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 "POT-Creation-Date: 2023-12-02 00:35+0000\n"
 "PO-Revision-Date: 2023-01-14 18:31+0100\n"
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 #: ../../color_management/working_space.rst:1
 msgid "Color Management and Working Space"
 msgstr ""
 
 #: ../../color_management/working_space.rst:1
 msgid ""
 "digiKam, documentation, user manual, photo management, open source, free, "
 "learn, easy, image editor, color management, icc, profile, working space"
 msgstr ""
 
 #: ../../color_management/working_space.rst:14
 msgid "The Working Space"
 msgstr ""
 
 #: ../../color_management/working_space.rst:17
 msgid "Color Workflow"
 msgstr ""
 
 #: ../../color_management/working_space.rst:19
 msgid ""
 "So we told digiKam where to find my monitor profile and we have a camera "
 "profile that we applied to the image file produced by my RAW processing "
 "software. What's the next step in color management?"
 msgstr ""
 
 #: ../../color_management/working_space.rst:21
 msgid ""
 "You need to choose a working color space so you can edit your image. `Lcms "
 "<https://www.littlecms.com/>`_ will transform your image from your camera "
 "color space to your chosen working space, via the **Profile Connection "
 "Space** specified by your camera color profile. Why cannot to just edit "
 "images in the color space described by the camera profile?"
 msgstr ""
 
 #: ../../color_management/working_space.rst:23
 msgid ""
 "After all, the camera profile should provide the best *fit* to the colors "
 "recorded by my camera, as processed by my RAW processing procedure, right? "
 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate "
 "good results while editing. For instance, pixels with equal values of RGB "
 "should appear neutral. This just want means that for any given pixel in an "
 "image that has been converted to a suitable working space, if R=G=B you "
 "should see grey or black or white on your screen. Many camera profiles "
 "violate this *neutral* condition."
 msgstr ""
 
 #: ../../color_management/working_space.rst:29
 msgid ""
 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color "
 "Space to Another one"
 msgstr ""
 
 #: ../../color_management/working_space.rst:31
 msgid ""
 "However, there is one other good reason to not want to edit your image in "
 "your camera profile color space. If you look at the size of a typical camera "
 "profile, it is on the order of a quarter to a half a megabyte or more. It's "
 "got a lot of information about all the changes that need to be made at "
 "different regions of color and tonality in the original scene, to get "
 "accurate color rendition from the RGB values that come out of the RAW "
 "processor. The camera profile is accurate (at least for colors in the "
 "original target) but not particularly mathematically smooth. Working space "
 "color profiles, on the other hand, are very small in size (half a kilobyte "
 "instead of half a megabyte) because they describe a color gamut in terms of "
 "smooth, continuous mathematical functions. Working space profiles don't need "
 "to make allowances for the *messiness* of real world sensors, so the "
 "mathematical manipulations performed during image editing will go much more "
 "smoothly and accurately than if you try to edit your image while it is still "
 "in the camera color space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:33
 msgid "Working Space Profiles are characterized by:"
 msgstr ""
 
 #: ../../color_management/working_space.rst:35
 msgid ""
 "**Gamma** transfer function, which dictates how much the original linear "
 "intensity values captured by the camera sensor are altered to make editing "
 "easier or more precise. These values from the camera are subjected to the in-"
 "camera A-to-D conversion, then interpolated by the RAW processing program to "
 "produce the image file."
 msgstr ""
 
 #: ../../color_management/working_space.rst:37
 msgid ""
 "RGB primaries which dictate the range of colors, that is, the color "
 "**Gamut**, covered by a given profile."
 msgstr ""
 
 #: ../../color_management/working_space.rst:39
 msgid ""
 "**White point**, usually D50 or D65 though other values may be used, which "
 "specifies the white point color temperature of the working space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:42
 msgid "Confusions Terminology"
 msgstr ""
 
 #: ../../color_management/working_space.rst:44
 msgid ""
 "Before talking more about working spaces, some confusions and confusing "
 "terminology needs to be cleared up:"
 msgstr ""
 
