5e67f026ec54d7f7d604861c4cb41fdcf50760a7
12
Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
 dtourolle
|
d3b6127db6 |
Let a photographer name the state they liked, and go back to it or look at it
FR-DEV-5 asked for named snapshots of an edit state and FR-DEV-7 for a comparison against a chosen one, and neither existed. The history stack is per sitting and forgotten with it, on purpose — the gap that mattered was an automatically saved mis-drag with no way back, and that was closed first. What was left was the other half: a state the photographer wants to keep *because* it is worth keeping, which is a different thing from a step and is not served by making the steps last longer. A snapshot is an edit state, and an edit state is exactly what a sidecar version stores, so it is stored as one: a `[version]` block carrying `snapshot-of = <uuid>`. The parameters, the masks and their parts, the repairs and the film all arrive through the blocks that already carry them, a merge keys on the uuid as it does for any version, and a build that predates the key reads the block as a named version and keeps it — the right failure. Only the pointer is new. The one reader that has to know is `default_version`, which must never answer with a snapshot: a file whose edit is missing is not a file whose edit is one of its saved moments. The snapshots of an edit are listed by that pointer, oldest first, the same on every device. Writing them back removes what this sitting deleted and puts in what it holds, and leaves standing whatever it never saw — a snapshot the other device took since the photograph was opened here is not this device's to remove by not knowing about it. That is the rule the version merge already keeps, applied one level down, and it is why the save carries the deleted ids rather than replacing the list wholesale as the masks are. Each is re-pointed at the uuid the save settled on, because the default may have been fused onto its canonical identity since the snapshot was taken. Restoring is one history step, so undo takes it back whole, as a paste is. Taking and deleting are not steps: they change nothing about the photograph, and an undo that removed a snapshot would be undoing a decision to remember. Holding the eye beside one renders the snapshot and hands the edit straight back — the same suspension "Before" uses, against a point the photographer chose rather than the file. Two sessions on the same photograph get ids that cannot collide, stamped with the second and a random word, because the merge folds equal ids into one. |
||
|
dtourolle
|
4574c35236 |
Let a part be left out of a mask without being taken out of it
A layer built from parts was missing the one control a correction most often wants: seeing what it did. The question a subtracted gradient raises is whether it took only the sky, and the question a stroke raises is whether it filled the shoulder — and the only way to ask either was to remove the part and look, which answered the question and lost the part. The layer's own ring answers a different question, about the adjustment, and hiding eight layers to check one correction is not an A/B anybody performs. So a part carries `hidden`. It is an edit and a history step, as the layer's switch is, and it is folded into the render fingerprint because hiding a part changes the mask as surely as removing it does. Where the mask is built the shown parts are walked rather than the parts, which is what makes a hidden base hand the fold to the first part that is shown — and a revealed layer whose every part is hidden clears its slice rather than leaving whatever the last rasterisation put there to be read back. `covers` asks the same shown parts, so a layer whose only adding part is hidden costs no slice at all. In the sidecar the key is `hidden`, in the part's block or, for the base, in the mask block — under a word that cannot be confused with the layer's `enabled`, which has always meant the layer. Absent means shown, so no file written before the switch existed reads any differently. The row wears the same ring the layer does, one row down, because it is the same question about a smaller thing. |
||
|
dtourolle
|
9cc52fd72b |
Bind the two develop gestures that were described and not bound
FR-DEV-16's book said resetting a control and hiding a mask layer were reachable by pointer and by finger, and stopped there. The reason was honest: the generated rows have no focus, so "reset the focused control" named a thing the panel could not point at. But a photographer at the keyboard means something narrower than focus. They mean the slider they just dragged too far, and that is a thing the panel can remember. So the Adjustments global keeps the last control moved — two indices, written where the panel forwards the change and cleared when the next photograph opens, so a reset cannot reach back into the previous edit through an index that happens to be shared. R puts it back, through the same callback the track's double-click takes, and is silent until something has moved. The mask layer needs no such notion, because the panel already has a selection: the rows the edge controls point at. H hides or shows those, through the path the ring at the head of the row takes, so it is an edit and a history step exactly as the ring is. A mixed selection goes to shown, since the layer nobody can see is the one being asked about. Both tags now carry the key, and the book says so. |
||
|
dtourolle
|
a87139b838 |
Give every mask an eye and a colour, and put the brush where the mask is
