denoise.md §15: why Best became one network, how it compares with the mixture and Medium on real photographs and the chart, the candidates that fell short, the file names, the saved-edit numbering, and the timings on the 3050 -- 0.51-0.54 s whole-frame, 0.95 s in tiles, against 2.60 s for the mixture in tiles. The manual lists Bilinear, Fast and Best, says an edit made with Medium opens with Best, and gives the new time; Medium's close-up goes.
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<body>
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<div class="page">
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<nav class="toc" aria-label="Contents">
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<p class="toc-title">Contents</p>
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<ul>
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<li><a href="#opening-a-library">Opening a library</a></li>
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<li><a href="#the-library">The library</a>
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<ul>
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<li><a href="#rating-and-flagging">Rating and flagging</a></li>
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<li><a href="#getting-about">Getting about</a></li>
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<li><a href="#selecting-several">Selecting several</a></li>
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<li><a href="#collections">Collections</a></li>
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<li><a href="#bursts">Bursts</a></li>
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<li><a href="#duplicate-originals">Duplicate originals</a></li>
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</ul>
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</li>
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<li><a href="#developing-a-photograph">Developing a photograph</a>
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<ul>
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<li><a href="#light">Light</a></li>
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<li><a href="#looking-closer">Looking closer</a></li>
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<li><a href="#ai-denoise">AI denoise</a></li>
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<li><a href="#moving-between-photographs">Moving between photographs</a></li>
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<li><a href="#white-balance-from-the-photograph">White balance from the photograph</a></li>
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<li><a href="#composing">Composing</a></li>
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<li><a href="#local-adjustments">Local adjustments</a></li>
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<li><a href="#repair">Repair</a></li>
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<li><a href="#film">Film</a></li>
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<li><a href="#history-snapshots-presets">History, snapshots, presets</a></li>
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<li><a href="#copying-settings">Copying settings</a></li>
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</ul>
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</li>
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<li><a href="#merging-a-panorama">Merging a panorama</a></li>
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<li><a href="#export">Export</a></li>
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<li><a href="#settings">Settings</a></li>
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<li><a href="#people">People</a></li>
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<li><a href="#where-things-are-written-down">Where things are written down</a></li>
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<li><a href="#how-this-page-is-made">How this page is made</a></li>
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</ul>
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</nav>
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<main>
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<h1 id="darkroom-shown">DarkRoom, shown</h1>
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<p>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.</p>
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<p>The requirements behind each feature are in <a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/requirements.md">requirements.md</a>;
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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.</p>
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<p>The photographs are the author's. None show a person.</p>
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<h2 id="opening-a-library">Opening a library</h2>
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<p>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. <code>Choose folder…</code> 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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<code>Open folder</code> beside it, and <code>Choose another…</code> in place of <code>Choose folder…</code>.
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On a Nextcloud account the library folder is chosen in a browser of the
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server, whose <code>New folder</code> 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.)</p>
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<figure><img loading="lazy" src="media/launch.png" alt="The launch screen: a Nextcloud server or an app password, or the folder used last with Open folder beside it"><figcaption>The launch screen: a Nextcloud server or an app password, or the folder used last with Open folder beside it</figcaption></figure>
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<p>Once a folder is named, it is the library — you are not asked for it again,
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and <code>Open library</code> opens it whole. <code>Subfolder…</code> 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. <code>Change library</code>, at the foot of the sidebar, comes back here.</p>
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<figure><img loading="lazy" src="media/launch-folder.png" alt="A folder chosen: the library, whether to scan a subfolder, and the formats"><figcaption>A folder chosen: the library, whether to scan a subfolder, and the formats</figcaption></figure>
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<h2 id="the-library">The library</h2>
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<figure><img loading="lazy" src="media/library.png" alt="The grid: collections on the left, the timeline beside it, the roll of thumbnails, and the filter bar above"><figcaption>The grid: collections on the left, the timeline beside it, the roll of thumbnails, and the filter bar above</figcaption></figure>
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<p>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).</p>
