From 7f3b1ebde87462992561aa8128360b058d4c0f08 Mon Sep 17 00:00:00 2001 From: Alejandro Date: Mon, 6 Nov 2023 18:18:14 +0100 Subject: [PATCH] Text corrections --- content/guides-tutorials/batch-editing.md | 4 ++-- .../processing-modules/color-balance-rgb.md | 2 +- .../processing-modules/color-calibration.md | 4 ++-- content/module-reference/processing-modules/diffuse.md | 6 +++--- .../module-reference/processing-modules/exposure.md | 2 +- .../module-reference/processing-modules/filmic-rgb.md | 10 +++++----- .../utility-modules/darkroom/mask-manager.md | 2 +- .../module-reference/utility-modules/shared/tagging.md | 2 +- tools/build-epub.sh | 2 +- 9 files changed, 17 insertions(+), 17 deletions(-) diff --git a/content/guides-tutorials/batch-editing.md b/content/guides-tutorials/batch-editing.md index 44a8a202ff..9ccde9ed9d 100644 --- a/content/guides-tutorials/batch-editing.md +++ b/content/guides-tutorials/batch-editing.md @@ -16,7 +16,7 @@ Shooting a color checker on-location can save a tremendous amount of time during ## prefer consistent lighting conditions -If possible, use controlled artifical lighting to maintain consistent lighting over the series of images. This means that you won't have to worry about light color temperature and intensity changes between images. Shoot a new image of the same color checker every time your lighting conditions change. +If possible, use controlled artificial lighting to maintain consistent lighting over the series of images. This means that you won't have to worry about light color temperature and intensity changes between images. Shoot a new image of the same color checker every time your lighting conditions change. ## prefer manual mode @@ -51,7 +51,7 @@ You will first need to extract a [color calibration profile](../module-reference ### editing the reference image -Choose a reference image that was taken in the lighting conditions closest to those of the color checker image that served as your profiling reference. Your primary color-grading should already be handled by the profile used in the _color calibration_ module (in conjuction with the _input color profile_ module). What remains to complete this stage is to adjust the [_exposure_](../module-reference/processing-modules/exposure.md) setting to match the overall brightness that you expect. +Choose a reference image that was taken in the lighting conditions closest to those of the color checker image that served as your profiling reference. Your primary color-grading should already be handled by the profile used in the _color calibration_ module (in conjunction with the _input color profile_ module). What remains to complete this stage is to adjust the [_exposure_](../module-reference/processing-modules/exposure.md) setting to match the overall brightness that you expect. Next, proceed with the [_filmic rgb_](../module-reference/processing-modules/filmic-rgb.md#scene) white and black relative exposures, as well as the contrast setting. Finish with the secondary color-grading. diff --git a/content/module-reference/processing-modules/color-balance-rgb.md b/content/module-reference/processing-modules/color-balance-rgb.md index 858b3f25c7..fac6a328c0 100644 --- a/content/module-reference/processing-modules/color-balance-rgb.md +++ b/content/module-reference/processing-modules/color-balance-rgb.md @@ -208,7 +208,7 @@ The following is the internal order of operations within the module: # caveats -Setting the global chroma to -100% will not produce a real monochrome image, as is customary with other algorithms. The reason for this is that the RGB space used has a D65 white point defined in CIE LMS 2006 space, while darktable uses a white point defined in CIE XYZ 1931 space, and there is no exact conversion between these spaces. The result will therefore be a slighly tinted black & white image. If your intent is to get a real black & white image using the luminance channel, the _color calibration_ module offers a _B&W : luminance-based_ preset that does exactly the same thing but without the white-point discrepancy. +Setting the global chroma to -100% will not produce a real monochrome image, as is customary with other algorithms. The reason for this is that the RGB space used has a D65 white point defined in CIE LMS 2006 space, while darktable uses a white point defined in CIE XYZ 1931 space, and there is no exact conversion between these spaces. The result will therefore be a slightly tinted black & white image. If your intent is to get a real black & white image using the luminance channel, the _color calibration_ module offers a _B&W : luminance-based_ preset that does exactly the same thing but without the white-point discrepancy. This module has its gamut-mapping (against pipeline RGB) permanently enabled. This means that if your original image contains some largely out-of-gamut colors to start with, simply