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0001 # Lithuanian translations for Digikam Manual package. 0002 # Copyright (C) licensed under the <a href="https://spdx.org/licenses/GFDL-1.2-or-later.html">licensed under the terms of the GNU Free Documentation License 1.2+</a> unless stated otherwise 0003 # This file is distributed under the same license as the Digikam Manual package. 0004 # Automatically generated, 2023. 0005 # 0006 msgid "" 0007 msgstr "" 0008 "Project-Id-Version: Digikam Manual 8.0.0\n" 0009 "Report-Msgid-Bugs-To: \n" 0010 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0011 "PO-Revision-Date: 2023-01-30 00:50+0000\n" 0012 "Last-Translator: Automatically generated\n" 0013 "Language-Team: none\n" 0014 "Language: lt\n" 0015 "MIME-Version: 1.0\n" 0016 "Content-Type: text/plain; charset=UTF-8\n" 0017 "Content-Transfer-Encoding: 8bit\n" 0018 "Plural-Forms: nplurals=4; plural=(n==1 ? 0 : n%10>=2 && (n%100<10 || n" 0019 "%100>=20) ? 1 : n%10==0 || (n%100>10 && n%100<20) ? 2 : 3);\n" 0020 0021 #: ../../color_management/working_space.rst:1 0022 msgid "Color Management and Working Space" 0023 msgstr "" 0024 0025 #: ../../color_management/working_space.rst:1 0026 msgid "" 0027 "digiKam, documentation, user manual, photo management, open source, free, " 0028 "learn, easy, image editor, color management, icc, profile, working space" 0029 msgstr "" 0030 0031 #: ../../color_management/working_space.rst:14 0032 msgid "The Working Space" 0033 msgstr "" 0034 0035 #: ../../color_management/working_space.rst:17 0036 msgid "Color Workflow" 0037 msgstr "" 0038 0039 #: ../../color_management/working_space.rst:19 0040 msgid "" 0041 "So we told digiKam where to find my monitor profile and we have a camera " 0042 "profile that we applied to the image file produced by my RAW processing " 0043 "software. What's the next step in color management?" 0044 msgstr "" 0045 0046 #: ../../color_management/working_space.rst:21 0047 msgid "" 0048 "You need to choose a working color space so you can edit your image. `Lcms " 0049 "<https://www.littlecms.com/>`_ will transform your image from your camera " 0050 "color space to your chosen working space, via the **Profile Connection " 0051 "Space** specified by your camera color profile. Why cannot to just edit " 0052 "images in the color space described by the camera profile?" 0053 msgstr "" 0054 0055 #: ../../color_management/working_space.rst:23 0056 msgid "" 0057 "After all, the camera profile should provide the best *fit* to the colors " 0058 "recorded by my camera, as processed by my RAW processing procedure, right? " 0059 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate " 0060 "good results while editing. For instance, pixels with equal values of RGB " 0061 "should appear neutral. This just want means that for any given pixel in an " 0062 "image that has been converted to a suitable working space, if R=G=B you " 0063 "should see grey or black or white on your screen. Many camera profiles " 0064 "violate this *neutral* condition." 0065 msgstr "" 0066 0067 #: ../../color_management/working_space.rst:29 0068 msgid "" 0069 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color " 0070 "Space to Another one" 0071 msgstr "" 0072 0073 #: ../../color_management/working_space.rst:31 0074 msgid "" 0075 "However, there is one other good reason to not want to edit your image in " 0076 "your camera profile color space. If you look at the size of a typical camera " 0077 "profile, it is on the order of a quarter to a half a megabyte or more. It's " 0078 "got a lot of information about all the changes that need to be made at " 0079 "different regions of color and tonality in the original scene, to get " 0080 "accurate color rendition from the RGB values that come out of the RAW " 0081 "processor. The camera profile is accurate (at least for colors in the " 0082 "original target) but not particularly mathematically smooth. Working space " 0083 "color profiles, on the other hand, are very small in size (half a kilobyte " 0084 "instead of half a megabyte) because they describe a color gamut in terms of " 0085 "smooth, continuous mathematical functions. Working space profiles don't need " 0086 "to make allowances for the *messiness* of real world sensors, so the " 0087 "mathematical manipulations performed during image editing will go much more " 0088 "smoothly and accurately than if you try to edit your image while it is still " 0089 "in the camera color space." 