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<h3 id="rating-and-flagging">Rating and flagging</h3>
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<p>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 <code>3+</code> shows only those. From the
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keyboard, <code>0</code> to <code>5</code> set the stars on the photograph under the pointer or on
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the selection; <code>P</code> picks, <code>X</code> rejects and <code>U</code> takes the flag off, and <code>Flag</code>
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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 <code>Pick</code> and <code>Reject</code>; the roll marks each frame's
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flag and stars.</p>
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<figure><img loading="lazy" src="media/library-rating.gif" alt="Rating two photographs, then filtering the grid to three stars and more"><figcaption>Rating two photographs, then filtering the grid to three stars and more</figcaption></figure>
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<p>Colour labels work as Lightroom's do: <code>6</code> red, <code>7</code> yellow, <code>8</code> green, <code>9</code>
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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. <code>Label</code> on the selection bar offers all five,
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purple included, and <code>None</code>. 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.</p>
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<figure><img loading="lazy" src="media/library-labels.gif" alt="Labelling four frames with 6, 7, 8 and 9, taking one off with the same key, and filtering the grid to green"><figcaption>Labelling four frames with 6, 7, 8 and 9, taking one off with the same key, and filtering the grid to green</figcaption></figure>
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<h3 id="getting-about">Getting about</h3>
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<p>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.</p>
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<p>A panorama gets a wider cell: about twice as wide as it is tall and it spans
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two columns, then three, then four for the widest — whichever leaves the least
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of the cell empty — with a thumbnail made for that width. One that would not
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fit in what is left of a row starts the next, so the grid still reads in the
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order the photographs were taken; the arrows walk it in that order, and up and
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down go to whatever is above or below. On a tablet, or with too few columns to
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put it beside anything, a panorama takes the whole row.</p>
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<p><code>Help</code> in the header, or <code>F1</code>, opens the controls and shortcuts: every key and
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gesture, screen by screen, with <code>See it</code> beside those this page shows, and
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<code>Manual</code> to open this page. In develop it is the <code>?</code> beside <code>Settings</code>.</p>
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<figure><img loading="lazy" src="media/library-timeline.gif" alt="Scrubbing the timeline"><figcaption>Scrubbing the timeline</figcaption></figure>
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<figure><img loading="lazy" src="media/library-thumbsize.gif" alt="Resizing the thumbnails with Ctrl and the wheel"><figcaption>Resizing the thumbnails with Ctrl and the wheel</figcaption></figure>
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<h3 id="selecting-several">Selecting several</h3>
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<p><code>Select</code> 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.</p>
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<figure><img loading="lazy" src="media/library-selection.png" alt="Twelve photographs selected, with the selection bar along the foot of the grid"><figcaption>Twelve photographs selected, with the selection bar along the foot of the grid</figcaption></figure>
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<p><code>Keywords</code> 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.</p>
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<figure><img loading="lazy" src="media/library-keywords.gif" alt="Keywording twelve frames"><figcaption>Keywording twelve frames</figcaption></figure>
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<h3 id="collections">Collections</h3>
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<p><code>+</code> 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.</p>
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<figure><img loading="lazy" src="media/library-collections.gif" alt="Filing photographs in a collection by dragging them onto it"><figcaption>Filing photographs in a collection by dragging them onto it</figcaption></figure>
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<p>Collections nest. Drag one onto another to put it inside; <code>+</code> with a
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collection selected — or <code>New collection inside</code> 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.</p>
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<figure><img loading="lazy" src="media/library-nesting.gif" alt="Making Trips, nesting Alps and New York inside it, and opening the parent"><figcaption>Making Trips, nesting Alps and New York inside it, and opening the parent</figcaption></figure>
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<figure><img loading="lazy" src="media/library-nesting.png" alt="Trips showing both of its children's photographs"><figcaption>Trips showing both of its children's photographs</figcaption></figure>
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<figure><img loading="lazy" src="media/library-collection-menu.png" alt="The menu on a collection"><figcaption>The menu on a collection</figcaption></figure>
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<h3 id="bursts">Bursts</h3>
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<p>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.</p>
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<p>With faces indexed, narrowing the grid to a person puts <code>Eyes open</code> beside
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their name on the filter bar, which leaves out the frames where they blinked.</p>
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<h3 id="duplicate-originals">Duplicate originals</h3>
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<p>A library put together by hand often holds the same RAW more than once — a
