dtourolle
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The presets menu and sheet listed every preset under flat section headings, seventy rows to scroll past. They now list folders, closed until opened, with how many presets each holds; opening one shows what is inside it, folders and presets indented beneath. A category is spelled in the name: "Portraits/Warm skin" is Warm skin in a Portraits folder under Yours. The file format does not change, so an older build lists the whole path as the name; renaming a preset is how it moves, and saving or renaming into a folder opens the way to it. A Lightroom import names what it reads after the folders below the one chosen, and a "/" in a displayed name becomes "∕" so it files nothing. The shipped film sections become Film › Colour, Cinema and Black and white. The tree is built and flattened in Rust (PresetTree), each row carrying its depth, and which folders are open is remembered for the session. A PopupWindow keeps the size it was shown at, so a folder opened in the menu pushed its contents under "Save or manage…"; the menu is shown again after each toggle to take its new height. That is a function on the rail because Slint 1.17 generates Rust that does not compile for a popup's close() reached from inside the popup. The sheet's list takes a preferred height of up to 400px, since a Flickable reports next to nothing and an opened folder showed three rows. The manual describes the folders and naming. Its pictures show the menu with Film › Colour open, and a black-and-white stock applied from Film › Black and white; the scenes aim popup rows from the rail's entry, and pick the menu's "Film" over the develop column's film chooser.
437 lines
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Markdown
437 lines
22 KiB
Markdown
# DarkRoom, shown
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A tour of what the application does, one picture per thing. Every image on
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this page was captured from the desktop build driving itself — nothing is a
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mock-up, and nothing has been retouched outside DarkRoom. Where a feature is
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better seen moving, it moves.
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The requirements behind each feature are in [requirements.md](../dev/requirements.md);
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the reasoning is in the design documents linked from each section. This page
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is only about what you see.
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The photographs are the author's. None show a person.
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## Opening a library
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DarkRoom opens on a library: a folder on this machine, a folder a sync
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client keeps, or a Nextcloud account. A folder needs no password and uploads
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nothing. `Choose folder…` opens your desktop's own folder dialogue, which can
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make a new folder too; the folder used last stays on the screen with
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`Open folder` beside it, and `Choose another…` in place of `Choose folder…`.
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On a Nextcloud account the library folder is chosen in a browser of the
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server, whose `New folder` makes one there. (The browser is not pictured:
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these recordings have no server behind them. Nor is the folder dialogue,
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which is your desktop's rather than DarkRoom's.)
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Once a folder is named, it is the library — you are not asked for it again,
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and `Open library` opens it whole. `Subfolder…` narrows the scan to part of
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it. The formats ticked are what the scan looks for; RAW is on and JPEG off
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by default, because a RAW editor's sensible default is the file the camera
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wrote first. `Change library`, at the foot of the sidebar, comes back here.
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## The library
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Photographs are ordered by capture time, with a month heading where each
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begins. The strip on the left is the timeline — drag it to jump to a year.
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The bar above the grid filters by rating, flag, colour label and where the
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file is (on this device, or only on the server).
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### Rating and flagging
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Hover a cell and the stars appear; click one. The filter chips above the grid
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count what each rating holds, and clicking `3+` shows only those. From the
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keyboard, `0` to `5` set the stars on the photograph under the pointer or on
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the selection; `P` picks, `X` rejects and `U` takes the flag off, and `Flag`
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on the selection bar does the same with the pointer. In
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develop the same keys judge the open photograph and stay on it, and the top
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bar carries its stars and `Pick` and `Reject`; the roll marks each frame's
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flag and stars.
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Colour labels work as Lightroom's do: `6` red, `7` yellow, `8` green, `9`
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blue, on the photograph under the pointer or on the selection, and the same
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key again takes the label off. `Label` on the selection bar offers all five,
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purple included, and `None`. Each label is drawn with its initial on it, so
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it reads without telling the colours apart, and the filter bar has a chip for
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each. In develop, the top bar names the open photograph's label and sets it,
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and the same keys work there.
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### Getting about
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Drag the timeline to scrub through years; Ctrl and the wheel resize the
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thumbnails. On a desktop a scrollbar beside the grid says how far through the
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library the view is — drag its thumb, or click the track to move a page — and
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the sidebar, the develop column and Settings have one too whenever they run
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past the window. On a tablet they scroll by flick alone, and a thin line at
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the right-hand edge shows where the view is while it moves, fading once it
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stops; it is only a picture, and a flick that starts on it scrolls the list.