0090 msgstr "" 0091 0092 #: ../../color_management/working_space.rst:33 0093 msgid "Working Space Profiles are characterized by:" 0094 msgstr "" 0095 0096 #: ../../color_management/working_space.rst:35 0097 msgid "" 0098 "**Gamma** transfer function, which dictates how much the original linear " 0099 "intensity values captured by the camera sensor are altered to make editing " 0100 "easier or more precise. These values from the camera are subjected to the in-" 0101 "camera A-to-D conversion, then interpolated by the RAW processing program to " 0102 "produce the image file." 0103 msgstr "" 0104 0105 #: ../../color_management/working_space.rst:37 0106 msgid "" 0107 "RGB primaries which dictate the range of colors, that is, the color " 0108 "**Gamut**, covered by a given profile." 0109 msgstr "" 0110 0111 #: ../../color_management/working_space.rst:39 0112 msgid "" 0113 "**White point**, usually D50 or D65 though other values may be used, which " 0114 "specifies the white point color temperature of the working space." 0115 msgstr "" 0116 0117 #: ../../color_management/working_space.rst:42 0118 msgid "Confusions Terminology" 0119 msgstr "" 0120 0121 #: ../../color_management/working_space.rst:44 0122 msgid "" 0123 "Before talking more about working spaces, some confusions and confusing " 0124 "terminology needs to be cleared up:" 0125 msgstr "" 0126 0127 #: ../../color_management/working_space.rst:46 0128 msgid "" 0129 "sRGB is both a working color space and an output color space for images " 0130 "intended for the web and for monitor display. If you have a spiffy new " 0131 "monitor with a gamut larger than the gamut covered by sRGB, obviously you " 0132 "might want to reconsider what output profile to use to best take advantage " 0133 "of your wonderful and hopefully calibrated and profiled monitor, but please " 0134 "convert your image to sRGB before sending it on to your friends. sRGB is " 0135 "also the color space that a lot of home and mass-production commercial " 0136 "printers expect image files to be in when sent to the printer. It is also " 0137 "the color space that most programs assume if an image does not have an " 0138 "embedded color profile telling the program what color space should be used " 0139 "to interpret (translate) the RGB numbers. So if you choose to not use color-" 0140 "management, your color-management choices are simple - set everything to " 0141 "sRGB." 0142 msgstr "" 0143 0144 #: ../../color_management/working_space.rst:48 0145 msgid "" 0146 "All JPEGs coming straight out of a camera (even if produced by point-and-" 0147 "shoots cameras that don't allow you to save a RAW file) start life inside " 0148 "the camera as a RAW file produced by the camera's A to D converter. The " 0149 "processor inside the camera interpolates the RAW file, assigns a camera " 0150 "profile, translates the resulting RGB numbers to a working space (usually " 0151 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does " 0152 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs " 0153 "from your camera never need to be assigned a camera or input profile which " 0154 "is then translated to a working space via a Profile Connection Space. JPEGs " 0155 "from a camera are already in a working space." 0156 msgstr "" 0157 0158 #: ../../color_management/working_space.rst:50 0159 msgid "" 0160 "In case anyone is unsure on this point, note that an interpolated RAW file " 0161 "is no longer a RAW file - it has been interpolated and then output as a TIFF " 0162 "whose RGB values need to be translated to a working space, using the camera " 0163 "profile, the Profile Connection Space, and Lcms." 0164 msgstr "" 0165 0166 #: ../../color_management/working_space.rst:52 0167 msgid "" 0168 "To introduce a bit of commonly heard color-management terminology here - the " 0169 "camera profile and your printer's color profile are both device dependent, " 0170 "whereas the working space will be device-independent - it can be used with " 0171 "any image, with any properly color-managed software, without regard for " 0172 "where the image originated." 0173 msgstr "" 0174 0175 #: ../../color_management/working_space.rst:54 0176 msgid "" 0177 "Above we have used the words translate and translation as a descriptive " 0178 "metaphor for what Lcms does when it translates RGB values from one color " 0179 "space to another via the Profile Connection Space. The usual and correct " 0180 "terminology is convert and conversion. The four methods of conversion from " 0181 "one color space to another are: perceptual, relative colorimetric, absolute " 0182 "colorimetric, and saturation. Which method of conversion you should use for " 0183 "any given image processing step from RAW file to final output image is " 0184 "beyond the scope of this manual. The standard advice is: when in doubt, use " 0185 "perceptual." 