 #: ../../color_management/working_space.rst:46
 msgid ""
 "sRGB is both a working color space and an output color space for images "
 "intended for the web and for monitor display. If you have a spiffy new "
 "monitor with a gamut larger than the gamut covered by sRGB, obviously you "
 "might want to reconsider what output profile to use to best take advantage "
 "of your wonderful and hopefully calibrated and profiled monitor, but please "
 "convert your image to sRGB before sending it on to your friends. sRGB is "
 "also the color space that a lot of home and mass-production commercial "
 "printers expect image files to be in when sent to the printer. It is also "
 "the color space that most programs assume if an image does not have an "
 "embedded color profile telling the program what color space should be used "
 "to interpret (translate) the RGB numbers. So if you choose to not use color-"
 "management, your color-management choices are simple - set everything to "
 "sRGB."
 msgstr ""
 
 #: ../../color_management/working_space.rst:48
 msgid ""
 "All JPEGs coming straight out of a camera (even if produced by point-and-"
 "shoots cameras that don't allow you to save a RAW file) start life inside "
 "the camera as a RAW file produced by the camera's A to D converter. The "
 "processor inside the camera interpolates the RAW file, assigns a camera "
 "profile, translates the resulting RGB numbers to a working space (usually "
 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does "
 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs "
 "from your camera never need to be assigned a camera or input profile which "
 "is then translated to a working space via a Profile Connection Space. JPEGs "
 "from a camera are already in a working space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:50
 msgid ""
 "In case anyone is unsure on this point, note that an interpolated RAW file "
 "is no longer a RAW file - it has been interpolated and then output as a TIFF "
 "whose RGB values need to be translated to a working space, using the camera "
 "profile, the Profile Connection Space, and Lcms."
 msgstr ""
 
 #: ../../color_management/working_space.rst:52
 msgid ""
 "To introduce a bit of commonly heard color-management terminology here - the "
 "camera profile and your printer's color profile are both device dependent, "
 "whereas the working space will be device-independent - it can be used with "
 "any image, with any properly color-managed software, without regard for "
 "where the image originated."
 msgstr ""
 
 #: ../../color_management/working_space.rst:54
 msgid ""
 "Above we have used the words translate and translation as a descriptive "
 "metaphor for what Lcms does when it translates RGB values from one color "
 "space to another via the Profile Connection Space. The usual and correct "
 "terminology is convert and conversion. The four methods of conversion from "
 "one color space to another are: perceptual, relative colorimetric, absolute "
 "colorimetric, and saturation. Which method of conversion you should use for "
 "any given image processing step from RAW file to final output image is "
 "beyond the scope of this manual. The standard advice is: when in doubt, use "
 "perceptual."
 msgstr ""
 
 #: ../../color_management/working_space.rst:56
 msgid ""
 "Assign a profile means change the meaning of the RGB numbers in an image by "
 "embedding a new profile without changing the actual RGB numbers associated "
 "with each pixel in the image; convert means embed a new profile, but also "
 "change the RGB numbers at the same time so that the meaning of the RGB "
 "values - that is, the real-world visible color represented by the trio of "
 "RGB numbers associated with each pixel in an image - remains the same before "
 "and after the conversion from one space to another. You should be able to do "
 "multiple conversions of an image from one working space to another, and with "
 "a properly color-managed image editor, even though all the RGB numbers in "
 "the image will change with each conversion, the image on your screen should "
 "look the same (leaving aside the usually unnoticeable small but inevitable "
 "changes from accumulated gamut mismatches and mathematical rounding errors). "
 "However, every time you assign a new working space profile rather than "
 "convert to a new working space, the appearance of the image should more or "
 "less drastically change."
 msgstr ""
 
 #: ../../color_management/working_space.rst:58
 msgid ""
 "Color management is not only relevant if you shoot RAW. Color management "
 "affects every stage of the image processing pipeline, whether you start with "
 "a RAW file that you, yourself interpolate and translate into a TIFF, or if "
 "you start with a JPEG or TIFF produced by your camera."
 msgstr ""
 
 #: ../../color_management/working_space.rst:61
 msgid "Selecting a Working Space"
 msgstr ""
 
