Warning, /documentation/digikam-doc/locale/sk/LC_MESSAGES/color_management/working_space.po is written in an unsupported language. File is not indexed.
0001 # translation of docs_digikam_org_color_management___working_space.po to Slovak 0002 # Roman PaholĂk <wizzardsk@gmail.com>, 2023. 0003 msgid "" 0004 msgstr "" 0005 "Project-Id-Version: docs_digikam_org_color_management___working_space\n" 0006 "Report-Msgid-Bugs-To: \n" 0007 "POT-Creation-Date: 2023-12-02 00:35+0000\n" 0008 "PO-Revision-Date: 2023-03-19 10:13+0100\n" 0009 "Last-Translator: Roman Paholik <wizzardsk@gmail.com>\n" 0010 "Language-Team: Slovak <kde-sk@linux.sk>\n" 0011 "Language: sk\n" 0012 "MIME-Version: 1.0\n" 0013 "Content-Type: text/plain; charset=UTF-8\n" 0014 "Content-Transfer-Encoding: 8bit\n" 0015 "X-Generator: Lokalize 22.12.3\n" 0016 "Plural-Forms: nplurals=3; plural=(n==1) ? 0 : (n>=2 && n<=4) ? 1 : 2;\n" 0017 0018 #: ../../color_management/working_space.rst:1 0019 msgid "Color Management and Working Space" 0020 msgstr "" 0021 0022 #: ../../color_management/working_space.rst:1 0023 msgid "" 0024 "digiKam, documentation, user manual, photo management, open source, free, " 0025 "learn, easy, image editor, color management, icc, profile, working space" 0026 msgstr "" 0027 0028 #: ../../color_management/working_space.rst:14 0029 msgid "The Working Space" 0030 msgstr "Pracovná plocha" 0031 0032 #: ../../color_management/working_space.rst:17 0033 msgid "Color Workflow" 0034 msgstr "" 0035 0036 #: ../../color_management/working_space.rst:19 0037 msgid "" 0038 "So we told digiKam where to find my monitor profile and we have a camera " 0039 "profile that we applied to the image file produced by my RAW processing " 0040 "software. What's the next step in color management?" 0041 msgstr "" 0042 0043 #: ../../color_management/working_space.rst:21 0044 msgid "" 0045 "You need to choose a working color space so you can edit your image. `Lcms " 0046 "<https://www.littlecms.com/>`_ will transform your image from your camera " 0047 "color space to your chosen working space, via the **Profile Connection " 0048 "Space** specified by your camera color profile. Why cannot to just edit " 0049 "images in the color space described by the camera profile?" 0050 msgstr "" 0051 0052 #: ../../color_management/working_space.rst:23 0053 msgid "" 0054 "After all, the camera profile should provide the best *fit* to the colors " 0055 "recorded by my camera, as processed by my RAW processing procedure, right? " 0056 "Working spaces, such as sRGB or Adobe RGB, are color spaces that facilitate " 0057 "good results while editing. For instance, pixels with equal values of RGB " 0058 "should appear neutral. This just want means that for any given pixel in an " 0059 "image that has been converted to a suitable working space, if R=G=B you " 0060 "should see grey or black or white on your screen. Many camera profiles " 0061 "violate this *neutral* condition." 0062 msgstr "" 0063 0064 #: ../../color_management/working_space.rst:29 0065 msgid "" 0066 "digiKam Image Editor has a Menu to Switch Quickly an Image from a Color " 0067 "Space to Another one" 0068 msgstr "" 0069 0070 #: ../../color_management/working_space.rst:31 0071 msgid "" 0072 "However, there is one other good reason to not want to edit your image in " 0073 "your camera profile color space. If you look at the size of a typical camera " 0074 "profile, it is on the order of a quarter to a half a megabyte or more. It's " 0075 "got a lot of information about all the changes that need to be made at " 0076 "different regions of color and tonality in the original scene, to get " 0077 "accurate color rendition from the RGB values that come out of the RAW " 0078 "processor. The camera profile is accurate (at least for colors in the " 0079 "original target) but not particularly mathematically smooth. Working space " 0080 "color profiles, on the other hand, are very small in size (half a kilobyte " 0081 "instead of half a megabyte) because they describe a color gamut in terms of " 0082 "smooth, continuous mathematical functions. Working space profiles don't need " 0083 "to make allowances for the *messiness* of real world sensors, so the " 0084 "mathematical manipulations performed during image editing will go much more " 0085 "smoothly and accurately than if you try to edit your image while it is still " 0086 "in the camera color space." 