you cannot get it back. Especially in the " 0121 "shadows, even with 16-bit images (actually, 12- or 14-bits, depending on the " 0122 "camera, but it's encoded as 16-bits for the computer's convenience), there " 0123 "just isn't that much information to begin with." 0124 msgstr "" 0125 0126 #: ../../color_management/camera_profiles.rst:53 0127 msgid "" 0128 "digiKam Raw Import Tool from Image Editor Allows to Post Process Exposures " 0129 "and Curves just After the Demosaicing." 0130 msgstr "" 0131 0132 #: ../../color_management/camera_profiles.rst:55 0133 msgid "" 0134 "It seems to me that the heart and soul of image processing is the deliberate " 0135 "manipulation of image tonality, color, selective sharpening, and so forth, " 0136 "such that the viewer focuses in on what you, the photographer, found of " 0137 "particular interest when you took the picture. Why give the art of image " 0138 "processing over to some proprietary RAW processing software? In other words, " 0139 "*flat is good* if you'd rather give your images your own artistic " 0140 "interpretation. The alternative is to let the canned, proprietary algorithms " 0141 "produced by Canon, Nikon, Sony, etc. interpret your images for you. On the " 0142 "other hand, there is no denying that for many images, those canned " 0143 "algorithms are really pretty good." 0144 msgstr "" 0145 0146 #: ../../color_management/camera_profiles.rst:57 0147 msgid "" 0148 "You can see the value in starting my image-editing with a scene-referred " 0149 "rendition instead of the eye-popping rendition that you see in the embedded " 0150 "JPEG. But the images produced by digiKam and Libraw look a little bit " 0151 "different. If the image looks very dark, then you asked Libraw to output a " 0152 "16-bit file and you have run into a problem with Libraw not applying a gamma " 0153 "transform before outputting the image file. You can use the Image Editor to " 0154 "apply the appropriate gamma transform to the image file produced by Libraw. " 0155 "Or you can find or make a camera profile with a gamma of 1." 0156 msgstr "" 0157 0158 #: ../../color_management/camera_profiles.rst:59 0159 msgid "" 0160 "If your image has pink highlights, check your **White Balance** settings in " 0161 "the RAW Import tool, especially the **highlights** options." 0162 msgstr "" 0163 0164 #: ../../color_management/camera_profiles.rst:65 0165 msgid "" 0166 "digiKam Raw Import Tool from Image Editor Allows to Tune Many Options about " 0167 "the Camera Colorimetric Values." 0168 msgstr "" 0169 0170 #: ../../color_management/camera_profiles.rst:67 0171 msgid "" 0172 "If the image isn't dark but it looks really weird, probably you made some " 0173 "injudicious choices in the Raw Import user-interface from Image Editor. The " 0174 "Libraw interface conveniently allows you to *dial in* options. However, " 0175 "convenience always comes at a price. First, the interface might not provide " 0176 "access to all the options. And second, to get the most from the Libraw " 0177 "interface, you have to know what the buttons, sliders, etc. in the interface " 0178 "actually do." 0179 msgstr "" 0180 0181 #: ../../color_management/camera_profiles.rst:70 0182 msgid "Camera Profile Specificity" 0183 msgstr "" 0184 0185 #: ../../color_management/camera_profiles.rst:72 0186 msgid "" 0187 "Why are the Canon and Nikon colors better than the colors produced by " 0188 "Libraw? Color rendition is one place where the Canon (and presumably Nikon) " 0189 "proprietary RAW developing software does a really good job." 0190 msgstr "" 0191 0192 #: ../../color_management/camera_profiles.rst:74 0193 msgid "" 0194 "The proprietary RAW processing software is coupled with camera profiles that " 0195 "are specific to RAW images coming from your make and model of camera, when " 0196 "processed using your make and model camera's proprietary RAW processing " 0197 "software. With digikam's Libraw user interface, you can apply Canon's camera " 0198 "model picture style specific color profile to the Libraw output during the " 0199 "RAW development process, and the colors will still not be exactly the same " 0200 "as what Canon produces." 