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dated folder, a <code>bck</code> 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, <code>Duplicate originals</code> 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.</p>
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<p>The page lists each group with its picture and its paths. One copy is
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marked <code>Stays</code>: the one outside a folder named like a backup (<code>bck</code>,
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<code>backup</code>, <code>copy</code>, <code>old</code>…), then the one still named the way the camera named
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it (<code>_MG_4623</code>, <code>IMG_0001</code>, <code>DSC_0042</code>), then the one catalogued first. Tap
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another path to keep that copy instead, and untick <code>Include</code> to leave a
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group alone.</p>
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<p>Nothing moves until <code>Check</code> 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.</p>
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<figure><img loading="lazy" src="media/duplicates.png" alt="Two frames with a copy each in a bck folder, checked and proved the same, the copy that stays marked on each"><figcaption>Two frames with a copy each in a bck folder, checked and proved the same, the copy that stays marked on each</figcaption></figure>
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<p><code>Move N copies to trash</code> 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 <code>Restore</code> puts them
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back where they were.</p>
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<h2 id="developing-a-photograph">Developing a photograph</h2>
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<p>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.</p>
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<figure><img loading="lazy" src="media/develop.png" alt="The develop view: the photograph, the histogram, and the adjustment column"><figcaption>The develop view: the photograph, the histogram, and the adjustment column</figcaption></figure>
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<figure><img loading="lazy" src="media/develop-groups.gif" alt="Switching between the Optics, Light, Colour, Effects and Detail groups"><figcaption>Switching between the Optics, Light, Colour, Effects and Detail groups</figcaption></figure>
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<h3 id="light">Light</h3>
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<p>Exposure, contrast, highlights, shadows, blacks, whites and a tone curve.
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Hold <code>Before</code> to see the photograph as it was.</p>
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<figure><img loading="lazy" src="media/develop-light.gif" alt="Raising exposure, pulling the highlights, lifting the shadows, then holding Before"><figcaption>Raising exposure, pulling the highlights, lifting the shadows, then holding Before</figcaption></figure>
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<p><code>Tone Mapping</code>, last in the group, is how the scene is fitted onto the
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screen, and it runs after every other adjustment. <code>White Point</code> 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 <code>Contrast</code> 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. A JPEG has been fitted to a screen already, by the camera, so on a
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JPEG these two do nothing.</p>
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<figure><img loading="lazy" src="media/develop-tonemap.gif" alt="Raising the white point to bring the clouds back from white, lowering it for a brighter picture, raising the contrast, then holding Before"><figcaption>Raising the white point to bring the clouds back from white, lowering it for a brighter picture, raising the contrast, then holding Before</figcaption></figure>
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<h3 id="looking-closer">Looking closer</h3>
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<p>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.</p>
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<figure><img loading="lazy" src="media/develop-zoom.gif" alt="Zooming to 1:1 with a double-click, panning, then further in with the wheel"><figcaption>Zooming to 1:1 with a double-click, panning, then further in with the wheel</figcaption></figure>
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<h3 id="ai-denoise">AI denoise</h3>
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<p>How every raw is developed. <code>AI Denoise</code>, at the top of the Adjust panel,
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replaces how the camera's raw data is turned into colour: a network trained
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on this library's own photographs removes the noise and the blotches of
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colour that come with it, while keeping the fine detail. Look at it at
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1:1, where noise lives.</p>
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<p><code>Method</code> chooses how:</p>
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<ul>
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<li><code>Best</code>, the default: clean skies and sharp lettering, edges kept as
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crisp as the camera recorded them.</li>
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<li><code>Fast</code>: a smaller network, taught the same way. Visibly noisier at very
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high ISO than <code>Best</code>, but still far cleaner than none, and quicker.</li>
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<li><code>Bilinear</code>: the camera's ordinary conversion, noise and all.</li>
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</ul>
|
||
<p>A photograph last edited with <code>Medium</code>, which earlier versions offered,
|
||
opens with <code>Best</code>.</p>
|
||
<p>The photograph shows the camera's ordinary conversion while the network
|
||
works, with its progress in the bar at the top, and changes when it is
|
||
done — on a laptop's graphics card, about a second for a 20-megapixel
|
||
photograph with <code>Best</code>, reading the file included; longer on a processor
|
||
alone or on the tablet. After installing, the graphics card spends up to a
|
||
quarter of an hour preparing each network, once, in the background; the
|
||
photographs developed meanwhile take a little longer. The result is kept, so a photograph opened again,
|
||
or exported, does not wait a second time, and switching back to a method
|
||
already used is quick.