0087 msgstr "" 0088 0089 #: ../../color_management/working_space.rst:33 0090 msgid "Working Space Profiles are characterized by:" 0091 msgstr "" 0092 0093 #: ../../color_management/working_space.rst:35 0094 msgid "" 0095 "**Gamma** transfer function, which dictates how much the original linear " 0096 "intensity values captured by the camera sensor are altered to make editing " 0097 "easier or more precise. These values from the camera are subjected to the in-" 0098 "camera A-to-D conversion, then interpolated by the RAW processing program to " 0099 "produce the image file." 0100 msgstr "" 0101 0102 #: ../../color_management/working_space.rst:37 0103 msgid "" 0104 "RGB primaries which dictate the range of colors, that is, the color " 0105 "**Gamut**, covered by a given profile." 0106 msgstr "" 0107 0108 #: ../../color_management/working_space.rst:39 0109 msgid "" 0110 "**White point**, usually D50 or D65 though other values may be used, which " 0111 "specifies the white point color temperature of the working space." 0112 msgstr "" 0113 0114 #: ../../color_management/working_space.rst:42 0115 msgid "Confusions Terminology" 0116 msgstr "" 0117 0118 #: ../../color_management/working_space.rst:44 0119 msgid "" 0120 "Before talking more about working spaces, some confusions and confusing " 0121 "terminology needs to be cleared up:" 0122 msgstr "" 0123 0124 #: ../../color_management/working_space.rst:46 0125 msgid "" 0126 "sRGB is both a working color space and an output color space for images " 0127 "intended for the web and for monitor display. If you have a spiffy new " 0128 "monitor with a gamut larger than the gamut covered by sRGB, obviously you " 0129 "might want to reconsider what output profile to use to best take advantage " 0130 "of your wonderful and hopefully calibrated and profiled monitor, but please " 0131 "convert your image to sRGB before sending it on to your friends. sRGB is " 0132 "also the color space that a lot of home and mass-production commercial " 0133 "printers expect image files to be in when sent to the printer. It is also " 0134 "the color space that most programs assume if an image does not have an " 0135 "embedded color profile telling the program what color space should be used " 0136 "to interpret (translate) the RGB numbers. So if you choose to not use color-" 0137 "management, your color-management choices are simple - set everything to " 0138 "sRGB." 0139 msgstr "" 0140 0141 #: ../../color_management/working_space.rst:48 0142 msgid "" 0143 "All JPEGs coming straight out of a camera (even if produced by point-and-" 0144 "shoots cameras that don't allow you to save a RAW file) start life inside " 0145 "the camera as a RAW file produced by the camera's A to D converter. The " 0146 "processor inside the camera interpolates the RAW file, assigns a camera " 0147 "profile, translates the resulting RGB numbers to a working space (usually " 0148 "sRGB but sometimes you can choose AdobeRGB, depending on the camera), does " 0149 "the JPEG compression, and stores the JPEG file on your camera card. So JPEGs " 0150 "from your camera never need to be assigned a camera or input profile which " 0151 "is then translated to a working space via a Profile Connection Space. JPEGs " 0152 "from a camera are already in a working space." 0153 msgstr "" 0154 0155 #: ../../color_management/working_space.rst:50 0156 msgid "" 0157 "In case anyone is unsure on this point, note that an interpolated RAW file " 0158 "is no longer a RAW file - it has been interpolated and then output as a TIFF " 0159 "whose RGB values need to be translated to a working space, using the camera " 0160 "profile, the Profile Connection Space, and Lcms." 0161 msgstr "" 0162 0163 #: ../../color_management/working_space.rst:52 0164 msgid "" 0165 "To introduce a bit of commonly heard color-management terminology here - the " 0166 "camera profile and your printer's color profile are both device dependent, " 0167 "whereas the working space will be device-independent - it can be used with " 0168 "any image, with any properly color-managed software, without regard for " 0169 "where the image originated." 0170 msgstr "" 0171 0172 #: ../../color_management/working_space.rst:54 0173 msgid "" 0174 "Above we have used the words translate and translation as a descriptive " 0175 "metaphor for what Lcms does when it translates RGB values from one color " 0176 "space to another via the Profile Connection Space. The usual and correct " 0177 "terminology is convert and conversion. The four methods of conversion from " 0178 "one color space to another are: perceptual, relative colorimetric, absolute " 0179 "colorimetric, and saturation. Which method of conversion you should use for " 0180 "any given image processing step from RAW file to final output image is " 0181 "beyond the scope of this manual. The standard advice is: when in doubt, use " 0182 "perceptual." 