0201 msgstr "" 0202 0203 #: ../../color_management/camera_profiles.rst:76 0204 msgid "" 0205 "Digital cameras have an array of millions of little light sensors inside, " 0206 "making up either a CCD or a CMOS chip. These light-sensing pixels are color-" 0207 "blind - they only record the amount, not the color, of light falling on " 0208 "them. So to allow pixels to record color information, each pixel is capped " 0209 "by a transparent red, green, or blue lens, usually alternating in what is " 0210 "called a Bayer array (except for Sigma Faveon sensors, which work " 0211 "differently). A RAW image is nothing more than an array of values indicating " 0212 "*how much light* passed through the red, blue, or green lens cap to reach " 0213 "the sensor." 0214 msgstr "" 0215 0216 #: ../../color_management/camera_profiles.rst:78 0217 msgid "" 0218 "Clearly, pixel response to light is the result of lots of camera specific " 0219 "factors including: the nature of the sensor array itself, the precise " 0220 "coloring/transmissive qualities of the lens caps, and the particular analog " 0221 "to digital conversion and post-conversion processing that happens inside the " 0222 "camera to produce the RAW image that gets stored on the card." 0223 msgstr "" 0224 0225 #: ../../color_management/camera_profiles.rst:81 0226 msgid "Analog to Digital Conversion" 0227 msgstr "" 0228 0229 #: ../../color_management/camera_profiles.rst:83 0230 msgid "" 0231 "*Analog* means continuously varying, like how much water you can put in a " 0232 "glass. *Digitizing* an analog signal means that the continuously changing " 0233 "levels from the analog signal source are *rounded* to discrete quantities " 0234 "convenient to the binary numbers used by computers. The analog to digital " 0235 "conversion that takes place inside the camera is necessary because the light-" 0236 "sensing pixels are analog in nature - they collect a charge proportionate to " 0237 "the amount of light that reaches them." 0238 msgstr "" 0239 0240 #: ../../color_management/camera_profiles.rst:85 0241 msgid "" 0242 "The accumulated charge on each pixel is then turned into a discrete, digital " 0243 "quantity by the camera's analog to digital converter. Which by the way " 0244 "explains why a 14-bit converter is better than a 12-bit converter - more " 0245 "precision in the conversion output means less information is thrown away in " 0246 "the conversion process." 0247 msgstr "" 0248 0249 #: ../../color_management/camera_profiles.rst:87 0250 msgid "" 0251 "Especially in pictures taken with low light conditions, a noise is " 0252 "integrated while the analog to digital conversion. digiKam and Libraw " 0253 "interface provides a **Noise Reduction** correction based on wavelets which " 0254 "can be applied while demosaicing." 0255 msgstr "" 0256 0257 #: ../../color_management/camera_profiles.rst:93 0258 msgid "" 0259 "digiKam Raw Import Tool from Image Editor Allows Wavelets Noise Reduction " 0260 "While Demosaicing." 0261 msgstr "" 0262 0263 #: ../../color_management/camera_profiles.rst:96 0264 msgid "Camera Profile and RAW Treatment" 0265 msgstr "" 0266 0267 #: ../../color_management/camera_profiles.rst:98 0268 msgid "" 0269 "The whole point of interpolation using demosaicing algorithms such as " 0270 "`Libraw <https://www.libraw.org/>`_'s default AHD is to guess what color and " 0271 "intensity of light actually fell on any given pixel by interpolating " 0272 "information gathered from that single pixel plus its neighboring pixels. " 0273 "Every RAW processing program makes additional assumptions such as when is it " 0274 "signal and when is it background noise, or at what point has the sensor well " 0275 "reached full saturation. The resulting output of all these algorithms and " 0276 "assumptions that RAW processing software makes is a trio of RGB values for " 0277 "each pixel in the image. Given the same RAW file, different RAW processors " 0278 "will output different RGB values." 0279 msgstr "" 0280 0281 #: ../../color_management/camera_profiles.rst:104 0282 msgid "" 0283 "digiKam Raw Import Tool from Image Editor Allow to Tune the Color Profile to " 0284 "Apply While Demosaicing." 0285 msgstr "" 0286 0287 #: ../../color_management/camera_profiles.rst:107 0288 msgid "Generic Camera Profile" 0289 msgstr "" 0290 0291 #: ../../color_management/camera_profiles.rst:109 0292 msgid "" 0293 "This website section has information on where to find ready-made camera " 0294 "profiles. If you poke around the digiKam users forum archives, you'll find " 0295 "additional advice. If you keep hunting and experimenting, likely you will " 0296 "find a generic profile that works *well enough*. However, as stated above, " 0297 "it's an unfortunate fact of digital imaging that the camera profiles " 0298 "supplied by Canon, Nikon, and the like don't work as well with RAW " 0299 "converters other than each camera manufacturer's own proprietary RAW " 0300 "converter. Which is why proprietary programs, have to make their own " 0301 "profiles for all the cameras that they support. So eventually you may decide " 0302 "that you want a camera profile that is specific to your camera, your " 0303 "lighting conditions, and your RAW processing workflow." 