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`Help` in the header, or `F1`, opens the controls and shortcuts: every key and
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gesture, screen by screen, with `See it` beside those this page shows, and
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`Manual` to open this page. In develop it is the `?` beside `Settings`.
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### Selecting several
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`Select` in the header — or Ctrl-click — starts a selection. Shift-click picks
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a range. The bar at the foot of the grid is everything a selection can be done
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to: collections, keywords, presets, export, and merging to a panorama.
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`Keywords` on that bar opens a sheet; type a word and press return, and it
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is on every photograph selected. The list below the field is every keyword
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the library has, ticked where the selection carries it.
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### Collections
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`+` at the head of the sidebar makes one. Drag a photograph — or the whole
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selection — onto its row to file it there; click the row to see it. A
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photograph can be in several, and the badge on its cell counts them.
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Collections nest. Drag one onto another to put it inside; `+` with a
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collection selected — or `New collection inside` from its menu — makes a
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child. A parent shows everything its children hold, and its count says so.
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Right-click a row (hold it, on a tablet) for the menu: rename, nest,
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move back to the top level, keep it offline, delete.
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### Bursts
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Frames taken a moment apart that look alike fold into one cell, with a badge
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counting them. Click the badge — tap it, on a tablet — to open the burst in
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the grid, and again to fold it back. A folded burst shows its earliest frame;
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to have it show another, open it and click the ring on the frame you want.
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With faces indexed, narrowing the grid to a person puts `Eyes open` beside
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their name on the filter bar, which leaves out the frames where they blinked.
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### Duplicate originals
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A library put together by hand often holds the same RAW more than once — a
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dated folder, a `bck` folder beside it, a renamed copy another program
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exported. When the catalog finds files with the same camera, capture time
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and size in more than one place, `Duplicate originals` appears under the
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trash in the sidebar with how many there are; Settings offers the same page
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beside the other whole-library passes.
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The page lists each group with its picture and its paths. One copy is
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marked `Stays`: the one outside a folder named like a backup (`bck`,
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`backup`, `copy`, `old`…), then the one still named the way the camera named
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it (`_MG_4623`, `IMG_0001`, `DSC_0042`), then the one catalogued first. Tap
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another path to keep that copy instead, and untick `Include` to leave a
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group alone.
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Nothing moves until `Check` has read the first and last megabyte of every
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copy and each copy's sidecar. A group whose files differ, or whose copies
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carry two different edits, is marked skipped and says why — two edits of
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one frame are kept for virtual copies. What the check reads is kept, so a
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second visit costs nothing. The line under each group says what the copy
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that stays will gain: the highest rating, every keyword and collection, a
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flag or label the copies agree on, faces and the names on them, and the
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edit if only a copy had one. Where the copies disagree on a flag or a
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label, the one that stays keeps its own and the line says so.
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`Move N copies to trash` does it, one group at a time: each group is merged
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and its spare copies moved together, or not at all. The copies go to the
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trash, not away — select them in the trash view and `Restore` puts them
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back where they were.
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## Developing a photograph
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Click a thumbnail to open it. The column on the right is every adjustment;
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the strip at its head narrows it to one group.
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### Light
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Exposure, contrast, highlights, shadows, blacks, whites and a tone curve.
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Hold `Before` to see the photograph as it was.
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`Tone Mapping`, last in the group, is how the scene is fitted onto the
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screen, and it runs after every other adjustment. `White Point` says how many
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stops above middle grey reach white — raise it to bring a bright sky back
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from white, lower it for a brighter, punchier picture — and `Contrast` sets
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the slope of the curve between. Every adjustment above it works on the scene
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as the camera recorded it, highlights beyond white included, so pulling the
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highlights recovers what the sensor caught rather than what the screen could
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show.
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### Looking closer
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Double-click for 1:1; drag to move about; double-click again to fit. The
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wheel zooms to any amount in between. Past 1:1 the file's own pixels are
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drawn as hard-edged blocks rather than smoothed, so what you see is what
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the sensor recorded.
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### Moving between photographs
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The roll along the foot of the canvas holds the photographs the grid was
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showing; click one to open it. The right arrow, `D` or space opens the next,
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and the left arrow or `A` the one before; held down, they go on past the
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stretch the roll has loaded, through everything the grid would show. The
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edit on screen is saved on the way, so stepping along a shoot loses nothing.