0183 msgstr "" 0184 0185 #: ../../color_management/working_space.rst:56 0186 msgid "" 0187 "Assign a profile means change the meaning of the RGB numbers in an image by " 0188 "embedding a new profile without changing the actual RGB numbers associated " 0189 "with each pixel in the image; convert means embed a new profile, but also " 0190 "change the RGB numbers at the same time so that the meaning of the RGB " 0191 "values - that is, the real-world visible color represented by the trio of " 0192 "RGB numbers associated with each pixel in an image - remains the same before " 0193 "and after the conversion from one space to another. You should be able to do " 0194 "multiple conversions of an image from one working space to another, and with " 0195 "a properly color-managed image editor, even though all the RGB numbers in " 0196 "the image will change with each conversion, the image on your screen should " 0197 "look the same (leaving aside the usually unnoticeable small but inevitable " 0198 "changes from accumulated gamut mismatches and mathematical rounding errors). " 0199 "However, every time you assign a new working space profile rather than " 0200 "convert to a new working space, the appearance of the image should more or " 0201 "less drastically change." 0202 msgstr "" 0203 0204 #: ../../color_management/working_space.rst:58 0205 msgid "" 0206 "Color management is not only relevant if you shoot RAW. Color management " 0207 "affects every stage of the image processing pipeline, whether you start with " 0208 "a RAW file that you, yourself interpolate and translate into a TIFF, or if " 0209 "you start with a JPEG or TIFF produced by your camera." 0210 msgstr "" 0211 0212 #: ../../color_management/working_space.rst:61 0213 msgid "Selecting a Working Space" 0214 msgstr "" 0215 0216 #: ../../color_management/working_space.rst:63 0217 msgid "" 0218 "Which working space do you need to use in digiKam? Working spaces, such as " 0219 "sRGB or Adobe RGB, are color spaces that facilitate good results while " 0220 "editing. For instance, pixels with equal values of RGB should appear " 0221 "neutral. Using a large gamut working space will lead to posterization, while " 0222 "using a small working space will lead to clipping. This trade-off is a " 0223 "consideration for the Image Editor." 0224 msgstr "" 0225 0226 #: ../../color_management/working_space.rst:65 0227 msgid "Most working space profiles are characterized by:" 0228 msgstr "" 0229 0230 #: ../../color_management/working_space.rst:67 0231 msgid "" 0232 "The place of the gamut into the **Diagram** `(1)` of all colors visible to " 0233 "the average human eyes." 0234 msgstr "" 0235 0236 #: ../../color_management/working_space.rst:69 0237 msgid "" 0238 "The **Gamut** `(2)` triangle to define the range of RGB colors of the " 0239 "profile. Red point is on the bottom right corner, Green is on the top, Blue " 0240 "is on the left bottom. Values given around the edge of the gamut passing " 0241 "from the blue, the green and the red points, are the spectral colors in " 0242 "nanometers." 0243 msgstr "" 0244 0245 #: ../../color_management/working_space.rst:71 0246 msgid "" 0247 "The **White point** `(3)` to define the total dynamic range of the profile." 0248 msgstr "" 0249 0250 #: ../../color_management/working_space.rst:73 0251 msgid "" 0252 "The **Gamma** to define the transfer function of the profile (not displayed " 0253 "in the gamut)." 0254 msgstr "" 0255 0256 #: ../../color_management/working_space.rst:79 0257 msgid "The Color Profile Details of CIE Chromaticity Diagram Show in digiKam" 0258 msgstr "" 0259 0260 #: ../../color_management/working_space.rst:81 0261 msgid "" 0262 "The practical consequences that result from using different RGB primaries, " 0263 "leading to larger or smaller working spaces, are discussed below. The " 0264 "practical consequences for different choices for the working space white " 0265 "point are beyond the scope of this manual. Here we will talk a little bit " 0266 "about the practical consequences of the working space gamma." 0267 msgstr "" 0268 0269 #: ../../color_management/working_space.rst:83 0270 msgid "" 0271 "The gamma of a color profile dictates what power transform needs to take " 0272 "place to properly convert from an image's embedded color profile (perhaps " 0273 "your working color space) to another color profile with a different gamma, " 0274 "such as (i) the display profile used to display the image on the screen or " 0275 "(ii) perhaps to a new working space, or (iii) perhaps from your working " 0276 "space to your printer's color space." 