0304 msgstr "" 0305 0306 #: ../../color_management/camera_profiles.rst:115 0307 msgid "The Draft of Color Management Logic While a RAW Workflow Processing." 0308 msgstr "" 0309 0310 #: ../../color_management/camera_profiles.rst:118 0311 msgid "Lighting Conditions and RAW Workflow" 0312 msgstr "" 0313 0314 #: ../../color_management/camera_profiles.rst:120 0315 msgid "" 0316 "Many commercial services provide profiling services, for a fee, of course. " 0317 "Or you can use `Argyll <http://www.argyllcms.com/>`_ to profile your camera " 0318 "yourself. If you want to profile your own camera, you will need an `IT8 " 0319 "target <https://en.wikipedia.org/wiki/IT8#Targets>`_, that is, an image " 0320 "containing squares of known colors. Along with the IT8 target, you will " 0321 "receive the appropriate set of known values for each square of color on the " 0322 "target." 0323 msgstr "" 0324 0325 #: ../../color_management/camera_profiles.rst:122 0326 msgid "" 0327 "If you plan to use Argyll to profile your camera, check the documentation " 0328 "for a list of recommended targets. To profile your camera, you photograph " 0329 "the IT8 target under specified lighting conditions (for example, in " 0330 "daylight, usually taken to mean noon on a sunny day in the summer, with " 0331 "nothing nearby that might cast shadows or reflect color casts) and save the " 0332 "image as a RAW file. Then you process the RAW file using your particular RAW " 0333 "processing software+settings and run the resulting image file through the " 0334 "profiling software. The profiling software compares the RGB values in the " 0335 "image produced by your camera+lighting conditions+RAW processing routine " 0336 "with the RGB values in the original target and then produces your camera " 0337 "(icc) profile." 0338 msgstr "" 0339 0340 #: ../../color_management/camera_profiles.rst:124 0341 msgid "" 0342 "Profiling a camera is exactly analogous to profiling a monitor. When " 0343 "profiling a monitor, the profiling software tells the graphics card to send " 0344 "squares of color with particular RGB values to the screen. The " 0345 "spectrophotometer measures the actual color that is produced on the screen. " 0346 "When profiling a camera, the known colors are the RGB colors in the original " 0347 "patches on the IT8 target, which the profiling software compares to the " 0348 "colors produced by the digital image of the target, which was photographed " 0349 "in selected lighting conditions, saved as RAW, then processed with specific " 0350 "RAW processing software plus settings." 0351 msgstr "" 0352 0353 #: ../../color_management/camera_profiles.rst:126 0354 msgid "" 0355 "How to apply a camera profile to the 16-bit image file produced by my open " 0356 "source RAW processing software? If you are using the `Libraw <https://www." 0357 "libraw.org/>`_ interface from digiKam, here is how to tell digiKam which " 0358 "camera profile to use." 0359 msgstr "" 0360 0361 #: ../../color_management/camera_profiles.rst:132 0362 msgid "" 0363 "The digiKam Batch Queue Manager Raw Converter has also the Same Noise " 0364 "Reduction and Color Profiles Options than Image Editor" 0365 msgstr "" 0366 0367 #: ../../color_management/camera_profiles.rst:135 0368 msgid "Profiles Point to Real Colors" 0369 msgstr "" 0370 0371 #: ../../color_management/camera_profiles.rst:137 0372 msgid "" 0373 "A color profile describes the color gamut of the device or space to which it " 0374 "belongs by specifying what real color in the real world corresponds to each " 0375 "trio of RGB values in the color space of the device (camera, monitor, " 0376 "printer) or working space." 0377 msgstr "" 0378 0379 #: ../../color_management/camera_profiles.rst:139 0380 msgid "" 0381 "With a camera profile, for every RGB trio of values associated with every " 0382 "pixel in the image file produced from the RAW file by the RAW processing " 0383 "software, this RGB image file trio corresponds to real color as seen by a " 0384 "real observer in the real world (or rather, as displayed on the IT8 target " 0385 "if you produced your own camera profile, but it amounts to the same thing - " 0386 "the goal of profiling your camera is to make the picture of the target look " 0387 "like the target)." 