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On a Nextcloud library a photograph may not be on this device yet. Its
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thumbnail from the grid stands in at once; if the original has to come down,
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the thumbnail dims under *Not on this device yet*, with how far the download
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has got — `Downloading — 12.4 of 38.0 MB` — and a bar, and the photograph
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opens when it lands. Step on before then and the one you step to is the one
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that opens: a download that arrives late is kept for later and never takes
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the place of the photograph whose name is showing. (Not pictured: a folder
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library, which these recordings use, never has a photograph to wait for.)
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### White balance from the photograph
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Press `pick` in the White Balance group, then click something neutral —
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a white wall, a grey card, the air conditioner here. The picker sets the
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sliders from the photograph, not from where they were: below, the frame
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is dragged cold first and one click puts it right. A blown highlight is
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refused, since a clipped pixel has no colour left to balance.
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### Composing
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Crop by dragging the frame's corners, straighten with the slider, lock a
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ratio from the chips. `Done composing` returns to the photograph.
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`Vertical` and `Horizontal`, under `Straighten`, correct the lines that
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converge when the camera is tilted up at a building; the crop refits to
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what is left.
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A crop that leaves a mask wholly outside the frame says so, and offers to
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take the crop back or keep it.
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### Local adjustments
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`Local` in the rail turns the column into a mask stack. `Find subjects` runs a
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segmentation model over the photograph; what it recognises appears as a list
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of categories with how much of the frame each covers. Click one and it is a
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mask — then every slider below edits only that region. A mask's slider adds to
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the photograph's own rather than repeating it: contrast −20 in the mask over
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−30 on the whole frame is −50 there, and +30 in the mask cancels the frame's
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−30 inside it.
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A mask is a stack of parts. Paint into it, subtract a gradient from it, grow
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or shrink its edge, choose how it falls off. `Show masks as` draws the mask
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tinted, as alpha, or as an outline; the eye on its row switches it off.
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Linear and radial gradients, a tone range and a colour range are the other
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ways to make one; each can be combined with any other. `∩ Intersect` keeps
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only where the new part and the mask agree: below, a gradient over the
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lower half, then two strokes that survive only where the gradient is.
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### Repair
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`Repair` in the rail: click a mark and it is covered from a source DarkRoom
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chooses beside it. Drag either circle to move it; the size, feather and
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opacity are in the panel. Heal blends; clone copies.
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### Film
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The `Film` chooser at the head of Adjust applies a spectral simulation of a
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named stock; below it, the print exposure and push controls a film has and a
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sensor does not. A stock takes the place of `Tone Mapping`: it is the last
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thing that happens to the picture, so every other adjustment decides the
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exposure the negative receives. The list opens over the column and scrolls on its own — by
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wheel, drag or flick, or with `Up`, `Down` and `Enter` — down to the
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black-and-white stocks at its end.
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The film's sliders work on a mask as they do on the whole photograph, the way
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a printer dodges and burns: in a layer, `Print Exposure` darkens or lightens
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that region of the print, `Push` develops it further, and the stock stays the
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one the photograph was made on. Where layers overlap, the photograph takes the
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average of what they ask for. Below, a negative stock on an alpine frame, then
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a gradient over the sky whose `Print Exposure` burns it in.
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### History, snapshots, presets
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Every change is a step; `Undo` and the History panel walk them. `Snapshot`
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keeps the current state under a name. `Presets`, at the foot of the tool
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rail on the left, opens a menu of presets beside the photograph, filed in
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folders that start closed: your own under `Yours`, then the ones DarkRoom
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ships — `Essentials`, `Skies`, and `Film`, which holds `Colour`, `Cinema`
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and `Black and white`, one measured stock each. Choosing a folder opens it;
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choosing a preset applies it. The menu's last row, `Save or manage…`, opens
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the presets sheet, which lists the same folders and saves the settings to
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apply elsewhere, renames and deletes them, and imports Lightroom presets —
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`Folder…` for a folder of them, `.xmp file…` for one.
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A `/` in a name files the preset: `Portraits/Warm skin` is `Warm skin` in a
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`Portraits` folder under `Yours`, and renaming it is how it moves. An
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imported Lightroom folder keeps its groups the same way.
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A shipped preset is a look: it changes what it names and leaves the
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photograph's own corrections alone, as an imported Lightroom preset does.
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Saving under a shipped preset's name makes your version the one that name
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applies, marked *changed*; `Revert` brings the shipped one back, and renaming
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yours makes it one of your own. A film preset carries its stock: choosing one
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sets the `Film` chooser and leaves the rest of the edit where it was.