0277 msgstr "" 0278 0279 #: ../../color_management/working_space.rst:87 0280 msgid "" 0281 "Mathematically speaking, for a power transform you normalize the RGB numbers " 0282 "and raise the resulting numbers to an appropriate power depending on the " 0283 "respective gammas of the starting and ending color space, then re-normalize " 0284 "the results to a new set of RGB numbers. `Lcms <https://www.littlecms.com/" 0285 ">`_ does this for you when there is a need to convert from one color space " 0286 "to another in your workflow." 0287 msgstr "" 0288 0289 #: ../../color_management/working_space.rst:89 0290 msgid "" 0291 "One practical consequence of the gamma of a working space is that the higher " 0292 "the gamma, the more tones are available for editing in the shadows, with " 0293 "consequently fewer tones available in the highlights. So theoretically, if " 0294 "you are working on a very dark-toned (low key) image you might want a " 0295 "working space with a higher gamma. And if you are working on a high key " 0296 "image, say a picture taken in full noon sunlight of a wedding dress with " 0297 "snow as a backdrop, you might want to choose a working space with a lower " 0298 "gamma, so you have more available tonal gradations in the highlights. But in " 0299 "the real world of real image editing, almost everyone uses working spaces " 0300 "with either gamma 1.8 or 2.2." 0301 msgstr "" 0302 0303 #: ../../color_management/working_space.rst:91 0304 msgid "" 0305 "Some people are trying to standardize on gamma 2.0. sRGB and LStar-RGB are " 0306 "not gamma-based working spaces. Rather, sRGB uses a hybrid gamma, and LStar-" 0307 "RGB uses a luminosity-based tonal response curve instead of a gamma value." 0308 msgstr "" 0309 0310 #: ../../color_management/working_space.rst:93 0311 msgid "" 0312 "In addition to gamma 1.8 and gamma 2.2 the only other gamma for a working " 0313 "space that gets much mention or use is gamma 1.0, also called linear gamma. " 0314 "Linear gamma is used in HDR (high dynamic range) imaging and also if one " 0315 "wants to avoid introducing gamma-induced errors into one's regular low " 0316 "dynamic range editing. Gamma-induced errors is a topic outside the scope of " 0317 "this manual, but see Gamma errors in picture scaling, for gamma-induced " 0318 "color shifts." 0319 msgstr "" 0320 0321 #: ../../color_management/working_space.rst:95 0322 msgid "" 0323 "Unfortunately and despite their undeniable mathematical advantages, linear " 0324 "gamma working spaces have so few tones in the shadows that they are " 0325 "impossible to use for editing if one is working in 8-bits, and still " 0326 "problematic at 16-bits. When the day comes when we are all doing our editing " 0327 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0328 "we predict that we will all be using working spaces with gamma 1." 0329 msgstr "" 0330 0331 #: ../../color_management/working_space.rst:101 0332 msgid "" 0333 "Depending of the Settings digiKam Can Ask you to Convert to Working Space " 0334 "When Loading in Image Editor" 0335 msgstr "" 0336 0337 #: ../../color_management/working_space.rst:104 0338 msgid "Large or Small Gamut" 0339 msgstr "" 0340 0341 #: ../../color_management/working_space.rst:106 0342 msgid "" 0343 "One major consideration in choosing a working space is that some working " 0344 "spaces are bigger than others, meaning they cover more of the visible " 0345 "spectrum (and perhaps even include some imaginary colors - mathematical " 0346 "constructs that don't really exist). These bigger spaces offer the advantage " 0347 "of allowing you to keep all the colors captured by your camera and preserved " 0348 "by the Lcms conversion from your camera profile to the really big profile " 0349 "connection space." 0350 msgstr "" 0351 0352 #: ../../color_management/working_space.rst:112 0353 msgid "" 0354 "For the Left to Right: sRGB, AbodeRGB, WideGammutRGB, and ProPhotoRGB Color " 0355 "Profile Show in digiKam" 0356 msgstr "" 0357 0358 #: ../../color_management/working_space.rst:114 0359 msgid "" 0360 "But keeping all the possible colors comes at a price. It seems that any " 0361 "given digital image (pictures of daffodils with saturated yellows being one " 0362 "common exception) likely only contains a small subset of all the possible " 0363 "visible colors that your camera is capable of capturing. This small subset " 0364 "is easily contained in one of the smaller working spaces. Using a very large " 0365 "working space mean that editing your image (applying curves, saturation, " 0366 "etc.) can easily produce colors that your eventual output device (printer, " 0367 "monitor) simply cannot display." 