 #: ../../color_management/working_space.rst:63
 msgid ""
 "Which working space do you need to use in digiKam? Working spaces, such as "
 "sRGB or Adobe RGB, are color spaces that facilitate good results while "
 "editing. For instance, pixels with equal values of RGB should appear "
 "neutral. Using a large gamut working space will lead to posterization, while "
 "using a small working space will lead to clipping. This trade-off is a "
 "consideration for the Image Editor."
 msgstr ""
 
 #: ../../color_management/working_space.rst:65
 msgid "Most working space profiles are characterized by:"
 msgstr ""
 
 #: ../../color_management/working_space.rst:67
 msgid ""
 "The place of the gamut into the **Diagram** `(1)` of all colors visible to "
 "the average human eyes."
 msgstr ""
 
 #: ../../color_management/working_space.rst:69
 msgid ""
 "The **Gamut** `(2)` triangle to define the range of RGB colors of the "
 "profile. Red point is on the bottom right corner, Green is on the top, Blue "
 "is on the left bottom. Values given around the edge of the gamut passing "
 "from the blue, the green and the red points, are the spectral colors in "
 "nanometers."
 msgstr ""
 
 #: ../../color_management/working_space.rst:71
 msgid ""
 "The **White point** `(3)` to define the total dynamic range of the profile."
 msgstr ""
 
 #: ../../color_management/working_space.rst:73
 msgid ""
 "The **Gamma** to define the transfer function of the profile (not displayed "
 "in the gamut)."
 msgstr ""
 
 #: ../../color_management/working_space.rst:79
 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam"
 msgstr ""
 
 #: ../../color_management/working_space.rst:81
 msgid ""
 "The practical consequences that result from using different RGB primaries, "
 "leading to larger or smaller working spaces, are discussed below. The "
 "practical consequences for different choices for the working space white "
 "point are beyond the scope of this manual. Here we will talk a little bit "
 "about the practical consequences of the working space gamma."
 msgstr ""
 
 #: ../../color_management/working_space.rst:83
 msgid ""
 "The gamma of a color profile dictates what power transform needs to take "
 "place to properly convert from an image's embedded color profile (perhaps "
 "your working color space) to another color profile with a different gamma, "
 "such as (i) the display profile used to display the image on the screen or "
 "(ii) perhaps to a new working space, or (iii) perhaps from your working "
 "space to your printer's color space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:87
 msgid ""
 "Mathematically speaking, for a power transform you normalize the RGB numbers "
 "and raise the resulting numbers to an appropriate power depending on the "
 "respective gammas of the starting and ending color space, then re-normalize "
 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/"
 ">`_ does this for you when there is a need to convert from one color space "
 "to another in your workflow."
 msgstr ""
 
 #: ../../color_management/working_space.rst:89
 msgid ""
 "One practical consequence of the gamma of a working space is that the higher "
 "the gamma, the more tones are available for editing in the shadows, with "
 "consequently fewer tones available in the highlights. So theoretically, if "
 "you are working on a very dark-toned (low key) image you might want a "
 "working space with a higher gamma. And if you are working on a high key "
 "image, say a picture taken in full noon sunlight of a wedding dress with "
 "snow as a backdrop, you might want to choose a working space with a lower "
 "gamma, so you have more available tonal gradations in the highlights. But in "
 "the real world of real image editing, almost everyone uses working spaces "
 "with either gamma 1.8 or 2.2."
 msgstr ""
 
 #: ../../color_management/working_space.rst:91
 msgid ""
 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are "
 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-"
 "RGB uses a luminosity-based tonal response curve instead of a gamma value."
 msgstr ""
 
 #: ../../color_management/working_space.rst:93
 msgid ""
 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working "
 "space that gets much mention or use is gamma 1.0, also called linear gamma. "
 "Linear gamma is used in HDR (high dynamic range) imaging and also if one "
 "wants to avoid introducing gamma-induced errors into one's regular low "
 "dynamic range editing. Gamma-induced errors is a topic outside the scope of "
 "this manual, but see Gamma errors in picture scaling, for gamma-induced "
 "color shifts."
 msgstr ""
 