enabling _color balance RGB_ with no particular setting will slightly alter its colors. This is probably for the best. diff --git a/content/module-reference/processing-modules/color-calibration.md b/content/module-reference/processing-modules/color-calibration.md index e74d9a804f..9a72b1cd95 100644 --- a/content/module-reference/processing-modules/color-calibration.md +++ b/content/module-reference/processing-modules/color-calibration.md @@ -60,7 +60,7 @@ The color patch shows the color of the currently calculated illuminant projected To the left of the color patch is the _CCT_ (correlated color temperature) approximation. This is the closest temperature, in kelvin, to the illuminant currently in use. In most image processing software it is customary to set the white balance using a combination of temperature and tint. However, when the illuminant is far from daylight, the CCT becomes inaccurate and irrelevant, and the CIE (International Commission on Illumination) discourages its use in such conditions. The CCT reading informs you of the closest CCT match found: - When the CCT is followed by "_(daylight)_", this means that the current illuminant is close to an ideal daylight spectrum ± 0.5 %, and the CCT figure is therefore meaningful. In this case, you are advised to use the "_D (daylight)_" illuminant. -- When the CCT is followed by "_(black body)_", this means that the current illuminant is close to an ideal black body (Planckian) spectrum ± 0.5 %, and the CCT figure is therfore meaningful. In this case, you are advised to use the "_Planckian (black body)_" illuminant. +- When the CCT is followed by "_(black body)_", this means that the current illuminant is close to an ideal black body (Planckian) spectrum ± 0.5 %, and the CCT figure is therefore meaningful. In this case, you are advised to use the "_Planckian (black body)_" illuminant. - When the CCT is followed by "_(invalid)_", this means that the CCT figure is meaningless and wrong, because we are too far from either a daylight or a black body light spectrum. In this case, you are advised to use the _custom_ illuminant. The chromatic adaptation will still perform as expected (see the note below), so the "_(invalid)_" tag only means that the current illuminant color is not accurately tied to the displayed CCT. This tag is nothing to be concerned about -- it is merely there to tell you to stay away from the daylight and planckian illuminants because they will not behave as you might expect. When one of the above illuminant detection methods is used, the module checks where the calculated illuminant sits using the two idealized spectra (daylight and black body) and chooses the most accurate spectrum model to use in its _illuminant_ parameter. The user-interface will change accordingly: @@ -403,7 +403,7 @@ Because any calibration is merely a "best fit" optimization (using a weighted le The _optimize for_ parameter allows you to define an optimization strategy that attempts to increase the profile accuracy in some colors at the expense of others. The following options are available: -- _none_: Don't use an explicit strategy but rely on the implicit stategy defined by the color checker manufacturer. For example, if the color checker has mostly low-saturation patches, the profile will be more accurate for less-saturated colors. +- _none_: Don't use an explicit strategy but rely on the implicit strategy defined by the color checker manufacturer. For example, if the color checker has mostly low-saturation patches, the profile will be more accurate for less-saturated colors. - _neutral colors_: Give priority to grays and less-saturated colors. This is useful for desperate cases involving cheap fluorescent and LED lightings, having low CRI. However, it may increase the error in highly-saturated colors more than not having any profile. - _saturated colors_: Give priority to primary colors and highly-saturated colors. This is useful in product and commercial photography, to get brand colors right. - _skin and soil colors_, _foliage colors_, _sky and water colors_: Give priority to the chosen hue range. This is useful if the subject of your pictures is clearly defined and has a typical color. diff --git a/content/module-reference/processing-modules/diffuse.md b/content/module-reference/processing-modules/diffuse.md index 4c58a6012e..db1ca071d0 100644 --- a/content/module-reference/processing-modules/diffuse.md +++ b/content/module-reference/processing-modules/diffuse.md @@ -68,7 +68,7 @@ All speeds are added (first to fourth orders), and the sums "`first order + seco ## scale -Natural diffusion is supposed to happen only to the closest neighbouring coordinates. That is, at each iteration, each pixel should only interact with its 9 nearest neighours. +Natural diffusion is supposed to happen only to the closest neighbouring coordinates. That is, at each iteration, each