The first build of seeing a mask showed the selected layer's, in one global style, from a strip at the top of the panel. It answered the wrong question and answered it somewhere nobody looked. What a photographer asks of two masks is how they meet — where the sky's edge sits against the building's — and that needs both on screen at once, in colours that can be told apart. So each row of the stack has an eye, drawn in the colour its mask is shown in, and each mask has six swatches to choose that colour from. Several can be open at once; a new one comes up open, in the first colour nothing else is using. The style — tint, alpha, outline — is the one setting that stays global, above the stack, because three styles at once are three pictures that cannot be read against each other. Alpha now draws every shown mask, each in its colour, on black. In the pipeline a `Reveal` is a list of `(layer, colour)` rather than one layer, and every reveal block carries its own colour. The brush moves too. Select, Paint and Erase and the three sliders under them sat at the top of the panel, appeared only once a row was selected, and said nothing about which mask they acted on — so "how do I paint" and "how do I correct the model's outline" both had the same answer and nobody found it. They sit under the selected mask's parts now, beside the swatches, and on a subject or a category the hint says what a stroke there does: it becomes a part of this mask, joined to the model's, and can be taken out again. Eyes and colours are viewing state, on the session and not on the layer, so a photograph reopened has every eye closed — the stored-mask round-trip test asserts it. |
||
|
dtourolle
|
5d175cc668 |
Let a press on the photograph reach the tool that was armed for it
The brush did nothing, and neither did three other things nobody had tried lately: clicking a subject on the photograph to select it, placing a repair, and sampling a neutral. All four are TouchAreas over the canvas, and all four sat behind the pan/zoom area, which is full-canvas and enabled for everything but a crop. It took every press in the viewport and they were never offered one. Slint hit-tests siblings front-to-back (`send_mouse_event_to_item` visits children `TraversalOrder::FrontToBack`), a TouchArea answers `GrabMouse` on any press it is enabled for, and the first grab aborts the traversal. Front means *last declared*. Each of the four carried a comment saying it sat "above the pan/zoom area so a click reaches it first" — true of the order they were written in, and backwards. Nothing about the geometry decides this, so nothing about the geometry could have fixed it. The pan area is declared first now, as the backstop it always meant to be, and the rule it leaves behind is that the general case goes above the specific ones. `GradientHandles` is the other end of that rule and is why dragging a handle has worked all along while everything between it and the pan area did not. The order is asserted in a test, because this is a fault that compiles, passes every other test, and silently removes four tools at once. |
||
|
dtourolle
|
df741a8a49 |
Let one mask be built from more than one selection, and paint into it
A mask the model draws arrives approximately right — stopping inside a shoulder, leaking into the hair — and FR-DEV-3's edge controls move the *whole* boundary, so no value of feather or dilation fixes two errors that go opposite ways. What fixes them is a second selection joined to the first, and a layer that held exactly one source had nowhere to put one. The brush the core has had all along was reachable from no control in the application. A layer is now an ordered list of parts. Each names a source and how it joins the mask before it — added to it, or taken out of it — and carries its own edge treatment, because a model's soft coverage and a stroke painted where it stopped short do not want the same feather. Invert and opacity stay on the layer, where the composed shader already reads them. The sidecar grows `[part]` blocks and nothing else. A layer of one part writes exactly the bytes it always did; a mask block with no part blocks after it reads back as one part; and a stroke, a join or a source this build cannot read costs that part rather than the layer. So every sidecar in every library still parses to the edit it always was. On the device the parts fold into the layer's one slice, so eight layers still cost eight channels: union is a `max` blend and subtraction is the erase blend the brush already used. A part is drawn into a scratch texture before it is joined, and that is not incidental — an erase stroke means a hole in *that part*, not a hole in the mask, and drawn straight onto the accumulator it would punch through the subject underneath. A layer of one part skips all of it and takes the path it always took. In the interface: a part list under the selected layer with a chip saying which way each joins, Add and Subtract beside it, a Select/Paint/Erase strip with the brush's size, hardness and flow, and a drag on the photograph that paints. Pressing Paint on a mask that cannot hold a stroke joins a part that can, rather than explaining that a subject is not a brush. A whole stroke is one step in the history. The edge controls now shape the part that is selected rather than the layer, which is the one behaviour change to an existing control: with a correction selected, the feather slider softens the correction and leaves the model's mask alone. |
||
|
dtourolle
|
1e171c6d31 |
Let a collection be picked up, rearranged, and emptied after the fact
