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 # translation of docs_digikam_org_color_management___camera_profiles.po to Slovak
 # Roman Paholík <wizzardsk@gmail.com>, 2023.
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 "PO-Revision-Date: 2023-03-19 10:12+0100\n"
 "Last-Translator: Roman Paholik <wizzardsk@gmail.com>\n"
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 #: ../../color_management/camera_profiles.rst:1
 msgid "Color Management and Camera Profiles"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:1
 msgid ""
 "digiKam, documentation, user manual, photo management, open source, free, "
 "learn, easy, image editor, color management, icc, profile, camera"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:14
 msgid "The Camera Profiles"
 msgstr "Profily fotoaparátu"
 
 #: ../../color_management/camera_profiles.rst:17
 msgid "Using Camera Profile"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:19
 msgid ""
 "Many excellent professional and amateur photographers save all their images "
 "as in-camera JPEGs and work exclusively in the sRGB color space. But if you "
 "want to work in a larger color space, or if you want to work with RAW files "
 "(even if you output sRGB image files from your RAW files), read on."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:21
 msgid ""
 "If you are reading this manual you probably are shooting RAW images with a "
 "digital dSLR and you are hoping that somewhere in the arcane waters of color "
 "management lies the answer to how to get a nice picture from your RAW image "
 "file. The next thing you need is the right camera profile for developing "
 "your RAW image. But first let's answer the question you really might have "
 "been asking."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:27
 msgid "digiKam RAW Preview Using **Embedded JPEG Image**."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:33
 msgid ""
 "digiKam RAW Preview Using an Half Sized Demosaiced in 8 bits and "
 "**Bilinear** Method."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:39
 msgid ""
 "digiKam RAW Import Tool from Image Editor Loading RAW file Demosaiced in 16-"
 "bit and **AHD** method."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:41
 msgid ""
 "Why doesn't the image produced by RAW converters like `Libraw <https://www."
 "libraw.org/>`_ look like the embedded preview displayed by digiKam? All "
 "digital camera images start out as RAW files, whether or not the camera "
 "allows the user the option to save the image as a RAW file. When you ask the "
 "camera to save JPEGs instead of RAW files, the camera uses its on-board "
 "processor to convert the RAW file to a JPEG. That embedded preview is what "
 "your final image would have looked like if you had set your camera to save "
 "JPEGs instead of RAW files."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:43
 msgid ""
 "Canon for example offers the user several picture styles - neutral, "
 "standard, portrait, landscape, and so forth - that determine what kind of "
 "processing will be done to the RAW image file to produce the final image, "
 "whether or not the processing is done *in-camera* or later, using the "
 "proprietary Canon software. This processing software does give the user "
 "additional control, but still manipulates the RAW image file in accordance "
 "with the chosen picture style. Most of the Canon picture styles add a heavy "
 "S-curve and extra color saturation to give the picture more *pop*. Even if "
 "you choose the *neutral* picture style (the Canon picture style that gives "
 "you the least modified tonality); and select *less contrast*, *less "
 "saturation*, *no noise reduction*, and *no sharpening* in the Cannon RAW "
 "development software, you will find, if you know what to look for, that an S-"
 "curve and also shadow de-noising has been applied to your image."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:45
 msgid ""
 "Libraw which digiKam uses to convert RAW files to image files doesn't add an "
 "S-curve to your image tonality. Libraw gives you the lights and darks that "
 "are actually recorded by the camera sensor. Libraw is one of only a handful "
 "of RAW developers that actually gives you the *scene-referred* tonality. And "
 "the Libraw scene-referred image is flat-looking, because the camera sensor "
 "records light linearly, whereas our eyes are constantly interacting with our "
 "brain to accommodate dim and bright areas in a scene, meaning our brain to "
 "some extent *applies an S-curve* to the scene to enable us to better focus "
 "in on the areas of particular interest as we look around."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:47
 msgid ""
 "The embedded JPEG preview looks so much nicer than Libraw's output. What is "
 "the value in scene-referred tonality? When you take a picture, presumably "
 "you have an idea of what you want the final image to look like. It is much "
 "easier to achieve that final image if you don't have to *undo* stuff that "
 "has already been done to your image. Once Canon (or Nikon, or Sony, etc.) "
 "has applied their proprietary S-curves and shadow de-noising, sharpening, "
 "etc. to your image, then your shadows, highlights, edge detail, etc. are "
 "already squashed, clipped, chopped, and otherwise altered and mangled. "
 "You've thrown information away and you cannot get it back. Especially in the "
 "shadows, even with 16-bit images (actually, 12- or 14-bits, depending on the "
 "camera, but it's encoded as 16-bits for the computer's convenience), there "
 "just isn't that much information to begin with."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:53
 msgid ""
 "digiKam Raw Import Tool from Image Editor Allows to Post Process Exposures "
 "and Curves just After the Demosaicing."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:55
 msgid ""
 "It seems to me that the heart and soul of image processing is the deliberate "
 "manipulation of image tonality, color, selective sharpening, and so forth, "
 "such that the viewer focuses in on what you, the photographer, found of "
 "particular interest when you took the picture. Why give the art of image "
 "processing over to some proprietary RAW processing software? In other words, "
 "*flat is good* if you'd rather give your images your own artistic "
 "interpretation. The alternative is to let the canned, proprietary algorithms "
 "produced by Canon, Nikon, Sony, etc. interpret your images for you. On the "
 "other hand, there is no denying that for many images, those canned "
 "algorithms are really pretty good."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:57
 msgid ""
 "You can see the value in starting my image-editing with a scene-referred "
 "rendition instead of the eye-popping rendition that you see in the embedded "
 "JPEG. But the images produced by digiKam and Libraw look a little bit "
 "different. If the image looks very dark, then you asked Libraw to output a "
 "16-bit file and you have run into a problem with Libraw not applying a gamma "
 "transform before outputting the image file. You can use the Image Editor to "
 "apply the appropriate gamma transform to the image file produced by Libraw. "
 "Or you can find or make a camera profile with a gamma of 1."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:59
 msgid ""
 "If your image has pink highlights, check your **White Balance** settings in "
 "the RAW Import tool, especially the **highlights** options."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:65
 msgid ""
 "digiKam Raw Import Tool from Image Editor Allows to Tune Many Options about "
 "the Camera Colorimetric Values."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:67
 msgid ""
 "If the image isn't dark but it looks really weird, probably you made some "
 "injudicious choices in the Raw Import user-interface from Image Editor. The "
 "Libraw interface conveniently allows you to *dial in* options. However, "
 "convenience always comes at a price. First, the interface might not provide "
 "access to all the options. And second, to get the most from the Libraw "
 "interface, you have to know what the buttons, sliders, etc. in the interface "
 "actually do."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:70
 msgid "Camera Profile Specificity"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:72
 msgid ""
 "Why are the Canon and Nikon colors better than the colors produced by "
 "Libraw? Color rendition is one place where the Canon (and presumably Nikon) "
 "proprietary RAW developing software does a really good job."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:74
 msgid ""
 "The proprietary RAW processing software is coupled with camera profiles that "
 "are specific to RAW images coming from your make and model of camera, when "
 "processed using your make and model camera's proprietary RAW processing "
 "software. With digikam's Libraw user interface, you can apply Canon's camera "
 "model picture style specific color profile to the Libraw output during the "
 "RAW development process, and the colors will still not be exactly the same "
 "as what Canon produces."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:76
 msgid ""
 "Digital cameras have an array of millions of little light sensors inside, "
 "making up either a CCD or a CMOS chip. These light-sensing pixels are color-"
 "blind - they only record the amount, not the color, of light falling on "
 "them. So to allow pixels to record color information, each pixel is capped "
 "by a transparent red, green, or blue lens, usually alternating in what is "
 "called a Bayer array (except for Sigma Faveon sensors, which work "
 "differently). A RAW image is nothing more than an array of values indicating "
 "*how much light* passed through the red, blue, or green lens cap to reach "
 "the sensor."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:78
 msgid ""
 "Clearly, pixel response to light is the result of lots of camera specific "
 "factors including: the nature of the sensor array itself, the precise "
 "coloring/transmissive qualities of the lens caps, and the particular analog "
 "to digital conversion and post-conversion processing that happens inside the "
 "camera to produce the RAW image that gets stored on the card."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:81
 msgid "Analog to Digital Conversion"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:83
 msgid ""
 "*Analog* means continuously varying, like how much water you can put in a "
 "glass. *Digitizing* an analog signal means that the continuously changing "
 "levels from the analog signal source are *rounded* to discrete quantities "
 "convenient to the binary numbers used by computers. The analog to digital "
 "conversion that takes place inside the camera is necessary because the light-"
 "sensing pixels are analog in nature - they collect a charge proportionate to "
 "the amount of light that reaches them."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:85
 msgid ""
 "The accumulated charge on each pixel is then turned into a discrete, digital "
 "quantity by the camera's analog to digital converter. Which by the way "
 "explains why a 14-bit converter is better than a 12-bit converter - more "
 "precision in the conversion output means less information is thrown away in "
 "the conversion process."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:87
 msgid ""
 "Especially in pictures taken with low light conditions, a noise is "
 "integrated while the analog to digital conversion. digiKam and Libraw "
 "interface provides a **Noise Reduction** correction based on wavelets which "
 "can be applied while demosaicing."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:93
 msgid ""
 "digiKam Raw Import Tool from Image Editor Allows Wavelets Noise Reduction "
 "While Demosaicing."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:96
 msgid "Camera Profile and RAW Treatment"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:98
 msgid ""
 "The whole point of interpolation using demosaicing algorithms such as "
 "`Libraw <https://www.libraw.org/>`_'s default AHD is to guess what color and "
 "intensity of light actually fell on any given pixel by interpolating "
 "information gathered from that single pixel plus its neighboring pixels. "
 "Every RAW processing program makes additional assumptions such as when is it "
 "signal and when is it background noise, or at what point has the sensor well "
 "reached full saturation. The resulting output of all these algorithms and "
 "assumptions that RAW processing software makes is a trio of RGB values for "
 "each pixel in the image. Given the same RAW file, different RAW processors "
 "will output different RGB values."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:104
 msgid ""
 "digiKam Raw Import Tool from Image Editor Allow to Tune the Color Profile to "
 "Apply While Demosaicing."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:107
 msgid "Generic Camera Profile"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:109
 msgid ""
 "This website section has information on where to find ready-made camera "
 "profiles. If you poke around the digiKam users forum archives, you'll find "
 "additional advice. If you keep hunting and experimenting, likely you will "
 "find a generic profile that works *well enough*. However, as stated above, "
 "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. Which is why proprietary programs, have to make their own "
 "profiles for all the cameras that they support. So eventually you may decide "
 "that you want a camera profile that is specific to your camera, your "
 "lighting conditions, and your RAW processing workflow."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:115
 msgid "The Draft of Color Management Logic While a RAW Workflow Processing."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:118
 msgid "Lighting Conditions and RAW Workflow"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:120
 msgid ""
 "Many commercial services provide profiling services, for a fee, of course. "
 "Or you can use `Argyll <http://www.argyllcms.com/>`_ to profile your camera "
 "yourself. If you want to profile your own camera, you will need an `IT8 "
 "target <https://en.wikipedia.org/wiki/IT8#Targets>`_, that is, an image "
 "containing squares of known colors. Along with the IT8 target, you will "
 "receive the appropriate set of known values for each square of color on the "
 "target."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:122
 msgid ""
 "If you plan to use Argyll to profile your camera, check the documentation "
 "for a list of recommended targets. To profile your camera, you photograph "
 "the IT8 target under specified lighting conditions (for example, in "
 "daylight, usually taken to mean noon on a sunny day in the summer, with "
 "nothing nearby that might cast shadows or reflect color casts) and save the "
 "image as a RAW file. Then you process the RAW file using your particular RAW "
 "processing software+settings and run the resulting image file through the "
 "profiling software. The profiling software compares the RGB values in the "
 "image produced by your camera+lighting conditions+RAW processing routine "
 "with the RGB values in the original target and then produces your camera "
 "(icc) profile."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:124
 msgid ""
 "Profiling a camera is exactly analogous to profiling a monitor. When "
 "profiling a monitor, the profiling software tells the graphics card to send "
 "squares of color with particular RGB values to the screen. The "
 "spectrophotometer measures the actual color that is produced on the screen. "
 "When profiling a camera, the known colors are the RGB colors in the original "
 "patches on the IT8 target, which the profiling software compares to the "
 "colors produced by the digital image of the target, which was photographed "
 "in selected lighting conditions, saved as RAW, then processed with specific "
 "RAW processing software plus settings."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:126
 msgid ""
 "How to apply a camera profile to the 16-bit image file produced by my open "
 "source RAW processing software? If you are using the `Libraw <https://www."