0186 msgstr "" 0187 0188 #: ../../color_management/working_space.rst:56 0189 msgid "" 0190 "Assign a profile means change the meaning of the RGB numbers in an image by " 0191 "embedding a new profile without changing the actual RGB numbers associated " 0192 "with each pixel in the image; convert means embed a new profile, but also " 0193 "change the RGB numbers at the same time so that the meaning of the RGB " 0194 "values - that is, the real-world visible color represented by the trio of " 0195 "RGB numbers associated with each pixel in an image - remains the same before " 0196 "and after the conversion from one space to another. You should be able to do " 0197 "multiple conversions of an image from one working space to another, and with " 0198 "a properly color-managed image editor, even though all the RGB numbers in " 0199 "the image will change with each conversion, the image on your screen should " 0200 "look the same (leaving aside the usually unnoticeable small but inevitable " 0201 "changes from accumulated gamut mismatches and mathematical rounding errors). " 0202 "However, every time you assign a new working space profile rather than " 0203 "convert to a new working space, the appearance of the image should more or " 0204 "less drastically change." 0205 msgstr "" 0206 0207 #: ../../color_management/working_space.rst:58 0208 msgid "" 0209 "Color management is not only relevant if you shoot RAW. Color management " 0210 "affects every stage of the image processing pipeline, whether you start with " 0211 "a RAW file that you, yourself interpolate and translate into a TIFF, or if " 0212 "you start with a JPEG or TIFF produced by your camera." 0213 msgstr "" 0214 0215 #: ../../color_management/working_space.rst:61 0216 msgid "Selecting a Working Space" 0217 msgstr "" 0218 0219 #: ../../color_management/working_space.rst:63 0220 msgid "" 0221 "Which working space do you need to use in digiKam? Working spaces, such as " 0222 "sRGB or Adobe RGB, are color spaces that facilitate good results while " 0223 "editing. For instance, pixels with equal values of RGB should appear " 0224 "neutral. Using a large gamut working space will lead to posterization, while " 0225 "using a small working space will lead to clipping. This trade-off is a " 0226 "consideration for the Image Editor." 0227 msgstr "" 0228 0229 #: ../../color_management/working_space.rst:65 0230 msgid "Most working space profiles are characterized by:" 0231 msgstr "" 0232 0233 #: ../../color_management/working_space.rst:67 0234 msgid "" 0235 "The place of the gamut into the **Diagram** `(1)` of all colors visible to " 0236 "the average human eyes." 0237 msgstr "" 0238 0239 #: ../../color_management/working_space.rst:69 0240 msgid "" 0241 "The **Gamut** `(2)` triangle to define the range of RGB colors of the " 0242 "profile. Red point is on the bottom right corner, Green is on the top, Blue " 0243 "is on the left bottom. Values given around the edge of the gamut passing " 0244 "from the blue, the green and the red points, are the spectral colors in " 0245 "nanometers." 0246 msgstr "" 0247 0248 #: ../../color_management/working_space.rst:71 0249 msgid "" 0250 "The **White point** `(3)` to define the total dynamic range of the profile." 0251 msgstr "" 0252 0253 #: ../../color_management/working_space.rst:73 0254 msgid "" 0255 "The **Gamma** to define the transfer function of the profile (not displayed " 0256 "in the gamut)." 0257 msgstr "" 0258 0259 #: ../../color_management/working_space.rst:79 0260 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam" 0261 msgstr "" 0262 0263 #: ../../color_management/working_space.rst:81 0264 msgid "" 0265 "The practical consequences that result from using different RGB primaries, " 0266 "leading to larger or smaller working spaces, are discussed below. The " 0267 "practical consequences for different choices for the working space white " 0268 "point are beyond the scope of this manual. Here we will talk a little bit " 0269 "about the practical consequences of the working space gamma." 