Collections could be made and filled and never reorganised. Nesting had a drag; un-nesting had nothing, in either direction — "All photographs" refused every drop, which is right for a photograph and wrong for a collection, which has a top level to be returned to. So a collection put inside another was in there permanently. Right-click deleted an *empty* collection outright and refused otherwise, which is wrong in both directions at once: destructive with no confirmation, and no way at all to delete a collection that held anything without emptying it by hand, child by child. And a photograph could only leave the collection the grid was scoped to, since that is the only one a button in the header can name — the cell's badge says a photograph is in three collections and never which three. Three ways in, one vocabulary: **Hold a row.** The tree is inside a Flickable, which claims any drag beginning inside it, so with a finger a drag on a row is a scroll until something says otherwise. The hold is that something. It lifts the row — drawn before anything moves, so the gesture says it has been understood — and then what the user does decides which of two things they meant: move, and it is a rearrangement; let go, and it is the row menu. The same fork the grid already uses to tell hold-to-select from drag-to-file. `decide_release` is that fork, and it is tested, because getting it wrong one way puts a sheet over every tidied tree and the other way makes the menu unreachable by touch. **The row menu.** Rename, new collection inside, move to top level, keep offline, delete. Deleting asks once when there is anything to lose and says what survives: the photographs stay in the library, and nested collections move up rather than going with it — which is what the catalog does, and what a user would never assume. An empty collection goes on the first press, because a dialogue about losing nothing is how people learn to dismiss dialogues. **"Collections…" on a selection.** Every collection the selection is filed in, each with a count — "3 of 40", so nobody takes forty photographs out of a collection thirty-seven were never in — and a way out of any of them without navigating there first. The long press used to open the offline question by itself. That question is one item in this menu now: there is one hold per row, and while it was spent on a single action nothing else the tree can do had a touch route at all. Nothing is lost — the tray on the row keeps its tap, and the question gains a full-width control in place of a 30px icon in a row shorter than the touch minimum. The row-press handler moves to `collections_ui` with the rest of what a collection row does; it lived in `library_ui` only because it opened that prompt. |
||
|
dtourolle
|
3994caba12 |
Write down the develop gestures, since only their author knew them
FR-UI-4 says a gesture with no visible counterpart is a feature only its author knows about, and the vocabulary the application actually publishes had two sections in it — the library grid and people. Develop had none. Every one of its gestures was documented in the comment beside the `TouchArea` that implements it, which is where the previous sixteen were before this scanner existed, and unreachable to anybody not reading the source. Thirteen now carry tags: magnify by pinch or wheel, pan a magnified frame, fit and 1:1, hold to see the original, sample a neutral, undo and redo, step through the folder, reset one control, show or hide a mask layer, choose a group of adjustments, and copy and paste the settings. Each has a pointer and a touch route, so none of them is keyboard-only. Three bindings were genuinely missing and are added here rather than merely described. Ctrl+C and Ctrl+V for the settings clipboard, which the Settings panel's own comment has claimed existed for as long as the panel has and nothing bound; and [ and ] to step through the adjustment groups. The groups are whatever the operation set declares itself to be about, so there are as many as the pipeline has and no key can name one of them — stepping is the binding that survives a node being added, and "everything" is part of the cycle rather than a way out of it. Two are described and not bound. Resetting a control from the keyboard and toggling a mask layer from the keyboard both need a notion of which control or layer has focus, and the generated panel has none — the rows are a model the repeater rebuilds, and inventing a focus ring for them is a larger change than a keyboard shortcut. Both are reachable by pointer and by finger, and the tags say so rather than promising a key that is not there. |
||
|
dtourolle
|
1c5c55b4c9 |
Let the photographer say which frame the burst stands for
`choose_representative` has been in the catalog since the grouping landed, with tests behind it and nothing calling it. So the frame a folded burst drew was always the earliest one, and the only way to disagree was to open the group and leave it open — which is to say there was no way to disagree at all, because a burst that stays open is a burst that was never collapsed. The earliest frame is the right default and it is deliberately not a judgement: nothing here scores a photograph, and FR-CULL-5 names the failure that rule avoids. But the whole point of a burst is that one of the twelve is better than the other eleven, and the person who knows which is the one looking at them. So a ring on each frame of an open group, ticked on the one the group folds to. It is drawn only while the burst is open, because that is the one moment the alternatives are on screen to be compared — offering the choice on a folded burst would be asking about frames it is hiding. Bottom