0368 msgstr "" 0369 0370 #: ../../color_management/working_space.rst:116 0371 msgid "" 0372 "So the conversion from your working space to your output device space (say " 0373 "your printer) will have to remap the out of gamut colors in your edited " 0374 "image, some of which might even be totally imaginary, to your printer color " 0375 "space with its much smaller gamut, leading to inaccurate colors at best and " 0376 "at worst to banding (posterization - gaps in what should be a smooth color " 0377 "transition, say, across an expanse of blue sky) and clipping (your carefully " 0378 "crafted muted transitions across delicate shades of red, for example, might " 0379 "get remapped to a solid block of dull red after conversion to your printer's " 0380 "color space)." 0381 msgstr "" 0382 0383 #: ../../color_management/working_space.rst:118 0384 msgid "" 0385 "In other words, large gamut working spaces, improperly handled, can lead to " 0386 "lost information on output. Small gamut working spaces can clip information " 0387 "on input. Here is some oft-repeated advice:" 0388 msgstr "" 0389 0390 #: ../../color_management/working_space.rst:120 0391 msgid "For images intended for the web, use sRGB." 0392 msgstr "" 0393 0394 #: ../../color_management/working_space.rst:122 0395 msgid "" 0396 "For the most accuracy in your image editing (that is, making the most of " 0397 "your *bits* with the least risk of banding or clipping when you convert your " 0398 "image from your working space to an output space), use the smallest working " 0399 "space that includes all the colors in the scene that you photographed, plus " 0400 "a little extra room for those new colors you intentionally produce as you " 0401 "edit." 0402 msgstr "" 0403 0404 #: ../../color_management/working_space.rst:124 0405 msgid "" 0406 "If you are working in 8-bits rather than 16-bits, choose a smaller space " 0407 "rather than a larger space." 0408 msgstr "" 0409 0410 #: ../../color_management/working_space.rst:126 0411 msgid "" 0412 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0413 "gamut working space to avoid loosing color information. Then convert this " 0414 "archival TIFF to your working space of choice (saving the converted working " 0415 "TIFF under a new name, of course). See here for more details." 0416 msgstr "" 0417 0418 #: ../../color_management/working_space.rst:132 0419 msgid "digiKam Queue Manager Allows to Batch Convert Color Space" 0420 msgstr "" 0421 0422 #: ../../color_management/working_space.rst:135 0423 msgid "Gamma Properties" 0424 msgstr "" 0425 0426 #: ../../color_management/working_space.rst:137 0427 msgid "" 0428 "The gamma of a color profile dictates what power transform needs to take " 0429 "place to properly convert from an image's embedded color profile (perhaps " 0430 "your working color space or your camera color profile) to another color " 0431 "profile with a different gamma, such as your chosen working space, or the " 0432 "display profile used to display the image on the screen or perhaps from one " 0433 "working space to another, or perhaps from your working space to your " 0434 "printer's color space. `Libraw <https://www.libraw.org/>`_ outputs a 16-bit " 0435 "image with a linear gamma, which means that a histogram of the resulting " 0436 "image file shows the actual amount of light that each pixel on the camera " 0437 "sensor captured during the exposure (paraphrasing this page). (Which is why " 0438 "at present applying a camera profile to the Libraw output also requires " 0439 "applying an appropriate gamma transform to get to the desired working space, " 0440 "unless the camera profile also uses gamma=1.)" 0441 msgstr "" 0442 0443 #: ../../color_management/working_space.rst:139 0444 msgid "" 0445 "One practical consequence of the gamma of a working space is that the higher " 0446 "the gamma, the more discrete tones are available for editing in the shadows, " 0447 "with consequently fewer tones available in the highlights. Changing the " 0448 "gamma of an image redistributes the number of tones available in the lighter " 0449 "and darker areas of an image. Theoretically, if you are working on a very " 0450 "dark-toned (low key) image you might want a working space with a higher " 0451 "gamma. And if you are working on a high key image, say a picture taken in " 0452 "full noon sunlight of a wedding dress with snow as a backdrop, you might " 0453 "want to choose a working space with a lower gamma, so you have more " 0454 "available tonal gradations in the highlights." 