|
||
<code>Strength</code> eases it off: below 100 % it puts back some of what was removed,
|
||
as grain without colour, for a picture that does not look too smooth.</p>
|
||
<p>The lamp and railing of a night frame at ISO 8000, at 1:1, by each method:</p>
|
||
<table><thead><tr><th>Bilinear</th><th>Fast</th></tr></thead><tbody>
|
||
<tr><td><img src="media/develop-denoise-bilinear.png" alt="The railing and the lamp at ISO 8000, as the camera recorded them" /></td><td><img src="media/develop-denoise-fast.png" alt="The same, with the Fast network" /></td></tr>
|
||
<tr><td><strong>Best</strong></td><td></td></tr>
|
||
<tr><td><img src="media/develop-denoise-best.png" alt="The same, with the Best network" /></td><td></td></tr>
|
||
</tbody></table>
|
||
<p>It works on raw files from any camera with the usual colour pattern of
|
||
red, green and blue squares — not on JPEGs, and not yet on Fujifilm's
|
||
X-Trans. How noisy the camera is at each ISO was measured for the Canon
|
||
EOS 6D; for other cameras it is read from a DNG's own figures or
|
||
estimated from the photograph, and the finished job in the activity list
|
||
says which. An export uses
|
||
the method the photograph has.</p>
|
||
<h3 id="moving-between-photographs">Moving between photographs</h3>
|
||
<p>The roll along the foot of the canvas holds the photographs the grid was
|
||
showing; click one to open it. The right arrow, <code>D</code> or space opens the next,
|
||
and the left arrow or <code>A</code> the one before; held down, they go on past the
|
||
stretch the roll has loaded, through everything the grid would show. The
|
||
edit on screen is saved on the way, so stepping along a shoot loses nothing.</p>
|
||
<p>On a Nextcloud library a photograph may not be on this device yet. Its
|
||
thumbnail from the grid stands in at once; if the original has to come down,
|
||
the thumbnail dims under <em>Not on this device yet</em>, with how far the download
|
||
has got — <code>Downloading — 12.4 of 38.0 MB</code> — and a bar, and the photograph
|
||
opens when it lands. Step on before then and the one you step to is the one
|
||
that opens: a download that arrives late is kept for later and never takes
|
||
the place of the photograph whose name is showing. (Not pictured: a folder
|
||
library, which these recordings use, never has a photograph to wait for.)</p>
|
||
<h3 id="white-balance-from-the-photograph">White balance from the photograph</h3>
|
||
<p>Press <code>pick</code> in the White Balance group, then click something neutral —
|
||
a white wall, a grey card, the air conditioner here. The picker sets the
|
||
sliders from the photograph, not from where they were: below, the frame
|
||
is dragged cold first and one click puts it right. A blown highlight is
|
||
refused, since a clipped pixel has no colour left to balance.</p>
|
||
<figure><img loading="lazy" src="media/develop-wb.gif" alt="Cooling the frame with the slider, then picking a white air conditioner to set the white balance"><figcaption>Cooling the frame with the slider, then picking a white air conditioner to set the white balance</figcaption></figure>
|
||
<h3 id="composing">Composing</h3>
|
||
<p>Crop by dragging the frame's corners, straighten with the slider, lock a
|
||
ratio from the chips. <code>Done composing</code> returns to the photograph.</p>
|
||
<figure><img loading="lazy" src="media/compose.gif" alt="Cropping, straightening and choosing a ratio"><figcaption>Cropping, straightening and choosing a ratio</figcaption></figure>
|
||
<p><code>Vertical</code> and <code>Horizontal</code>, under <code>Straighten</code>, correct the lines that
|
||
converge when the camera is tilted up at a building; the crop refits to
|
||
what is left.</p>
|
||
<figure><img loading="lazy" src="media/compose-perspective.gif" alt="Standing towers shot from below upright with the Vertical slider"><figcaption>Standing towers shot from below upright with the Vertical slider</figcaption></figure>
|
||
<p>A crop that leaves a mask wholly outside the frame says so, and offers to
|
||
take the crop back or keep it.</p>
|
||