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### Copying settings
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`Copy` in the top bar, or Ctrl+C, takes this photograph's settings; `Paste`,
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or Ctrl+V, puts them on another, and says what it would paste — how many
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adjustments, and whether the crop comes too. In the grid, `Paste to N` on the
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selection bar pastes onto every photograph selected. Which kinds of edit a
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copy carries is chosen in the presets sheet, or with Ctrl+Shift+C: a look carried
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across a shoot usually leaves each frame's own crop alone.
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## Merging a panorama
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Select the frames, then `Merge to panorama` from the selection bar. The
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frames are read, aligned, and drawn on the suggested projection with each one
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outlined where it landed — twelve hand-held portrait frames across an alpine
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valley, here. Change the projection (a 150° sweep on a flat perspective is
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what the middle of the film shows, and why cylindrical is suggested), ask for
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the border to be filled rather than cropped, then `Merge`. The composite is
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written beside its sources as a DNG and appears in the grid with the merge
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as the first step in its history.
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## Export
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`Export` in the develop header, or `Export N` from a selection. Format,
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size, colour space, sharpening and naming are in Settings, and apply to every
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export until changed. Where the file goes is an album.
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An album is a folder exports go to, listed under **Albums** in the sidebar,
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below the collections. Press `+` there, or `New album…` in the export sheet
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(`Ctrl+E`), name it, and choose its folder: on this device, in the system's
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folder dialogue (on the tablet, Android's folder picker), or on the server,
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in a browser that can make a folder as well as open one. Not inside the
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library — a JPEG exported there would come back from the next scan as a
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photograph of its own, and the browser says so rather than letting you.
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The folder holds only the exported files. The album remembers which
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photograph each came from, so selecting it in the sidebar shows the
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originals behind its JPEGs — edit one and export it again. Albums reach your
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other devices as collections do; a folder on this device does not, so an
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album made on the desktop asks the tablet for a folder of its own.
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Right-click an album, double-click it or press the arrow on its row to
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rename it, give it another folder or delete it; deleting an album leaves
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its files where they are.
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An export with no album chosen is refused, and the header says so. With one
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chosen, the buttons name it: `Export to Exports` in develop, `Export 4 to
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Exports` on the selection bar.
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## Settings
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Background activity with progress, thumbnail and face indexing, how many
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duplicate originals the library holds and the way to their review, storage
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on this device, display and colour, export defaults, what is written to XMP
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sidecars, the manual, and a diagnostics bundle for a bug report.
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## People
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Face detection and identity run over the library and group faces by person;
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the `Identity` page is where suggestions are confirmed, rejected and split,
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and `People` on the filter bar narrows the grid to someone. Not pictured
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here, for the obvious reason — [faces.md](../dev/faces.md) has the design.
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## Where things are written down
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| Feature | Design |
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|---|---|
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| Local masks and segmentation | [segmentation.md](../dev/segmentation.md), [mask-editing.md](../dev/mask-editing.md) |
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| Repair | [spot-removal.md](../dev/spot-removal.md) |
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| Panorama | [panorama.md](../dev/panorama.md) |
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| Faces and identity | [faces.md](../dev/faces.md) |
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| Gestures, generated from the code | [gestures.md](../gestures.md) |
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| Navigation and layout | [ui-navigation.md](../dev/ui-navigation.md) |
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| Sync and storage | [storage.md](../dev/storage.md) |
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## How this page is made
|
||
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[`tools/manual/`](../../tools/manual/README.md) drives the desktop build on
|
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a private X server and records each scene; `record.sh <library>` re-makes
|
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every picture here. Run it after a change to the interface and commit what
|
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changed. The pictures are in LFS.
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The application carries this page. `cargo run -p traceability -- manual`
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renders it to `index.html` beside it, which the packages install with the
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pictures and the app opens from Help, from Settings, and from the "See it"
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||
link beside a gesture on the help sheet. CI fails when the two differ.
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||
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||
Making it the first time turned up nine faults, each fixed in its own
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commit before the pictures were taken: the folder picker could not choose
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the top level, month headings overprinted each other, a category mask
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widened the column off the window, the mask tint outlived its mode, the
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first sync uploaded an empty thumbnail shard, a merge that ran out of GPU
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memory left the page on Stop for ever, the export settings promised to ask
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for a folder and did not, the keyword sheet sent its keys to the grid, and
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an empty trash told you to check your library folder.
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