pixel should only interact with its 9 nearest neighbours. Here, we fast-track things a bit to save time and reuse the multi-scale wavelets scheme from the [_contrast equalizer_](./contrast-equalizer.md) module, so that we can diffuse at different scales. The maximal scale of diffusion is defined by the _radius span_ parameter. @@ -120,7 +120,7 @@ In the following controls, positive values cause diffusion to avoid edges (isoph 3rd order anisotropy : The direction of diffusion of the high-frequency wavelet layers relative to the orientation of the gradient of the low-frequency (_3rd order speed_ setting). -4rd order anisotropy +4th order anisotropy : The direction of diffusion of the high-frequency wavelet layers relative to the orientation of the gradient of the high-frequency (_4th order speed_ setting). ## edge management @@ -172,7 +172,7 @@ These two steps can be performed on the zoomed-out image. Remember that, while g At this point, you may want to tweak the edge sensitivity to take care of any edge artifacts. In theory, diffusing in the isophote direction ensures that diffusion is contained inside edges, but this is not sufficient when corners and sharp convex shapes are present in the image. -When the edge sensitivity control has been adjusted to produce satisfying results, the image usually becomes quite soft. In most cases it will be necessary, at this point, to increase the number of iterations in order to compensate. This will come with a performance penalty so tread carefully with the performance/quality trade-off depending on your hardware. If you can't increase the number of iterations, you will have to increase the diffusing speed. +When the edge sensitivity control has been adjusted to produce satisfying results, the image usually becomes quite soft. In most cases it will be necessary, at this point, to increase the number of iterations in order to compensate. This will come with a performance penalty so treat carefully with the performance/quality trade-off depending on your hardware. If you can't increase the number of iterations, you will have to increase the diffusing speed. The final step is to fine-tune the third and fourth order, which take care of the high frequencies of each wavelet scale. You will need to be a lot more gentle with these settings than for the first and second orders, as they can cause noise to blow-up really fast. diff --git a/content/module-reference/processing-modules/exposure.md b/content/module-reference/processing-modules/exposure.md index 195e6b1a34..0d414108be 100644 --- a/content/module-reference/processing-modules/exposure.md +++ b/content/module-reference/processing-modules/exposure.md @@ -31,7 +31,7 @@ exposure (manual mode) : The color picker tool on the right sets the exposure such that the average of the selected region matches the target lightness defined in [spot exposure mapping](#spot-exposure-mapping) options. clipping threshold (manual mode) -: Define what percentage of bright values are to be clipped in the calculation of the _exposure_ and _black level correction_. Use the color picker to sample a portion of the image to be used for this calcuation. +: Define what percentage of bright values are to be clipped in the calculation of the _exposure_ and _black level correction_. Use the color picker to sample a portion of the image to be used for this calculation. percentile (automatic mode) : Define a location in the histogram to use for automatic exposure correction. A percentile of 50% denotes a position in the histogram where 50% of pixel values are above and 50% of pixel values are below that exposure. diff --git a/content/module-reference/processing-modules/filmic-rgb.md b/content/module-reference/processing-modules/filmic-rgb.md index 1094c27e11..d320e2e728 100644 --- a/content/module-reference/processing-modules/filmic-rgb.md +++ b/content/module-reference/processing-modules/filmic-rgb.md @@ -131,7 +131,7 @@ white relative exposure : The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display white (peak-white). This is the right bound of the scene dynamic range that will be represented on the display -- everything brighter than this value on the scene will be clipped (pure white) on the display. The color picker tool reads the maximum luminance in RGB space over the drawn area, assumes it is pure white, and sets the white exposure parameter to remap the maximum to 100% luminance. black relative exposure -: The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display black (maximum density). This is the left bound of the scene dynamic range that wll be represented on the display -- everything darker than this value on the scene will be clipped (pure black) on the display. The color picker tool reads the minimum luminance in RGB space over the drawn area, assumes it is pure black, and sets the black exposure parameter to remap