<figure><img loading="lazy" src="media/crop-orphan.gif" alt="A stroke in a corner, a crop that leaves it outside, and the notice with Undo crop and Keep crop"><figcaption>A stroke in a corner, a crop that leaves it outside, and the notice with Undo crop and Keep crop</figcaption></figure>
|
||
<h3 id="local-adjustments">Local adjustments</h3>
|
||
<p><code>Local</code> in the rail turns the column into a mask stack. <code>Find subjects</code> runs a
|
||
segmentation model over the photograph; what it recognises appears as a list
|
||
of categories with how much of the frame each covers. Click one and it is a
|
||
mask — then every slider below edits only that region. A mask's slider adds to
|
||
the photograph's own rather than repeating it: contrast −20 in the mask over
|
||
−30 on the whole frame is −50 there, and +30 in the mask cancels the frame's
|
||
−30 inside it.</p>
|
||
<figure><img loading="lazy" src="media/local-categories.png" alt="What the model found in an urban scene: ground, architecture, sky, vegetation"><figcaption>What the model found in an urban scene: ground, architecture, sky, vegetation</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/local-segment.png" alt="The sky chosen: tinted on the photograph, and the column now scoped to it"><figcaption>The sky chosen: tinted on the photograph, and the column now scoped to it</figcaption></figure>
|
||
<p>A mask is a stack of parts. Paint into it, subtract a gradient from it, grow
|
||
or shrink its edge, choose how it falls off. <code>Show masks as</code> draws the mask
|
||
tinted, as alpha, or as an outline; the eye on its row switches it off.</p>
|
||
<figure><img loading="lazy" src="media/local-paint.gif" alt="Looking at the mask three ways, painting into it, then growing its edge"><figcaption>Looking at the mask three ways, painting into it, then growing its edge</figcaption></figure>
|
||
<p>Linear and radial gradients, a tone range and a colour range are the other
|
||
ways to make one; each can be combined with any other. <code>∩ Intersect</code> keeps
|
||
only where the new part and the mask agree: below, a gradient over the
|
||
lower half, then two strokes that survive only where the gradient is.</p>
|
||
<figure><img loading="lazy" src="media/local-intersect.gif" alt="A linear gradient, then Intersect and two painted strokes"><figcaption>A linear gradient, then Intersect and two painted strokes</figcaption></figure>
|
||
<h3 id="repair">Repair</h3>
|
||
<p><code>Repair</code> in the rail: click a mark and it is covered from a source DarkRoom
|
||
chooses beside it. Drag either circle to move it; the size, feather and
|
||
opacity are in the panel. Heal blends; clone copies.</p>
|
||
<figure><img loading="lazy" src="media/repair.gif" alt="Covering marks on a road"><figcaption>Covering marks on a road</figcaption></figure>
|
||
<h3 id="film">Film</h3>
|
||
<p>The <code>Film</code> 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. A stock takes the place of <code>Tone Mapping</code>: 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 <code>Up</code>, <code>Down</code> and <code>Enter</code> — down to the
|
||
black-and-white stocks at its end.</p>
|
||
<figure><img loading="lazy" src="media/film.gif" alt="Opening the film list, scrolling it, choosing Velvia, then holding Before"><figcaption>Opening the film list, scrolling it, choosing Velvia, then holding Before</figcaption></figure>
|
||
<p>The film's sliders work on a mask as they do on the whole photograph, the way
|
||
a printer dodges and burns: in a layer, <code>Print Exposure</code> darkens or lightens
|
||
that region of the print, <code>Push</code> develops it further, and the stock stays the
|
||
one the photograph was made on. Where layers overlap, the photograph takes the
|
||
average of what they ask for. Below, a negative stock on an alpine frame, then
|
||
a gradient over the sky whose <code>Print Exposure</code> burns it in.</p>
|
||
<figure><img loading="lazy" src="media/film-local.gif" alt="Kodak Ektar 100 on the whole frame, a gradient turned to cover the sky, its Print Exposure raised to burn the sky in, then holding Before"><figcaption>Kodak Ektar 100 on the whole frame, a gradient turned to cover the sky, its Print Exposure raised to burn the sky in, then holding Before</figcaption></figure>