0455 msgstr "" 0456 0457 #: ../../color_management/working_space.rst:141 0458 msgid "" 0459 "Theory aside, in the real world of real image editing, almost everyone uses " 0460 "working spaces with either a gamma of either 1.8 or 2.2. sRGB and L*-RGB are " 0461 "two notable exceptions." 0462 msgstr "" 0463 0464 #: ../../color_management/working_space.rst:143 0465 msgid "" 0466 "sRGB uses a transfer function close to that of a CRT (and thus not " 0467 "necessarily relevant to image editing or to display on an LCD). Unlike most " 0468 "other RGB color spaces the sRGB gamma can not be expressed as a single " 0469 "numerical value. The overall gamma is approximately 2.2, consisting of a " 0470 "linear (gamma 1.0) section near black, and a non-linear section elsewhere " 0471 "involving a 2.4 exponent and a gamma (slope of log output versus log input) " 0472 "changing from 1.0 through about 2.3, which makes for some complicated math " 0473 "during image processing." 0474 msgstr "" 0475 0476 #: ../../color_management/working_space.rst:145 0477 msgid "" 0478 "L*-RGB uses as its transfer function the same perceptually uniform transfer " 0479 "function as the CIELab color space. *When storing colors in limited " 0480 "precision values* using a perceptually uniform transfer function *can " 0481 "improve the reproduction of tones*." 0482 msgstr "" 0483 0484 #: ../../color_management/working_space.rst:147 0485 msgid "" 0486 "In addition to gamma=1.8 and gamma=2.2, the only other gamma for a working " 0487 "space that gets much mention or use is linear gamma, or gamma=1.0. As noted " 0488 "above, `Libraw <https://www.libraw.org/>`_ outputs linear gamma files if you " 0489 "ask for 16-bit output. Linear gamma is used in HDR (high dynamic range) " 0490 "imaging and also if one wants to avoid introducing gamma-induced errors into " 0491 "one's regular low dynamic range editing." 0492 msgstr "" 0493 0494 #: ../../color_management/working_space.rst:149 0495 msgid "" 0496 "**Gamma-induced errors** is a topic outside the scope of this manual but " 0497 "it's commonly-encountered that gamma-induced error that is caused by " 0498 "incorrectly calculating luminance in a nonlinear RGB working space. And in a " 0499 "similar vein, the calculations involved in mixing colors together to produce " 0500 "new colors (such as using a digital filter to add warmth to an image) result " 0501 "in gamma errors unless the new colors are calculated by first transforming " 0502 "all the relevant values back to their linear values." 0503 msgstr "" 0504 0505 #: ../../color_management/working_space.rst:151 0506 msgid "" 0507 "Unfortunately and despite their undeniable mathematical advantages, linear " 0508 "gamma working spaces have so few tones in the shadows that they are " 0509 "impossible to use for editing if one is working in 8-bit, and still " 0510 "problematic at 16-bit. When the day comes when we are all doing our editing " 0511 "on 32-bit files produced by our HDR cameras on our personal supercomputers, " 0512 "We can predict that we will all be using working spaces with gamma=1." 0513 msgstr "" 0514 0515 #: ../../color_management/working_space.rst:154 0516 msgid "Tonal Steps and Gamut Size" 0517 msgstr "" 0518 0519 #: ../../color_management/working_space.rst:156 0520 msgid "" 0521 "How many discrete tonal steps are there in a digital image? In an 8-bit " 0522 "image, you have 256 tonal steps from solid black to solid white. In a 16-bit " 0523 "image theoretically you have 65536 steps. But remember, those 16-bit started " 0524 "out as either 10-bit (=1024 steps), 12-bit (=4096 steps), or 14-bit (=16384 " 0525 "steps) as produced by the camera's A-to-D converter - the extra bits to " 0526 "reach 16-bit start out as just padding. The available tones are not " 0527 "distributed evenly from light to dark. In linear gamma mode (as the camera " 0528 "sensor sees things), there's a whole lot more tones in the highlights than " 0529 "in the shadows. Hence the advice, if you shoot RAW, to expose to the right " 0530 "but don't blow the highlights." 