0270 msgstr "" 0271 0272 #: ../../color_management/working_space.rst:83 0273 msgid "" 0274 "The gamma of a color profile dictates what power transform needs to take " 0275 "place to properly convert from an image's embedded color profile (perhaps " 0276 "your working color space) to another color profile with a different gamma, " 0277 "such as (i) the display profile used to display the image on the screen or " 0278 "(ii) perhaps to a new working space, or (iii) perhaps from your working " 0279 "space to your printer's color space." 0280 msgstr "" 0281 0282 #: ../../color_management/working_space.rst:87 0283 msgid "" 0284 "Mathematically speaking, for a power transform you normalize the RGB numbers " 0285 "and raise the resulting numbers to an appropriate power depending on the " 0286 "respective gammas of the starting and ending color space, then re-normalize " 0287 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/" 0288 ">`_ does this for you when there is a need to convert from one color space " 0289 "to another in your workflow." 0290 msgstr "" 0291 0292 #: ../../color_management/working_space.rst:89 0293 msgid "" 0294 "One practical consequence of the gamma of a working space is that the higher " 0295 "the gamma, the more tones are available for editing in the shadows, with " 0296 "consequently fewer tones available in the highlights. So theoretically, if " 0297 "you are working on a very dark-toned (low key) image you might want a " 0298 "working space with a higher gamma. And if you are working on a high key " 0299 "image, say a picture taken in full noon sunlight of a wedding dress with " 0300 "snow as a backdrop, you might want to choose a working space with a lower " 0301 "gamma, so you have more available tonal gradations in the highlights. But in " 0302 "the real world of real image editing, almost everyone uses working spaces " 0303 "with either gamma 1.8 or 2.2." 0304 msgstr "" 0305 0306 #: ../../color_management/working_space.rst:91 0307 msgid "" 0308 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are " 0309 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-" 0310 "RGB uses a luminosity-based tonal response curve instead of a gamma value." 0311 msgstr "" 0312 0313 #: ../../color_management/working_space.rst:93 0314 msgid "" 0315 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working " 0316 "space that gets much mention or use is gamma 1.0, also called linear gamma. " 0317 "Linear gamma is used in HDR (high dynamic range) imaging and also if one " 0318 "wants to avoid introducing gamma-induced errors into one's regular low " 0319 "dynamic range editing. Gamma-induced errors is a topic outside the scope of " 0320 "this manual, but see Gamma errors in picture scaling, for gamma-induced " 0321 "color shifts." 0322 msgstr "" 0323 0324 #: ../../color_management/working_space.rst:95 0325 msgid "" 0326 "Unfortunately and despite their undeniable mathematical advantages, linear " 0327 "gamma working spaces have so few tones in the shadows that they are " 0328 "impossible to use for editing if one is working in 8-bits, and still " 0329 "problematic at 16-bits. When the day comes when we are all doing our editing " 0330 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0331 "we predict that we will all be using working spaces with gamma 1." 0332 msgstr "" 0333 0334 #: ../../color_management/working_space.rst:101 0335 msgid "" 0336 "Depending of the Settings digiKam Can Ask you to Convert to Working Space " 0337 "When Loading in Image Editor" 0338 msgstr "" 0339 0340 #: ../../color_management/working_space.rst:104 0341 msgid "Large or Small Gamut" 0342 msgstr "" 0343 0344 #: ../../color_management/working_space.rst:106 0345 msgid "" 0346 "One major consideration in choosing a working space is that some working " 0347 "spaces are bigger than others, meaning they cover more of the visible " 0348 "spectrum (and perhaps even include some imaginary colors - mathematical " 0349 "constructs that don't really exist). These bigger spaces offer the advantage " 0350 "of allowing you to keep all the colors captured by your camera and preserved " 0351 "by the Lcms conversion from your camera profile to the really big profile " 0352 "connection space." 