|
||
<h3 id="history-snapshots-presets">History, snapshots, presets</h3>
|
||
<p>Every change is a step; <code>Undo</code> and the History panel walk them. <code>Snapshot</code>
|
||
keeps the current state under a name. <code>Presets</code>, at the foot of the tool
|
||
rail on the left, opens a menu of presets beside the rail, over the photograph, filed in
|
||
folders that start closed: your own under <code>Yours</code>, then the ones DarkRoom
|
||
ships — <code>Essentials</code>, <code>Skies</code>, and <code>Film</code>, which holds <code>Colour</code>, <code>Cinema</code>
|
||
and <code>Black and white</code>, one measured stock each. Choosing a folder opens it;
|
||
choosing a preset applies it. The menu's last row, <code>Save or manage…</code>, opens
|
||
the presets sheet, which lists the same folders and saves the settings to
|
||
apply elsewhere, renames and deletes them, and imports Lightroom presets —
|
||
<code>Folder…</code> for a folder of them, <code>.xmp file…</code> for one.</p>
|
||
<p>A <code>/</code> in a name files the preset: <code>Portraits/Warm skin</code> is <code>Warm skin</code> in a
|
||
<code>Portraits</code> folder under <code>Yours</code>, and renaming it is how it moves. An
|
||
imported Lightroom folder keeps its groups the same way.</p>
|
||
<p>A shipped preset is a look: it changes what it names and leaves the
|
||
photograph's own corrections alone, as an imported Lightroom preset does.
|
||
Saving under a shipped preset's name makes your version the one that name
|
||
applies, marked <em>changed</em>; <code>Revert</code> brings the shipped one back, and renaming
|
||
yours makes it one of your own. A film preset carries its stock: choosing one
|
||
sets the <code>Film</code> chooser and leaves the rest of the edit where it was.</p>
|
||
<figure><img loading="lazy" src="media/presets-menu.png" alt="The presets menu beside the tool rail, with Film and its colour stocks open"><figcaption>The presets menu beside the tool rail, with Film and its colour stocks open</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/presets.png" alt="The presets sheet: a name for the current edit, the shipped Essentials, importing, and what an apply carries"><figcaption>The presets sheet: a name for the current edit, the shipped Essentials, importing, and what an apply carries</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/presets-film.gif" alt="Opening Film, then Black and white, in the presets menu and applying Ilford HP5 Plus, then holding Before"><figcaption>Opening Film, then Black and white, in the presets menu and applying Ilford HP5 Plus, then holding Before</figcaption></figure>
|
||
<h3 id="copying-settings">Copying settings</h3>
|
||
<p><code>Copy</code> in the top bar, or Ctrl+C, takes this photograph's settings; <code>Paste</code>,
|
||
or Ctrl+V, puts them on another, and says what it would paste — how many
|
||
adjustments, and whether the crop comes too. In the grid, <code>Paste to N</code> on the
|
||
selection bar pastes onto every photograph selected. Which kinds of edit a
|
||
copy carries is chosen in the presets sheet, or with Ctrl+Shift+C: a look carried
|
||
across a shoot usually leaves each frame's own crop alone.</p>
|
||
<h2 id="merging-a-panorama">Merging a panorama</h2>
|
||
<p>Select the frames, then <code>Merge to panorama</code> from the selection bar. The
|
||
frames are read, aligned, and drawn on the suggested projection with each one
|
||
outlined where it landed — twelve hand-held portrait frames across an alpine
|
||
valley, here. Change the projection (a 150° sweep on a flat perspective is
|
||
what the middle of the film shows, and why cylindrical is suggested), ask for
|
||
the border to be filled rather than cropped, then <code>Merge</code>. The composite is
|
||
written beside its sources as a DNG and is in the grid the moment it is
|
||
written — in a wide cell beside its frames, placed by when they were taken —
|
||
with the merge as the first step in its history. Its thumbnail is made during
|
||
the merge, from the finished picture, as develop will show it when you open
|
||
it; on a server library it is in the grid while the file is still uploading.
|
||
A second merge of the same frames is named <code>-pano-2</code>, never written over the
|
||
first.</p>
|
||
<p>Each frame has a box in the <code>Frames</code> list. Untick one to leave it out, and
|
||
the rest are aligned again at once, without reading the frames again; tick
|
||
it to bring it back. A frame that cannot be placed is named there with why,
|
||
and <code>Merge</code> stays off until it is unticked. Blown sky stays white in the
|
||
preview and in the composite.</p>
|
||
<p>A panorama is usually far wider than a graphics card can draw in one piece.
|
||
It opens in develop all the same, on a reduced copy that is drawn from the
|
||
full resolution wherever you zoom in, and it exports at full size. The same
|
||
goes for a panorama Lightroom stitched and saved as a DNG.</p>
|
||
<figure><img loading="lazy" src="media/giant-pano.gif" alt="A 22 927 × 8966 panorama of a glacier at dusk: zoomed from the whole frame into the peaks, panned along the ridge and back out, then 1:1 on the peaks with a double-click"><figcaption>A 22 927 × 8966 panorama of a glacier at dusk: zoomed from the whole frame into the peaks, panned along the ridge and back out, then 1:1 on the peaks with a double-click</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/panorama.gif" alt="Twelve frames aligned, the first left out and brought back, the projections tried, and the border filled"><figcaption>Twelve frames aligned, the first left out and brought back, the projections tried, and the border filled</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/panorama-aligned.png" alt="The alignment on a cylinder, each frame outlined where it landed"><figcaption>The alignment on a cylinder, each frame outlined where it landed</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/panorama-filled.png" alt="The same, with the ragged border filled by the model rather than cropped away"><figcaption>The same, with the ragged border filled by the model rather than cropped away</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/panorama-in-grid.png" alt="The composite in the grid straight after the merge, spanning four columns beside the twelve frames it was made from"><figcaption>The composite in the grid straight after the merge, spanning four columns beside the twelve frames it was made from</figcaption></figure>
|
||
<h2 id="export">Export</h2>
|
||
<p><code>Export</code> in the develop header, or <code>Export N</code> from a selection. Format,
|
||
size, colour space, sharpening and naming are in Settings, and apply to every
|
||
export until changed. Where the file goes is an album.</p>
|
||
<p>An album is a folder exports go to, listed under <strong>Albums</strong> in the sidebar,
|
||
below the collections. Press <code>+</code> there, or <code>New album…</code> in the export sheet
|
||
(<code>Ctrl+E</code>), name it, and choose its folder: on this device, in the system's
|
||
folder dialogue (on the tablet, Android's folder picker), or on the server,
|
||
in a browser that can make a folder as well as open one. Not inside the
|
||
library — a JPEG exported there would come back from the next scan as a
|
||
photograph of its own, and the browser says so rather than letting you.</p>
|
||
<figure><img loading="lazy" src="media/album-sheet.png" alt="A new album named, before its folder is chosen"><figcaption>A new album named, before its folder is chosen</figcaption></figure>
|
||
<p>The folder holds only the exported files. The album remembers which
|
||
photograph each came from, so selecting it in the sidebar shows the
|
||
originals behind its JPEGs — edit one and export it again. Albums reach your
|
||
other devices as collections do; a folder on this device does not, so an
|
||
album made on the desktop asks the tablet for a folder of its own.