 #: ../../color_management/working_space.rst:95
 msgid ""
 "Unfortunately and despite their undeniable mathematical advantages, linear "
 "gamma working spaces have so few tones in the shadows that they are "
 "impossible to use for editing if one is working in 8-bits, and still "
 "problematic at 16-bits. When the day comes when we are all doing our editing "
 "on 32-bit files produced by our HDR cameras on our personal supercomputers, "
 "we predict that we will all be using working spaces with gamma 1."
 msgstr ""
 
 #: ../../color_management/working_space.rst:101
 msgid ""
 "Depending of the Settings digiKam Can Ask you to Convert to Working Space "
 "When Loading in Image Editor"
 msgstr ""
 
 #: ../../color_management/working_space.rst:104
 msgid "Large or Small Gamut"
 msgstr ""
 
 #: ../../color_management/working_space.rst:106
 msgid ""
 "One major consideration in choosing a working space is that some working "
 "spaces are bigger than others, meaning they cover more of the visible "
 "spectrum (and perhaps even include some imaginary colors - mathematical "
 "constructs that don't really exist). These bigger spaces offer the advantage "
 "of allowing you to keep all the colors captured by your camera and preserved "
 "by the Lcms conversion from your camera profile to the really big profile "
 "connection space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:112
 msgid ""
 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color "
 "Profile Show in digiKam"
 msgstr ""
 
 #: ../../color_management/working_space.rst:114
 msgid ""
 "But keeping all the possible colors comes at a price. It seems that any "
 "given digital image (pictures of daffodils with saturated yellows being one "
 "common exception) likely only contains a small subset of all the possible "
 "visible colors that your camera is capable of capturing. This small subset "
 "is easily contained in one of the smaller working spaces. Using a very large "
 "working space mean that editing your image (applying curves, saturation, "
 "etc.) can easily produce colors that your eventual output device (printer, "
 "monitor) simply cannot display."
 msgstr ""
 
 #: ../../color_management/working_space.rst:116
 msgid ""
 "So the conversion from your working space to your output device space (say "
 "your printer) will have to remap the out of gamut colors in your edited "
 "image, some of which might even be totally imaginary, to your printer color "
 "space with its much smaller gamut, leading to inaccurate colors at best and "
 "at worst to banding (posterization - gaps in what should be a smooth color "
 "transition, say, across an expanse of blue sky) and clipping (your carefully "
 "crafted muted transitions across delicate shades of red, for example, might "
 "get remapped to a solid block of dull red after conversion to your printer's "
 "color space)."
 msgstr ""
 
 #: ../../color_management/working_space.rst:118
 msgid ""
 "In other words, large gamut working spaces, improperly handled, can lead to "
 "lost information on output. Small gamut working spaces can clip information "
 "on input. Here is some oft-repeated advice:"
 msgstr ""
 
 #: ../../color_management/working_space.rst:120
 msgid "For images intended for the web, use sRGB."
 msgstr ""
 
 #: ../../color_management/working_space.rst:122
 msgid ""
 "For the most accuracy in your image editing (that is, making the most of "
 "your *bits* with the least risk of banding or clipping when you convert your "
 "image from your working space to an output space), use the smallest working "
 "space that includes all the colors in the scene that you photographed, plus "
 "a little extra room for those new colors you intentionally produce as you "
 "edit."
 msgstr ""
 
 #: ../../color_management/working_space.rst:124
 msgid ""
 "If you are working in 8-bits rather than 16-bits, choose a smaller space "
 "rather than a larger space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:126
 msgid ""
 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large "
 "gamut working space to avoid loosing color information. Then convert this "
 "archival TIFF to your working space of choice (saving the converted working "
 "TIFF under a new name, of course). See here for more details."
 msgstr ""
 
 #: ../../color_management/working_space.rst:132
 msgid "digiKam Queue Manager Allows to Batch Convert Color Space"
 msgstr ""
 
 #: ../../color_management/working_space.rst:135
 msgid "Gamma Properties"
 msgstr ""
 
 #: ../../color_management/working_space.rst:137
 msgid ""
 "The gamma of a color profile dictates what power transform needs to take "
 "place to properly convert from an image's embedded color profile (perhaps "
 "your working color space or your camera color profile) to another color "
 "profile with a different gamma, such as your chosen working space, or the "
 "display profile used to display the image on the screen or perhaps from one "
 "working space to another, or perhaps from your working space to your "
 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit "
 "image with a linear gamma, which means that a histogram of the resulting "
 "image file shows the actual amount of light that each pixel on the camera "
 "sensor captured during the exposure (paraphrasing this page). (Which is why "
 "at present applying a camera profile to the Libraw output also requires "
 "applying an appropriate gamma transform to get to the desired working space, "
 "unless the camera profile also uses gamma=1.)"
 msgstr ""
 
 #: ../../color_management/working_space.rst:139
 msgid ""
 "One practical consequence of the gamma of a working space is that the higher "
 "the gamma, the more discrete tones are available for editing in the shadows, "
 "with consequently fewer tones available in the highlights. Changing the "
 "gamma of an image redistributes the number of tones available in the lighter "
 "and darker areas of an image. Theoretically, if you are working on a very "
 "dark-toned (low key) image you might want a working space with a higher "
 "gamma. And if you are working on a high key image, say a picture taken in "
 "full noon sunlight of a wedding dress with snow as a backdrop, you might "
 "want to choose a working space with a lower gamma, so you have more "
 "available tonal gradations in the highlights."
 msgstr ""
 
 #: ../../color_management/working_space.rst:141
 msgid ""
 "Theory aside, in the real world of real image editing, almost everyone uses "
 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are "
 "two notable exceptions."
 msgstr ""
 
 #: ../../color_management/working_space.rst:143
 msgid ""
 "sRGB uses a transfer function close to that of a CRT (and thus not "
 "necessarily relevant to image editing or to display on an LCD). Unlike most "
 "other RGB color spaces the sRGB gamma can not be expressed as a single "
 "numerical value. The overall gamma is approximately 2.2, consisting of a "
 "linear (gamma 1.0) section near black, and a non-linear section elsewhere "
 "involving a 2.4 exponent and a gamma (slope of log output versus log input) "
 "changing from 1.0 through about 2.3, which makes for some complicated math "
 "during image processing."
 msgstr ""
 
 #: ../../color_management/working_space.rst:145
 msgid ""
 "L*-RGB uses as its transfer function the same perceptually uniform transfer "
 "function as the CIELab color space. *When storing colors in limited "
 "precision values* using a perceptually uniform transfer function *can "
 "improve the reproduction of tones*."
 msgstr ""
 
 #: ../../color_management/working_space.rst:147
 msgid ""
 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working "
 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted "
 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you "
 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) "
 "imaging and also if one wants to avoid introducing gamma-induced errors into "
 "one's regular low dynamic range editing."
 msgstr ""
 
 #: ../../color_management/working_space.rst:149
 msgid ""
 "**Gamma-induced errors** is a topic outside the scope of this manual but "
 "it's commonly-encountered that gamma-induced error that is caused by "
 "incorrectly calculating luminance in a nonlinear RGB working space. And in a "
 "similar vein, the calculations involved in mixing colors together to produce "
 "new colors (such as using a digital filter to add warmth to an image) result "
 "in gamma errors unless the new colors are calculated by first transforming "
 "all the relevant values back to their linear values."
 msgstr ""
 
 #: ../../color_management/working_space.rst:151
 msgid ""
 "Unfortunately and despite their undeniable mathematical advantages, linear "
 "gamma working spaces have so few tones in the shadows that they are "
 "impossible to use for editing if one is working in 8-bit, and still "
 "problematic at 16-bit. When the day comes when we are all doing our editing "
 "on 32-bit files produced by our HDR cameras on our personal supercomputers, "
 "We can predict that we will all be using working spaces with gamma=1."
 msgstr ""
 
 #: ../../color_management/working_space.rst:154
 msgid "Tonal Steps and Gamut Size"
 msgstr ""
 