the minimum to 0% luminance. The black color picker measurement is very sensitive to noise, and cannot identify whether the minimum luminance is pure black (actual data) or just noise. It works better on low ISO pictures and with high quality demosaicing. When the color picker puts the black exposure at --16 EV, this is a sign that the measurement has failed and you will need to adjust it manually. +: The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display black (maximum density). This is the left bound of the scene dynamic range that will be represented on the display -- everything darker than this value on the scene will be clipped (pure black) on the display. The color picker tool reads the minimum luminance in RGB space over the drawn area, assumes it is pure black, and sets the black exposure parameter to remap the minimum to 0% luminance. The black color picker measurement is very sensitive to noise, and cannot identify whether the minimum luminance is pure black (actual data) or just noise. It works better on low ISO pictures and with high quality demosaicing. When the color picker puts the black exposure at --16 EV, this is a sign that the measurement has failed and you will need to adjust it manually. : The black relative exposure allows you to choose how far you want to recover lowlights. @@ -206,7 +206,7 @@ contrast : Setting the contrast to 1 almost completely disables the S-curve, though there will be a very small residual effect from the splines in the highlights and shadows. hardness (previously _target power factor function_) -: Known as the _target power factor function_ slider in older versions of _filmic rgb_, this slider is hidden by default, and is adjusted automatically based on values in the [_scene_](#scene) tab. To make this slider visibile, you need to uncheck _auto adjust hardness_ in the [_options_](#options) tab. +: Known as the _target power factor function_ slider in older versions of _filmic rgb_, this slider is hidden by default, and is adjusted automatically based on values in the [_scene_](#scene) tab. To make this slider visible, you need to uncheck _auto adjust hardness_ in the [_options_](#options) tab. : This parameter is the power function applied to the output transfer function, and it is often improperly called the _gamma_ (which can mean too many things in imaging applications, so we should stop using that term). It is used to raise or compress the mid-tones to account for display non-linearities or to avoid quantization artifacts when encoding in 8 bit file formats. This is a common operation when applying ICC color profiles (except for linear RGB spaces, like REC 709 or REC 2020, which have a linear “gamma” of 1.0). However, at the output of _filmic rgb_, the signal is logarithmically encoded, which is not something ICC color profiles know to handle. As a consequence, if we let them apply a gamma of 1/2.2 on top, it will result in a double-up, which would cause the middle-gray to be remapped to 76% instead of 45% as it should in display-referred space. @@ -262,9 +262,9 @@ preserve chrominance (not available with color science _v7_) : - _luminance Y_ is a linear combination of the R, G and B channels. It tends to darken and increase local contrast in the reds, and tends not to behave so well with saturated and out-of-gamut blues. -: - _RGB power norm_ is the sum of the cubes of the R, G, and B channels, divided by the sum of their squares (R³ + G³ + B³)/(R² + G² + B²). It is usally a good compromise between the max RGB and the luminance Y values. +: - _RGB power norm_ is the sum of the cubes of the R, G, and B channels, divided by the sum of their squares (R³ + G³ + B³)/(R² + G² + B²). It is usually a good compromise between the max RGB and the luminance Y values. -: - _RGB euclidean norm_ has the property of being RGB-space-agnostic, so it will yeild the same results regardless of which working color profile is used. It weighs more heavily on highlights than the power norm and gives more highlights desaturation, and is probably the closest to a color film look. +: - _RGB euclidean norm_ has the property of being RGB-space-agnostic, so it will yield the same results regardless of which working color profile is used. It weighs more heavily on highlights than the power norm and gives more highlights desaturation, and is probably the closest to a color film look. : There is no "right" choice for the norm, and the appropriate choice depends strongly on the image to which it is applied. You are advised to experiment and decide for yourself which setting gives the most pleasing result with the fewest artifacts. @@ -309,7 +309,7 @@ This gamut mapping uses the output color profile as a definition of the display Note that the hue used as a reference for the gamut mapping is the hue before any tone mapping, sampled at the input of filmic. This means that even