|
||
Right-click an album, double-click it or press the arrow on its row to
|
||
rename it, give it another folder or delete it; deleting an album leaves
|
||
its files where they are.</p>
|
||
<figure><img loading="lazy" src="media/albums.gif" alt="Four New York frames exported to an album, then the album chosen in the sidebar"><figcaption>Four New York frames exported to an album, then the album chosen in the sidebar</figcaption></figure>
|
||
<figure><img loading="lazy" src="media/albums.png" alt="The album chosen: the four photographs behind its files"><figcaption>The album chosen: the four photographs behind its files</figcaption></figure>
|
||
<p>An export with no album chosen is refused, and the header says so. With one
|
||
chosen, the buttons name it: <code>Export to Exports</code> in develop, <code>Export 4 to Exports</code> on the selection bar.</p>
|
||
<figure><img loading="lazy" src="media/settings-export.png" alt="Export defaults in Settings, ending with the album exports go to"><figcaption>Export defaults in Settings, ending with the album exports go to</figcaption></figure>
|
||
<h2 id="settings">Settings</h2>
|
||
<figure><img loading="lazy" src="media/settings.png" alt="The settings page: background activity, indexing, storage, display"><figcaption>The settings page: background activity, indexing, storage, display</figcaption></figure>
|
||
<p>Background activity with progress, thumbnail and face indexing, how many
|
||
duplicate originals the library holds and the way to their review, storage
|
||
on this device, display and colour, export defaults, what is written to XMP
|
||
sidecars, the manual, and a diagnostics bundle for a bug report.</p>
|
||
<h2 id="people">People</h2>
|
||
<p>Face detection and identity run over the library and group faces by person;
|
||
the <code>Identity</code> page is where suggestions are confirmed, rejected and split,
|
||
and <code>People</code> on the filter bar narrows the grid to someone. Not pictured
|
||
here, for the obvious reason — <a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/faces.md">faces.md</a> has the design.</p>
|
||
<h2 id="where-things-are-written-down">Where things are written down</h2>
|
||
<table><thead><tr><th>Feature</th><th>Design</th></tr></thead><tbody>
|
||
<tr><td>Local masks and segmentation</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/segmentation.md">segmentation.md</a>, <a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/mask-editing.md">mask-editing.md</a></td></tr>
|
||
<tr><td>Repair</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/spot-removal.md">spot-removal.md</a></td></tr>
|
||
<tr><td>Panorama</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/panorama.md">panorama.md</a></td></tr>
|
||
<tr><td>Faces and identity</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/faces.md">faces.md</a></td></tr>
|
||
<tr><td>Gestures, generated from the code</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/gestures.md">gestures.md</a></td></tr>
|
||
<tr><td>Navigation and layout</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/ui-navigation.md">ui-navigation.md</a></td></tr>
|
||
<tr><td>Sync and storage</td><td><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/docs/dev/storage.md">storage.md</a></td></tr>
|
||
</tbody></table>
|
||
<h2 id="how-this-page-is-made">How this page is made</h2>
|
||
<p><a href="https://gitea.tourolle.paris/dtourolle/DarkRoom/src/branch/master/tools/manual/README.md"><code>tools/manual/</code></a> drives the desktop build on
|
||
a private X server and records each scene; <code>record.sh <library></code> re-makes
|
||
every picture here. Run it after a change to the interface and commit what
|
||
changed. The pictures are in LFS.</p>
|
||
<p>The application carries this page. <code>cargo run -p traceability -- manual</code>
|
||
renders it to <code>index.html</code> beside it, which the packages install with the
|
||
pictures and the app opens from Help, from Settings, and from the "See it"
|
||
link beside a gesture on the help sheet. CI fails when the two differ.</p>
|
||
<p>Making it the first time turned up nine faults, each fixed in its own
|
||
commit before the pictures were taken: the folder picker could not choose
|
||
the top level, month headings overprinted each other, a category mask
|
||
widened the column off the window, the mask tint outlived its mode, the
|
||
first sync uploaded an empty thumbnail shard, a merge that ran out of GPU
|
||
memory left the page on Stop for ever, the export settings promised to ask
|
||
for a folder and did not, the keyword sheet sent its keys to the grid, and
|
||
an empty trash told you to check your library folder.</p>
|
||
</main>
|
||
</div>
|
||
</body>
|
||
</html>
|