0353 msgstr "" 0354 0355 #: ../../color_management/working_space.rst:112 0356 msgid "" 0357 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color " 0358 "Profile Show in digiKam" 0359 msgstr "" 0360 0361 #: ../../color_management/working_space.rst:114 0362 msgid "" 0363 "But keeping all the possible colors comes at a price. It seems that any " 0364 "given digital image (pictures of daffodils with saturated yellows being one " 0365 "common exception) likely only contains a small subset of all the possible " 0366 "visible colors that your camera is capable of capturing. This small subset " 0367 "is easily contained in one of the smaller working spaces. Using a very large " 0368 "working space mean that editing your image (applying curves, saturation, " 0369 "etc.) can easily produce colors that your eventual output device (printer, " 0370 "monitor) simply cannot display." 0371 msgstr "" 0372 0373 #: ../../color_management/working_space.rst:116 0374 msgid "" 0375 "So the conversion from your working space to your output device space (say " 0376 "your printer) will have to remap the out of gamut colors in your edited " 0377 "image, some of which might even be totally imaginary, to your printer color " 0378 "space with its much smaller gamut, leading to inaccurate colors at best and " 0379 "at worst to banding (posterization - gaps in what should be a smooth color " 0380 "transition, say, across an expanse of blue sky) and clipping (your carefully " 0381 "crafted muted transitions across delicate shades of red, for example, might " 0382 "get remapped to a solid block of dull red after conversion to your printer's " 0383 "color space)." 0384 msgstr "" 0385 0386 #: ../../color_management/working_space.rst:118 0387 msgid "" 0388 "In other words, large gamut working spaces, improperly handled, can lead to " 0389 "lost information on output. Small gamut working spaces can clip information " 0390 "on input. Here is some oft-repeated advice:" 0391 msgstr "" 0392 0393 #: ../../color_management/working_space.rst:120 0394 msgid "For images intended for the web, use sRGB." 0395 msgstr "" 0396 0397 #: ../../color_management/working_space.rst:122 0398 msgid "" 0399 "For the most accuracy in your image editing (that is, making the most of " 0400 "your *bits* with the least risk of banding or clipping when you convert your " 0401 "image from your working space to an output space), use the smallest working " 0402 "space that includes all the colors in the scene that you photographed, plus " 0403 "a little extra room for those new colors you intentionally produce as you " 0404 "edit." 0405 msgstr "" 0406 0407 #: ../../color_management/working_space.rst:124 0408 msgid "" 0409 "If you are working in 8-bits rather than 16-bits, choose a smaller space " 0410 "rather than a larger space." 0411 msgstr "" 0412 0413 #: ../../color_management/working_space.rst:126 0414 msgid "" 0415 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0416 "gamut working space to avoid loosing color information. Then convert this " 0417 "archival TIFF to your working space of choice (saving the converted working " 0418 "TIFF under a new name, of course). See here for more details." 0419 msgstr "" 0420 0421 #: ../../color_management/working_space.rst:132 0422 msgid "digiKam Queue Manager Allows to Batch Convert Color Space" 0423 msgstr "" 0424 0425 #: ../../color_management/working_space.rst:135 0426 msgid "Gamma Properties" 0427 msgstr "" 0428 0429 #: ../../color_management/working_space.rst:137 0430 msgid "" 0431 "The gamma of a color profile dictates what power transform needs to take " 0432 "place to properly convert from an image's embedded color profile (perhaps " 0433 "your working color space or your camera color profile) to another color " 0434 "profile with a different gamma, such as your chosen working space, or the " 0435 "display profile used to display the image on the screen or perhaps from one " 0436 "working space to another, or perhaps from your working space to your " 0437 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit " 0438 "image with a linear gamma, which means that a histogram of the resulting " 0439 "image file shows the actual amount of light that each pixel on the camera " 0440 "sensor captured during the exposure (paraphrasing this page). (Which is why " 0441 "at present applying a camera profile to the Libraw output also requires " 0442 "applying an appropriate gamma transform to get to the desired working space, " 0443 "unless the camera profile also uses gamma=1.)" 