right, opposite the count in the other corner, clear of the flag and the collection badge and, deliberately, of the trash target: a slip between the ring and the fifth star sets a rating, which is the harmless direction for an ambiguous press. The mark stays live on the frame that already wears it. A disabled TouchArea would let the press fall through to the cell behind it, so tapping the one ring that is ticked would have opened the photograph — and pressing it is a thing the user may mean anyway: it records the choice the default was making silently, which then survives a regroup that finds an earlier frame. Choosing repaints the badges instead of reloading the window, which is what separates it from folding a group up. Folding changes what the grid's query returns; this changes only which cell wears the tick, and the tick has to leave the frame that was carrying it, so the whole window is refilled in the one statement `sync_badges` already runs. The gesture is documented where FR-UI-4 requires it to be documented: in a tagged comment beside the control, which is the only copy. The gesture book, the gesture document and the requirements matrix are regenerated from the tree alongside it. |
||
 dtourolleandClaude Opus 5
|
b34e786f01 |
Give the drag a pick-up, so it stops losing to the scroll
Dragging a photograph out of the grid worked about half the time, and nothing on the screen explained the other half. `DragArea` and `Flickable` do arbitrate, but not evenly. The Flickable claims any press that travels more than eight pixels along its own axis within half a second of landing, and holds that claim until the finger lifts. So a drag toward the sidebar only ever began two ways: a flick sideways clean enough that the finger never wandered eight pixels vertically, or a wait of half a second before moving at all. Both are real gestures and neither was written down. The wait is now the gesture, and it has a mark. The long press that already turns on selection mode also picks the photograph up: a ring opens around the cell and the grid stops scrolling under it, so from that moment the drag is the only thing the finger can be doing. The cue can only arrive after the ambiguity has passed, which is the right way round — when the photograph lifts, dragging it works. Two details worth naming. The hold is now armed even when selection mode is already on; it used to be skipped there, on the grounds that there was no mode left to switch on — but that is precisely the state a forty-image drag starts from, so the one gesture that most needed a pick-up was the one with none. And the ring is drawn after the cell loop rather than on the cell: z-order inside a `for` is loop order, so a cell grown past its bounds would stand over two neighbours and be cut off by the other two. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
||
|
dtourolleandClaude Opus 5
|
b120ce48ec |
Float the selection bar over the grid instead of above it
Selecting the first photograph inserted a 40px row into the view's vertical flow, so every cell in the grid moved down by it. The act of selecting shifted the thing being selected out from under the finger — and a second tap aimed at the neighbour landed on the row below it, which is the worst possible response to a gesture whose whole job is to say "this one". The bar is a floating one now, at the foot of the view. Nothing above it is re-laid out, so selecting changes what is drawn and never where. The grid's viewport grows by the same 40px while the bar is there rather than the Flickable shrinking, which is what keeps that change invisible too: every cell stays exactly where it was and there is simply further to scroll, so the last row can be brought clear of the bar instead of being trapped under it. It also swallows presses that land on it. A bar floating over the grid is a bar a thumb can reach for and miss into. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
||
|
dtourolleandClaude Opus 5
|
31a3580f9d |
Extract the gesture vocabulary from the code that implements it
Every gesture the application has was documented in the comment beside the `TouchArea` that implements it. Excellent comments, and unreachable by anyone not reading the source — which is the FR-UI-4 failure in a different costume: a gesture nobody can find is a feature only its author knows about. Writing them out again in a hand-kept help page is the failure this avoids. Two descriptions of one gesture drift, and it is always the prose that drifts: the code is exercised every time somebody uses the application and the page is exercised never. A help screen confidently describing a double tap the grid stopped honouring last week is worse than no help screen — and the grid did stop honouring one, in the commit before this. So the comment beside the implementation stays the only copy, and a `GESTURE:` block beside it is scanned into two artefacts: `docs/gestures.md` for a reader, and a Rust table for the application to draw a help sheet from. Both committed, both gated, so neither can quietly stop describing the code. It lives in the traceability crate because it is the same operation on the same input — walk the tree, pull structured tags out of comments, render, fail if the committed artefact has moved. Only the vocabulary is new. It scans `ui` and `apps` alone: a gesture needs an interface to be performed on, and excluding `tools` is also what stops the scanner extracting its own worked examples as broken gestures. Fifteen gestures so far, across the library grid and the People screen. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |