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 # Lithuanian translations for Digikam Manual package.
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 #: ../../color_management/basis_knowledge.rst:1
 msgid "Basis Knowledge about Color Management"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:1
 msgid ""
 "digiKam, documentation, user manual, photo management, open source, free, "
 "learn, easy, image editor, color management, icc, profile, basis"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:14
 msgid "Basis Knowledge"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:16
 msgid "Contents"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:19
 msgid "Overview"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:21
 msgid ""
 "The point of a color-managed workflow is to ensure that the colors coming "
 "from your camera or scanner have a predictable relationship with the colors "
 "you actually photographed or scanned, that the colors displayed on your "
 "monitor match the colors coming from your camera or scanner, and that the "
 "colors you print or display on the web match the colors you produced in your "
 "digital darkroom."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:27
 msgid ""
 "The Overall Scheme of Color Spaces Used in a Color Managed Application as "
 "digiKam"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:29
 msgid ""
 "When it comes to color management, everyone wants to know, *which buttons to "
 "push to get the wanted results*. Unfortunately, color management of "
 "necessity involves making informed choices at every step along the image-"
 "processing workflow. The purpose of this section is to provide sufficient "
 "background information on color management, along with links to more in-"
 "depth information, to enable you to begin to make your own informed "
 "decisions, based on your own desired results."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:32
 msgid "Unrelevant Use-Cases"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:34
 msgid ""
 "If your imaging workflow meets all six criteria listed below, then you don't "
 "need to worry about color management:"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:36
 msgid ""
 "You are working at a monitor properly calibrated to the sRGB color space "
 "(more about int :ref:`this section <monitor_profiles>` of this manual)."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:38
 msgid ""
 "Your imaging workflow starts with an in-camera-produced JPEG already in the "
 "sRGB color space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:40
 msgid "You work exclusively in the sRGB color space for editing."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:42
 msgid "Your printer wants images in the sRGB color space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:44
 msgid "Your scanner produces images in the sRGB color space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:46
 msgid ""
 "Your only other image output is via email or the web, where sRGB is the de "
 "facto standard."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:49
 msgid "Usual Definitions"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:51
 msgid ""
 "What follow is some additional comments and definitions to understand the "
 "Color Management:"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:53
 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** to a profile 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."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:55
 msgid ""
 "On the other hand, every time you assign a new working space profile rather "
 "than convert to a new working space (except when initially assigning a "
 "camera profile to the image file you get from your RAW processing software), "
 "the appearance of the image should more or less drastically change (usually "
 "for the worse, unless the wrong profile had previously been inadvertently "
 "embedded in the image)."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:57
 msgid ""
 "In theory, you should be able to do multiple conversions of an image from "
 "one working space to another, and if you are using a color-managed image "
 "editor, even though all the RGB numbers in the image will change with each "
 "conversion, the image displayed on your screen should look the same. In "
 "actual fact, because of rounding errors upon each conversion, not to mention "
 "gamut-clipping when going from a larger to a smaller working space, every "
 "time you convert from one space to another the image degrades a bit."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:59
 msgid ""
 "**Device-dependent** and **device-independent** profiles: The camera "
 "profile, a scanner profile, your monitor's profile, and your printer's color "
 "profile are all device-dependent profiles - these profiles only work with "
 "the specific device for which they were produced by means of profiling. "
 "Working space profiles and the Profile Connection Space are *device-"
 "independent*. Once an image file has been translated by Lcms to a device-"
 "independent working space, in a sense it no longer matters what device "
 "originally produced the image. But as soon as you want to display or print "
 "the image, then the device (monitor, printer) used matters a great deal and "
 "requires a device-dependent profile."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:61
 msgid ""
 "An **interpolated RAW file** isn't a RAW file. For some reason this simple "
 "point causes a lot of confusion. But after a RAW file has been interpolated "
 "by RAW processing software and then output as a TIFF or JPEG, the original "
 "RAW file is still a RAW file, of course, but the interpolated file is just "
 "an image file. It isn't a RAW file."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:63
 msgid ""
 "**Linear** has two related and easily confused definitions. *Linear* can "
 "mean that the image tonality reflects the tonality in the original scene as "
 "photographed instead of being altered by the application of an S-curve or "
 "other means of changing local and global tonality. It can also mean that the "
 "gamma transfer curve of the color space is linear. An image can be *linear* "
 "in either, both, or neither of these two senses. A RAW image as developed by "
 "Libraw is linear in both senses. The same image as developed by Canon's RAW "
 "processing software won't be linear in either sense."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:65
 msgid ""
 "**HDR** and **LDR** do not refer to the bit-depth of the image. **High "
 "dynamic range** and **Low dynamic range** refer to the total dynamic range "
 "encompassed by an image. A regular low dynamic range image, say encompassing "
 "a mere 5 *stops* (the average digital camera these days can easily "
 "accommodate 8 or 9 stops), can be saved as an 8-, 16-, 32-, or even 64-bit "
 "image, depending on your software, but the dynamic range of the image isn't "
 "thereby increased. Only the number of discrete steps from the brightest to "
 "the darkest tone in the image has changed. Conversely, a 22-stop scene (way "
 "beyond the capacity of a consumer-oriented digital camera without using "
 "multiple exposures) can be saved as an 8- or 16-bit image, but the resulting "
 "image will exhibit extreme banding (that is, it will display extreme banding "
 "in any given tonal range that can actually be displayed on a typical monitor "
 "at one time) because of the relatively few available discrete tonal steps "
 "from the lightest to the darkest tone in the image."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:67
 msgid ""
 "**In-camera produced JPEGs don't need a camera profile**: All JPEGs (or "
 "TIFFs) 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 Analog to Digital converter. "
 "If you save your images as JPEGs, then 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 (or "
 "TIFFs) from your camera don't need to be assigned a camera profile which is "
 "then translated to a working space. JPEGs from a camera are already in a "
 "working space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:69
 msgid ""
 "**Useful mathematical information**: If you are dealing with Libraw's linear "
 "gamma output: Mathematically speaking, when doing a gamma transform you "
 "normalize (that is, divide by 256 if you are working with 8-bit values) 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. It's not hard, "
 "and very instructive, to do this with a calculator for a few sets of RGB "
 "numbers spaced from (0,0,0) to (255,255,255) to see how RGB numbers change "
 "from one gamma encoding to another. Lcms does this for you when you ask Lcms "
 "to convert from one color space to another."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:71
 msgid "**Copyrighted and copyleft working spaces**:"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:73
 msgid ""
 "The several variants of **sRGB**. See :ref:`the chapter <monitor_profiles>` "
 "dedicated to this color space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:75
 msgid "BruceRGB or BestRGB."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:77
 msgid ""
 "The various ECI (`European color initiative <https://en.wikipedia.org/wiki/"
 "European_Color_Initiative>`_) working space profiles."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:79
 msgid ""
 "**AdobeRGB**, Adobe **WideGamutRGB**, and Kodak/Adobe **ProPhotoRGB** (Kodak "
 "and Adobe ProPhoto are the same, just branded differently) and their non-"
 "branded, non-copyrighted counterparts."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:85
 msgid ""
 "digiKam Image Editor Color Space Converter Allows to Switch to Another Color "
 "Profile"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:87
 msgid ""
 "And quite a few other working spaces that could be added to this list, are "
 "all more or less suitable as working spaces. Which working space you should "
 "use depends only and solely on you, on your requirements on the Image Editor "
 "with your eventual output intentions (web, fine art print, etc.). However, "
 "as a critical aside, if you are using Adobe or other copyrighted working "
 "space profiles, these profiles contain copyright information that shows up "
 "in your image Exif information."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:89
 msgid ""
 "**Soft Proofing** is a way of previewing on the screen the result to be "
 "expected from an output on another device, typically a printer. Soft "
 "proofing will show you the difference to be expected before you actually do "
 "it (and waste your costly ink). So you can improve your settings without "
 "wasting time and money. For more information take a look to the dedicated :"
 "ref:`section from this manual <soft_proof>`."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:91
 msgid ""
 "**Rendering intent** refers to the way gamuts are handled when the intended "
 "target color space cannot handle the full gamut. For more information take a "
 "look to the dedicated :ref:`section from this manual <working_space>`."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:94
 msgid "Color Space Connections"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:96
 msgid ""
 "The question for each RGB trio of values in the (let us assume) 16-bit TIFF "
 "produced by Libraw becomes, what does a particular trio of RGB values for "
 "the pixels making up images produced by this particular (make and model) "
 "camera really mean in terms of some absolute standard referencing some ideal "
 "observer."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:98
 msgid ""
 "This absolute standard referencing an ideal observer is more commonly called "
 "a **Profile Connection Space** (PCS). A camera profile is needed to "
 "accurately characterize or describe the response of a given camera's pixels "
 "to light entering that camera, so that the RGB values in the output file "
 "produced by the RAW converter can be translated first into an absolute "
 "Profile Connection Space and then from the Profile Connection Space to your "
 "chosen working space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:100
 msgid ""
 "As a very important aside, in digiKam the software used to translate from "
 "the camera profile to the Profile Connection Space and from the Profile "
 "Connection Space to your chosen working space and eventually to your chosen "
 "output space (for printing or perhaps monitor display) is based on `Lcms "
 "<https://www.littlecms.com/>`_ (the **Little Color Management** engine). For "
 "what it's worth, Lcms does more accurate conversions than Adobe's "
 "proprietary color conversion engine. Further, the RAW conversion in digiKam "
 "is based on decoding of the proprietary RAW file done by **Libraw**. `This "
 "library <https://www.libraw.org/>`_, is a great open-source component as "
 "without it we'd all be stuck using the usually Windows or Mac only "
 "proprietary software that comes with our digital cameras. The Libraw's "
 "interpolation algorithms (not to be confused with the aforementioned "
 "decoding of the proprietary RAW file), which are part of digiKam if properly "
 "used, produce results equal or superior to commercial, closed source "
 "software."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:102
 msgid ""
 "There are two commonly used Profile Connection Spaces - **CIELAB** and "
 "**CIEXYZ** (see this `wikipedia Color management section <https://en."
 "wikipedia.org/wiki/Color_management#Color_transformation>`_ for details). "
 "Lcms uses the camera profile to translate the RGB values from the "
 "interpolated RAW file, into the appropriate Profile Connection Space "
 "(usually CIEXYZ). A profile connection space is not itself a working space. "
 "Rather a **Profile Connection Space** is an absolute reference space used "
 "only for translating from one color space to another - think of a **Profile "
 "Connection Space** as a **Universal Translator** for all the color profiles "
 "that an image might encounter in the course of its journey from camera RAW "
 "file to final output:"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:104
 msgid ""
 "Lcms uses the camera profile, also called an **Input profile**, to translate "
 "the interpolated Libraw-produced RGB numbers, which only have meaning "
 "relative to your (make and model of) camera, to a second set of RGB numbers "
 "that only have meaning in the **Profile Connection Space**."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:106
 msgid ""
 "Lcms translates the **Profile Connection Space** RGB numbers to the "
 "corresponding numbers in your chosen **Working space** so you can edit your "
 "image. And again, these working space numbers only have meaning relative to "
 "a given working space. The same red, visually speaking, is represented by "
 "different trios of RGB numbers in different working spaces; and if you "
 "assign the wrong profile the image will look wrong, slightly wrong or very "
 "wrong depending on the differences between the two profiles."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:108
 msgid ""
 "While you are editing your image in your chosen **Working space**, then Lcms "
 "should translate all the working space RGB numbers back to the **Profile "
 "Connection Space**, and then over to the correct RGB numbers that enable "
 "your monitor (your display device) to give you the most accurate possible "
 "display representation of your image as it is being edited. This translation "
 "for display is done on the fly and you should never even notice it "
 "happening, unless it doesn't happen correctly - then the displayed image "
 "will look wrong."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:110
 msgid ""
 "When you are satisfied that your edited image is ready to share with the "
 "world, Lcms translates the **Working space** RGB numbers back into the "
 "**Profile Connection Space** space and out again to a **Printer color "
 "space** using a **Printer profile** characterizing your printer/paper "
 "combination (if you plan on printing the image) or to sRGB (if you plan on "
 "displaying the image on the web or emailing it to friends or perhaps "
 "creating a slide-show to play on monitors other than your own)."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:112
 msgid ""
 "To back up a little bit and look at the first color profile an image "
 "encounters, that is, the camera profile (see point 1. immediately above) - "
 "Libraw can in fact apply your camera profile for you (Libraw uses Lcms "
 "internally). But the generating data composed of the interpolated RGB values "
 "derived from the camera RAW file, and the application of the camera profile "
 "to the interpolated file, are two very distinct and totally separable "
 "(separable in theory and practice for Libraw; in theory only for most RAW "
 "converters) steps."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:115
 msgid "Camera Profiles"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:117
 msgid ""
 "This manual section has a bit of information on where to find ready-made "
 "camera profiles. It's an unfortunate fact of digital imaging that the camera "
 "profiles supplied by Canon, Nikon, and the like don't work as well with RAW "
 "converters other than each camera manufacturer's own proprietary RAW "
 "converter. They have to make their own profiles for all the cameras that "
 "they support - keep this proprietary propensity of your camera manufacturer "
 "in mind next time you buy a digital camera."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:119
 msgid ""
 "To finding a camera profile for your camera is to make your own camera "
 "profile or have one made for you. There are quite a few commercial services "
 "who provide profiling services (for a fee, of course). Or you can use "
 "`Argyll <http://www.argyllcms.com/>`_ to profile your camera yourself. We "
 "cannot speak about how easy or difficult the process of profiling a camera "
 "might be. But we would imagine, knowing how very meticulous the people "
 "behind Argyll, and Lcms are about color management, that making your own "
 "camera profile is very do-able and very likely the results will be better "
 "than any proprietary profile. After all, Canon didn't profile your camera, "
 "they just profiled a camera like your."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:121
 msgid ""
 "For more information take a look to the dedicated :ref:`section from this "
 "manual <camera_profiles>`."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:127
 msgid ""
 "If your Photograph Include a Color Profile from your Camera digiKam Can show "
 "this in Colors Sidebar Tab"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:130
 msgid "Working Spaces"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:132
 msgid ""
 "So now your RAW file has been interpolated by Libraw and you've obtained a "
 "camera profile and used Lcms to apply your camera profile. What does all "
 "this mean? The real answer involves a lot of math and color science that "
 "goes way over my head and likely yours. The short, practical answer is that "
 "neither the camera profile space nor the Profile Connection Space is an "
 "appropriate space for image editing."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:134
 msgid ""
 "Your next step is to choose a working space for image editing. Lcms, the "
 "color management engine that digiKam uses, perform a double translation. "
 "First Lcms uses the camera profile to translate the RGB values of each pixel "
 "in the Libraw output image without camera-profile applied into the "
 "aforementioned Profile Connection Space. Then it translates the RGB values "
 "of each pixel from the Profile Connection Space to your chosen working space."
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:140
 msgid ""
 "digiKam Knows Where to Find the Color Profiles Installed on Your System and "
 "list Files in Setup Dialog For Selection"
 msgstr ""
 
 #: ../../color_management/basis_knowledge.rst:142
 msgid ""
 "For more information take a look to the dedicated :ref:`section from this "
 "manual <working_space>`."
 msgstr ""