0444 msgstr "" 0445 0446 #: ../../color_management/working_space.rst:139 0447 msgid "" 0448 "One practical consequence of the gamma of a working space is that the higher " 0449 "the gamma, the more discrete tones are available for editing in the shadows, " 0450 "with consequently fewer tones available in the highlights. Changing the " 0451 "gamma of an image redistributes the number of tones available in the lighter " 0452 "and darker areas of an image. Theoretically, if you are working on a very " 0453 "dark-toned (low key) image you might want a working space with a higher " 0454 "gamma. And if you are working on a high key image, say a picture taken in " 0455 "full noon sunlight of a wedding dress with snow as a backdrop, you might " 0456 "want to choose a working space with a lower gamma, so you have more " 0457 "available tonal gradations in the highlights." 0458 msgstr "" 0459 0460 #: ../../color_management/working_space.rst:141 0461 msgid "" 0462 "Theory aside, in the real world of real image editing, almost everyone uses " 0463 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are " 0464 "two notable exceptions." 0465 msgstr "" 0466 0467 #: ../../color_management/working_space.rst:143 0468 msgid "" 0469 "sRGB uses a transfer function close to that of a CRT (and thus not " 0470 "necessarily relevant to image editing or to display on an LCD). Unlike most " 0471 "other RGB color spaces the sRGB gamma can not be expressed as a single " 0472 "numerical value. The overall gamma is approximately 2.2, consisting of a " 0473 "linear (gamma 1.0) section near black, and a non-linear section elsewhere " 0474 "involving a 2.4 exponent and a gamma (slope of log output versus log input) " 0475 "changing from 1.0 through about 2.3, which makes for some complicated math " 0476 "during image processing." 0477 msgstr "" 0478 0479 #: ../../color_management/working_space.rst:145 0480 msgid "" 0481 "L*-RGB uses as its transfer function the same perceptually uniform transfer " 0482 "function as the CIELab color space. *When storing colors in limited " 0483 "precision values* using a perceptually uniform transfer function *can " 0484 "improve the reproduction of tones*." 0485 msgstr "" 0486 0487 #: ../../color_management/working_space.rst:147 0488 msgid "" 0489 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working " 0490 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted " 0491 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you " 0492 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) " 0493 "imaging and also if one wants to avoid introducing gamma-induced errors into " 0494 "one's regular low dynamic range editing." 0495 msgstr "" 0496 0497 #: ../../color_management/working_space.rst:149 0498 msgid "" 0499 "**Gamma-induced errors** is a topic outside the scope of this manual but " 0500 "it's commonly-encountered that gamma-induced error that is caused by " 0501 "incorrectly calculating luminance in a nonlinear RGB working space. And in a " 0502 "similar vein, the calculations involved in mixing colors together to produce " 0503 "new colors (such as using a digital filter to add warmth to an image) result " 0504 "in gamma errors unless the new colors are calculated by first transforming " 0505 "all the relevant values back to their linear values." 0506 msgstr "" 0507 0508 #: ../../color_management/working_space.rst:151 0509 msgid "" 0510 "Unfortunately and despite their undeniable mathematical advantages, linear " 0511 "gamma working spaces have so few tones in the shadows that they are " 0512 "impossible to use for editing if one is working in 8-bit, and still " 0513 "problematic at 16-bit. When the day comes when we are all doing our editing " 0514 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0515 "We can predict that we will all be using working spaces with gamma=1." 0516 msgstr "" 0517 0518 #: ../../color_management/working_space.rst:154 0519 msgid "Tonal Steps and Gamut Size" 0520 msgstr "" 0521 0522 #: ../../color_management/working_space.rst:156 0523 msgid "" 0524 "How many discrete tonal steps are there in a digital image? In an 8-bit " 0525 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit " 0526 "image theoretically you have 65536 steps. But remember, those 16-bit started " 0527 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 " 0528 "steps) as produced by the camera's A-to-D converter - the extra bits to " 0529 "reach 16-bit start out as just padding. The available tones are not " 0530 "distributed evenly from light to dark. In linear gamma mode (as the camera " 0531 "sensor sees things), there's a whole lot more tones in the highlights than " 0532 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right " 0533 "but don't blow the highlights." 