diff --git a/docs/manual/README.md b/docs/manual/README.md index f0ba1a3..7214aa1 100644 --- a/docs/manual/README.md +++ b/docs/manual/README.md @@ -174,6 +174,15 @@ the strip at its head narrows it to one group. Exposure, contrast, highlights, shadows, blacks, whites and a tone curve. Hold `Before` to see the photograph as it was. +`Tone Mapping`, last in the group, is how the scene is fitted onto the +screen, and it runs after every other adjustment. `White Point` says how many +stops above middle grey reach white — raise it to bring a bright sky back +from white, lower it for a brighter, punchier picture — and `Contrast` sets +the slope of the curve between. Every adjustment above it works on the scene +as the camera recorded it, highlights beyond white included, so pulling the +highlights recovers what the sensor caught rather than what the screen could +show. + ![Raising exposure, pulling the highlights, lifting the shadows, then holding Before](media/develop-light.gif) ### Looking closer @@ -269,7 +278,9 @@ opacity are in the panel. Heal blends; clone copies. The `Film` chooser at the head of Adjust applies a spectral simulation of a named stock; below it, the print exposure and push controls a film has and a -sensor does not. The list opens over the column and scrolls on its own — by +sensor does not. A stock takes the place of `Tone Mapping`: it is the last +thing that happens to the picture, so every other adjustment decides the +exposure the negative receives. The list opens over the column and scrolls on its own — by wheel, drag or flick, or with `Up`, `Down` and `Enter` — down to the black-and-white stocks at its end. diff --git a/docs/manual/index.html b/docs/manual/index.html index 8acd3b4..6fb380f 100644 --- a/docs/manual/index.html +++ b/docs/manual/index.html @@ -263,6 +263,14 @@ the strip at its head narrows it to one group.

Light

Exposure, contrast, highlights, shadows, blacks, whites and a tone curve. Hold Before to see the photograph as it was.

+

Tone Mapping, last in the group, is how the scene is fitted onto the +screen, and it runs after every other adjustment. White Point says how many +stops above middle grey reach white — raise it to bring a bright sky back +from white, lower it for a brighter, punchier picture — and Contrast sets +the slope of the curve between. Every adjustment above it works on the scene +as the camera recorded it, highlights beyond white included, so pulling the +highlights recovers what the sensor caught rather than what the screen could +show.

Raising exposure, pulling the highlights, lifting the shadows, then holding Before
Raising exposure, pulling the highlights, lifting the shadows, then holding Before

Looking closer

Double-click for 1:1; drag to move about; double-click again to fit. The @@ -329,7 +337,9 @@ opacity are in the panel. Heal blends; clone copies.

Film

The Film chooser at the head of Adjust applies a spectral simulation of a named stock; below it, the print exposure and push controls a film has and a -sensor does not. The list opens over the column and scrolls on its own — by +sensor does not. A stock takes the place of Tone Mapping: it is the last +thing that happens to the picture, so every other adjustment decides the +exposure the negative receives. The list opens over the column and scrolls on its own — by wheel, drag or flick, or with Up, Down and Enter — down to the black-and-white stocks at its end.

Opening the film list, scrolling it, choosing Velvia, then holding Before
Opening the film list, scrolling it, choosing Velvia, then holding Before