the _none_ chrominance preservation mode (applied on individual RGB channels regardless of their ratios) preserves hue in _v6_. This mode will only desaturate highlights more than the other modes, and a mechanism is in place to prevent it from resaturating shadows -- this behaviour can be bypassed by increasing the _extreme luminance saturation_ setting. -_v7 (2023)_ improves over _v6 (2022)_ by replacing the chroma preservation methods with a single slider. Chroma preservation methods aim at anchoring saturation and hue across the tone-mapping operation, by preserving RGB ratios compared to a norm. The choice of norm is important when it comes to managing how the gamut is used and how the contrast of bright objects (relative to their neighborhood) is rendered by the tone-mapper. Several norms have been proposed since filmic _v1 (2018)_, none being objectively better and only one of which (max RGB) has some theoritical justification (allowing display peak primary colors to be reached after the transform). +_v7 (2023)_ improves over _v6 (2022)_ by replacing the chroma preservation methods with a single slider. Chroma preservation methods aim at anchoring saturation and hue across the tone-mapping operation, by preserving RGB ratios compared to a norm. The choice of norm is important when it comes to managing how the gamut is used and how the contrast of bright objects (relative to their neighborhood) is rendered by the tone-mapper. Several norms have been proposed since filmic _v1 (2018)_, none being objectively better and only one of which (max RGB) has some theoretical justification (allowing display peak primary colors to be reached after the transform). The approach in _v7_ is to offer a mix between the _max RGB_ norm and the no-preservation option (where the output hue and saturation are still forced to their input values). The proportions of the mix are driven by the _highlights saturation mix_ setting as follows: diff --git a/content/module-reference/utility-modules/darkroom/mask-manager.md b/content/module-reference/utility-modules/darkroom/mask-manager.md index 2ce957b28e..9d8498a53d 100644 --- a/content/module-reference/utility-modules/darkroom/mask-manager.md +++ b/content/module-reference/utility-modules/darkroom/mask-manager.md @@ -58,7 +58,7 @@ You can also create your own groups using existing shapes by selecting the shape ## properties -Expand the *properties* section to change the proporties, such as _opacity_, _size_, _feather_, etc, of the currently selected (or created) shapes. +Expand the *properties* section to change the properties, such as _opacity_, _size_, _feather_, etc, of the currently selected (or created) shapes. If a _group_ is selected, the soft limits of the sliders are attempt to prevent irreversible distortions (where some of the shapes are clamped at their extreme values whereas others are still adjusted, so that reversing the move does not lead to the original situation). However, like any soft limits, these can be forced. diff --git a/content/module-reference/utility-modules/shared/tagging.md b/content/module-reference/utility-modules/shared/tagging.md index f12d87f864..172bbe6ddb 100644 --- a/content/module-reference/utility-modules/shared/tagging.md +++ b/content/module-reference/utility-modules/shared/tagging.md @@ -229,7 +229,7 @@ The following keys can be used within the tagging module: To see the images bearing a particular tag in the _tag dictionary_ window, right-click on the tag name and choose "go to tag collection" in the resulting pop-up menu. This opens a collection in the [collections](./collections.md) module showing all images containing this tag. You can also select other tags in the _collections_ module by double-clicking on the collection for the other tag. -To return to the collection that was selected before opening a tag collection select the "go back to work" item from the pop-up menu. This will allow you to return to the original collection, as long ans you haven't selected any other collections in the meantime. +To return to the collection that was selected before opening a tag collection select the "go back to work" item from the pop-up menu. This will allow you to return to the original collection, as long as you haven't selected any other collections in the meantime. # preferences diff --git a/tools/build-epub.sh b/tools/build-epub.sh index d3c7464e27..cc89ea5746 100755 --- a/tools/build-epub.sh +++ b/tools/build-epub.sh @@ -111,7 +111,7 @@ do cp "${HUGO_DIR}/all_images/img_manifest.txt" . sed -i -e "//r img_manifest.txt" content.opf - #replace occurences of en or $language string + #replace occurrences of en or $language string find . -type f -name "*.html" -exec sed -i "s/\.\.\/$language\///g" {} + find . -type f -name "*.html" -exec sed -i 's/\.\.\/style\.css/style.css/' {} + sed -i "s/content src\=\"$language\//content src\=\"/" toc.ncx