0534 msgstr "" 0535 0536 #: ../../color_management/working_space.rst:158 0537 msgid "" 0538 "One major consideration in choosing a working space is that some working " 0539 "spaces are bigger than others, meaning they cover more of the visible " 0540 "spectrum (and as a consequence include some imaginary colors - mathematical " 0541 "constructs that don't really exist). These bigger spaces offer the advantage " 0542 "of allowing you to keep all the colors captured by your camera and preserved " 0543 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera " 0544 "profile to the super-wide-gamut profile connection space and out again to " 0545 "your chosen working space." 0546 msgstr "" 0547 0548 #: ../../color_management/working_space.rst:160 0549 msgid "" 0550 "But keeping all the possible colors comes at a price, as explained below. " 0551 "And it seems that any given digital image likely only contains a small " 0552 "subset of all the possible visible colors that your camera is capable of " 0553 "capturing. This small subset is easily contained in one of the smaller " 0554 "working spaces." 0555 msgstr "" 0556 0557 #: ../../color_management/working_space.rst:162 0558 msgid "" 0559 "Using a very large working space means that editing your image (applying " 0560 "curves, increasing saturation, etc.) can easily produce colors that your " 0561 "eventual output device (printer, monitor) simply cannot reproduce (you " 0562 "cannot see these colors while you're editing, either). So the conversion " 0563 "from your working space to your output device space (say your printer) will " 0564 "have to remap the out-of-gamut colors in your edited image, some of which " 0565 "might even be totally imaginary, to your printer color space with its much " 0566 "smaller color gamut." 0567 msgstr "" 0568 0569 #: ../../color_management/working_space.rst:164 0570 msgid "" 0571 "This remapping process will lead to inaccurate colors and loss of saturation " 0572 "at best. Even worse, the remapping can easily lead to banding (posterization " 0573 "- gaps in what should be a smooth color transition, across an expanse of " 0574 "blue sky) and clipping (e.g. your carefully crafted muted transitions across " 0575 "delicate shades of red, for example, might get remapped to a solid block of " 0576 "dull red after conversion to your printer's color space). Also, the experts " 0577 "say that 8-bit images just don't have enough tones to stretch across a wide " 0578 "gamut working space without banding and loss of saturation, even before " 0579 "conversion to an output space. So if you choose a large gamut working space, " 0580 "make sure you start with a 16-bit image." 0581 msgstr "" 0582 0583 #: ../../color_management/working_space.rst:171 0584 msgid "" 0585 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information" 0586 msgstr "" 0587 0588 #: ../../color_management/working_space.rst:173 0589 msgid "" 0590 "To summarize, large gamut working spaces, improperly handled, can lead to " 0591 "lost information on output. Small gamut working spaces can clip information " 0592 "on input. Medium-sized gamut working spaces try to strike a happy medium." 0593 msgstr "" 0594 0595 #: ../../color_management/working_space.rst:175 0596 msgid "Here are some oft-repeated bits of advice on choosing a working space:" 0597 msgstr "" 0598 0599 #: ../../color_management/working_space.rst:177 0600 msgid "" 0601 "For images intended for the web, use (or at least convert the final image " 0602 "to) sRGB." 0603 msgstr "" 0604 0605 #: ../../color_management/working_space.rst:179 0606 msgid "" 0607 "For the most accuracy in your image editing (that is, making the most of " 0608 "your limited *bits* with the least risk of banding or clipping when you " 0609 "convert your image from your working space to an output space), use the " 0610 "smallest working space that includes all the colors in the scene that you " 0611 "photographed, plus a little extra room for those new colors you " 0612 "intentionally produce as you edit." 0613 msgstr "" 0614 0615 #: ../../color_management/working_space.rst:181 0616 msgid "" 0617 "If you are working in 8-bits rather than 16-bits, choose a smaller rather " 0618 "than a larger working space to avoid clipping and banding." 0619 msgstr "" 0620 0621 #: ../../color_management/working_space.rst:183 0622 msgid "" 0623 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0624 "gamut working space to avoid loosing color information. Then convert this " 0625 "archival TIFF to your medium-gamut or large-gamut working space of choice " 0626 "(saving the converted working TIFF under a new name, of course)." 0627 msgstr ""