 "libraw.org/>`_ interface from digiKam, here is how to tell digiKam which "
 "camera profile to use."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:132
 msgid ""
 "The digiKam Batch Queue Manager Raw Converter has also the Same Noise "
 "Reduction and Color Profiles Options than Image Editor"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:135
 msgid "Profiles Point to Real Colors"
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:137
 msgid ""
 "A color profile describes the color gamut of the device or space to which it "
 "belongs by specifying what real color in the real world corresponds to each "
 "trio of RGB values in the color space of the device (camera, monitor, "
 "printer) or working space."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:139
 msgid ""
 "With a camera profile, for every RGB trio of values associated with every "
 "pixel in the image file produced from the RAW file by the RAW processing "
 "software, this RGB image file trio corresponds to real color as seen by a "
 "real observer in the real world (or rather, as displayed on the IT8 target "
 "if you produced your own camera profile, but it amounts to the same thing - "
 "the goal of profiling your camera is to make the picture of the target look "
 "like the target)."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:141
 msgid ""
 "You cannot see an image by looking at its RGB values. Rather you see an "
 "image by displaying it on a monitor or by printing it. When you profile your "
 "monitor, you produce a monitor profile which RGB trio of values that the "
 "graphics card sends to the screen will produce on the screen with real color "
 "as seen by a real observer in the real world."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:143
 msgid ""
 "What the monitor profile and the camera profile have in common is the part "
 "about that real color as seen by a real observer in the real world. "
 "Different trios of RGB numbers in, respectively, the monitor and camera "
 "color spaces point to the same real, visible color in the real world. Real "
 "colors in the real world provide the reference point for translating between "
 "all the color profiles your image will ever encounter on its way from camera "
 "to screen to editing program to print or the web."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:145
 msgid ""
 "Real people don't even see the same colors when they look at the world, do "
 "they? A long time ago (1931, although refinements continue to be made), the "
 "International Color Consortium decided to map out and mathematically "
 "describe all the colors visible to real people in the real world. So they "
 "showed a whole bunch of people a whole bunch of colors and asked them to say "
 "when this color matched that color, where the two visually matching colors "
 "were in fact produced by differing combinations of wavelengths. What was the "
 "value of such a strange procedure? Human color perception depends on the "
 "fact that we have three types of cone receptors with peak sensitivity to "
 "light at wavelengths of approximately 430, 540, and 570 nm, but with "
 "considerable overlap in sensitivity between the different cone types. One "
 "consequence of how we see color is that many different combinations of "
 "differing wavelengths of light will look like the same color."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:147
 msgid ""
 "The ICC produced the `CIE-XYZ color space <https://en.wikipedia.org/wiki/"
 "CIE_1931_color_space>`_ s which mathematically describes and models all the "
 "`colors visible to an ideal human <https://en.wikipedia.org/wiki/"
 "Color_vision>`_ observer (*ideal* in the sense of modeling the tested "
 "responses of lots of individual humans). This color space is not a color "
 "profile in the normal sense of the word. Rather it provides an absolute "
 "**Profile Connecting Space** (PCS) for translating color RGB values from one "
 "color space to another."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:149
 msgid ""
 "CIE-XYZ is not the only Profile Connection Space. Another commonly used "
 "Profile Connection Space is `CIE-Lab <https://en.wikipedia.org/wiki/"
 "Lab_color_space>`_, which is mathematically derived from the CIE-XYZ space. "
 "CIE-Lab is intended to be **perceptually uniform**, meaning a change of the "
 "same amount in a color value should produce a change of about the same "
 "visual importance."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:151
 msgid ""
 "The three coordinates of CIE-Lab represent the lightness of the color (**L = "
 "0** yields black and **L = 100** indicates diffuse white; specular white may "
 "be higher), its position between red/magenta and green (**a**, negative "
 "values indicate green while positive values indicate magenta) and its "
 "position between yellow and blue (**b**, negative values indicate blue and "
 "positive values indicate yellow)."
 msgstr ""
 
 #: ../../color_management/camera_profiles.rst:153
 msgid ""
 "To be useful, color profiles need to be coupled with software that performs "
 "the translation from one color space to another via the Profile Connection "
 "Space. In digiKam, translation from one color space to another usually is "
 "done by `Lcms <https://www.littlecms.com/>`_, the **Little Color Management "
 "Software**."
 msgstr ""