0531 msgstr "" 0532 0533 #: ../../color_management/working_space.rst:158 0534 msgid "" 0535 "One major consideration in choosing a working space is that some working " 0536 "spaces are bigger than others, meaning they cover more of the visible " 0537 "spectrum (and as a consequence include some imaginary colors - mathematical " 0538 "constructs that don't really exist). These bigger spaces offer the advantage " 0539 "of allowing you to keep all the colors captured by your camera and preserved " 0540 "by the `Lcms <https://www.littlecms.com/>`_ conversion from your camera " 0541 "profile to the super-wide-gamut profile connection space and out again to " 0542 "your chosen working space." 0543 msgstr "" 0544 0545 #: ../../color_management/working_space.rst:160 0546 msgid "" 0547 "But keeping all the possible colors comes at a price, as explained below. " 0548 "And it seems that any given digital image likely only contains a small " 0549 "subset of all the possible visible colors that your camera is capable of " 0550 "capturing. This small subset is easily contained in one of the smaller " 0551 "working spaces." 0552 msgstr "" 0553 0554 #: ../../color_management/working_space.rst:162 0555 msgid "" 0556 "Using a very large working space means that editing your image (applying " 0557 "curves, increasing saturation, etc.) can easily produce colors that your " 0558 "eventual output device (printer, monitor) simply cannot reproduce (you " 0559 "cannot see these colors while you're editing, either). So the conversion " 0560 "from your working space to your output device space (say your printer) will " 0561 "have to remap the out-of-gamut colors in your edited image, some of which " 0562 "might even be totally imaginary, to your printer color space with its much " 0563 "smaller color gamut." 0564 msgstr "" 0565 0566 #: ../../color_management/working_space.rst:164 0567 msgid "" 0568 "This remapping process will lead to inaccurate colors and loss of saturation " 0569 "at best. Even worse, the remapping can easily lead to banding (posterization " 0570 "- gaps in what should be a smooth color transition, across an expanse of " 0571 "blue sky) and clipping (e.g. your carefully crafted muted transitions across " 0572 "delicate shades of red, for example, might get remapped to a solid block of " 0573 "dull red after conversion to your printer's color space). Also, the experts " 0574 "say that 8-bit images just don't have enough tones to stretch across a wide " 0575 "gamut working space without banding and loss of saturation, even before " 0576 "conversion to an output space. So if you choose a large gamut working space, " 0577 "make sure you start with a 16-bit image." 0578 msgstr "" 0579 0580 #: ../../color_management/working_space.rst:171 0581 msgid "" 0582 "The digiKam Color Profile Properties Dialog Displaying BestRGB Information" 0583 msgstr "" 0584 0585 #: ../../color_management/working_space.rst:173 0586 msgid "" 0587 "To summarize, large gamut working spaces, improperly handled, can lead to " 0588 "lost information on output. Small gamut working spaces can clip information " 0589 "on input. Medium-sized gamut working spaces try to strike a happy medium." 0590 msgstr "" 0591 0592 #: ../../color_management/working_space.rst:175 0593 msgid "Here are some oft-repeated bits of advice on choosing a working space:" 0594 msgstr "" 0595 0596 #: ../../color_management/working_space.rst:177 0597 msgid "" 0598 "For images intended for the web, use (or at least convert the final image " 0599 "to) sRGB." 0600 msgstr "" 0601 0602 #: ../../color_management/working_space.rst:179 0603 msgid "" 0604 "For the most accuracy in your image editing (that is, making the most of " 0605 "your limited *bits* with the least risk of banding or clipping when you " 0606 "convert your image from your working space to an output space), use the " 0607 "smallest working space that includes all the colors in the scene that you " 0608 "photographed, plus a little extra room for those new colors you " 0609 "intentionally produce as you edit." 0610 msgstr "" 0611 0612 #: ../../color_management/working_space.rst:181 0613 msgid "" 0614 "If you are working in 8-bits rather than 16-bits, choose a smaller rather " 0615 "than a larger working space to avoid clipping and banding." 0616 msgstr "" 0617 0618 #: ../../color_management/working_space.rst:183 0619 msgid "" 0620 "For archival purposes, convert your RAW file to a 16-bit TIFF with a large " 0621 "gamut working space to avoid loosing color information. Then convert this " 0622 "archival TIFF to your medium-gamut or large-gamut working space of choice " 0623 "(saving the converted working TIFF under a new name, of course)." 0624 msgstr ""