0388 msgstr "" 0389 0390 #: ../../color_management/camera_profiles.rst:141 0391 msgid "" 0392 "You cannot see an image by looking at its RGB values. Rather you see an " 0393 "image by displaying it on a monitor or by printing it. When you profile your " 0394 "monitor, you produce a monitor profile which RGB trio of values that the " 0395 "graphics card sends to the screen will produce on the screen with real color " 0396 "as seen by a real observer in the real world." 0397 msgstr "" 0398 0399 #: ../../color_management/camera_profiles.rst:143 0400 msgid "" 0401 "What the monitor profile and the camera profile have in common is the part " 0402 "about that real color as seen by a real observer in the real world. " 0403 "Different trios of RGB numbers in, respectively, the monitor and camera " 0404 "color spaces point to the same real, visible color in the real world. Real " 0405 "colors in the real world provide the reference point for translating between " 0406 "all the color profiles your image will ever encounter on its way from camera " 0407 "to screen to editing program to print or the web." 0408 msgstr "" 0409 0410 #: ../../color_management/camera_profiles.rst:145 0411 msgid "" 0412 "Real people don't even see the same colors when they look at the world, do " 0413 "they? A long time ago (1931, although refinements continue to be made), the " 0414 "International Color Consortium decided to map out and mathematically " 0415 "describe all the colors visible to real people in the real world. So they " 0416 "showed a whole bunch of people a whole bunch of colors and asked them to say " 0417 "when this color matched that color, where the two visually matching colors " 0418 "were in fact produced by differing combinations of wavelengths. What was the " 0419 "value of such a strange procedure? Human color perception depends on the " 0420 "fact that we have three types of cone receptors with peak sensitivity to " 0421 "light at wavelengths of approximately 430, 540, and 570 nm, but with " 0422 "considerable overlap in sensitivity between the different cone types. One " 0423 "consequence of how we see color is that many different combinations of " 0424 "differing wavelengths of light will look like the same color." 0425 msgstr "" 0426 0427 #: ../../color_management/camera_profiles.rst:147 0428 msgid "" 0429 "The ICC produced the `CIE-XYZ color space <https://en.wikipedia.org/wiki/" 0430 "CIE_1931_color_space>`_ s which mathematically describes and models all the " 0431 "`colors visible to an ideal human <https://en.wikipedia.org/wiki/" 0432 "Color_vision>`_ observer (*ideal* in the sense of modeling the tested " 0433 "responses of lots of individual humans). This color space is not a color " 0434 "profile in the normal sense of the word. Rather it provides an absolute " 0435 "**Profile Connecting Space** (PCS) for translating color RGB values from one " 0436 "color space to another." 0437 msgstr "" 0438 0439 #: ../../color_management/camera_profiles.rst:149 0440 msgid "" 0441 "CIE-XYZ is not the only Profile Connection Space. Another commonly used " 0442 "Profile Connection Space is `CIE-Lab <https://en.wikipedia.org/wiki/" 0443 "Lab_color_space>`_, which is mathematically derived from the CIE-XYZ space. " 0444 "CIE-Lab is intended to be **perceptually uniform**, meaning a change of the " 0445 "same amount in a color value should produce a change of about the same " 0446 "visual importance." 0447 msgstr "" 0448 0449 #: ../../color_management/camera_profiles.rst:151 0450 msgid "" 0451 "The three coordinates of CIE-Lab represent the lightness of the color (**L = " 0452 "0** yields black and **L = 100** indicates diffuse white; specular white may " 0453 "be higher), its position between red/magenta and green (**a**, negative " 0454 "values indicate green while positive values indicate magenta) and its " 0455 "position between yellow and blue (**b**, negative values indicate blue and " 0456 "positive values indicate yellow)." 0457 msgstr "" 0458 0459 #: ../../color_management/camera_profiles.rst:153 0460 msgid "" 0461 "To be useful, color profiles need to be coupled with software that performs " 0462 "the translation from one color space to another via the Profile Connection " 0463 "Space. In digiKam, translation from one color space to another usually is " 0464 "done by `Lcms <https://www.littlecms.com/>`_, the **Little Color Management " 0465 "Software**." 0466 msgstr ""