 #: ../../color_management/working_space.rst:156
 msgid ""
 "How many discrete tonal steps are there in a digital image? In an 8-bit "
 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit "
 "image theoretically you have 65536 steps. But remember, those 16-bit started "
 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 "
 "steps) as produced by the camera's A-to-D converter - the extra bits to "
 "reach 16-bit start out as just padding. The available tones are not "
 "distributed evenly from light to dark. In linear gamma mode (as the camera "
 "sensor sees things), there's a whole lot more tones in the highlights than "
 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right "
 "but don't blow the highlights."
 msgstr ""
 
 #: ../../color_management/working_space.rst:158
 msgid ""
 "One major consideration in choosing a working space is that some working "
 "spaces are bigger than others, meaning they cover more of the visible "
 "spectrum (and as a consequence include some imaginary colors - mathematical "
 "constructs that don't really exist). These bigger spaces offer the advantage "
 "of allowing you to keep all the colors captured by your camera and preserved "
 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera "
 "profile to the super-wide-gamut profile connection space and out again to "
 "your chosen working space."
 msgstr ""
 
 #: ../../color_management/working_space.rst:160
 msgid ""
 "But keeping all the possible colors comes at a price, as explained below. "
 "And it seems that any given digital image likely only contains a small "
 "subset of all the possible visible colors that your camera is capable of "
 "capturing. This small subset is easily contained in one of the smaller "
 "working spaces."
 msgstr ""
 
 #: ../../color_management/working_space.rst:162
 msgid ""
 "Using a very large working space means that editing your image (applying "
 "curves, increasing saturation, etc.) can easily produce colors that your "
 "eventual output device (printer, monitor) simply cannot reproduce (you "
 "cannot see these colors while you're editing, either). So the conversion "
 "from your working space to your output device space (say your printer) will "
 "have to remap the out-of-gamut colors in your edited image, some of which "
 "might even be totally imaginary, to your printer color space with its much "
 "smaller color gamut."
 msgstr ""
 
 #: ../../color_management/working_space.rst:164
 msgid ""
 "This remapping process will lead to inaccurate colors and loss of saturation "
 "at best. Even worse, the remapping can easily lead to banding (posterization "
 "- gaps in what should be a smooth color transition, across an expanse of "
 "blue sky) and clipping (e.g. your carefully crafted muted transitions across "
 "delicate shades of red, for example, might get remapped to a solid block of "
 "dull red after conversion to your printer's color space). Also, the experts "
 "say that 8-bit images just don't have enough tones to stretch across a wide "
 "gamut working space without banding and loss of saturation, even before "
 "conversion to an output space. So if you choose a large gamut working space, "
 "make sure you start with a 16-bit image."
 msgstr ""
 
 #: ../../color_management/working_space.rst:171
 msgid ""
 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information"
 msgstr ""
 
 #: ../../color_management/working_space.rst:173
 msgid ""
 "To summarize, large gamut working spaces, improperly handled, can lead to "
 "lost information on output. Small gamut working spaces can clip information "
 "on input. Medium-sized gamut working spaces try to strike a happy medium."
 msgstr ""
 
 #: ../../color_management/working_space.rst:175
 msgid "Here are some oft-repeated bits of advice on choosing a working space:"
 msgstr ""
 
 #: ../../color_management/working_space.rst:177
 msgid ""
 "For images intended for the web, use (or at least convert the final image "
 "to) sRGB."
 msgstr ""
 
 #: ../../color_management/working_space.rst:179
 msgid ""
 "For the most accuracy in your image editing (that is, making the most of "
 "your limited *bits* with the least risk of banding or clipping when you "
 "convert your image from your working space to an output space), use the "
 "smallest working space that includes all the colors in the scene that you "
 "photographed, plus a little extra room for those new colors you "
 "intentionally produce as you edit."
 msgstr ""
 
 #: ../../color_management/working_space.rst:181
 msgid ""
 "If you are working in 8-bits rather than 16-bits, choose a smaller rather "
 "than a larger working space to avoid clipping and banding."
 msgstr ""
 
 #: ../../color_management/working_space.rst:183
 msgid ""
 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large "
 "gamut working space to avoid loosing color information. Then convert this "
 "archival TIFF to your medium-gamut or large-gamut working space of choice "
 "(saving the converted working TIFF under a new name, of course)."
 msgstr ""