| Summary: | typo English documentation docbook | ||
|---|---|---|---|
| Product: | [Applications] digikam | Reporter: | Ronald L. Humble <thetrashcan> |
| Component: | Documentation | Assignee: | Digikam Developers <digikam-bugs-null> |
| Status: | RESOLVED FIXED | ||
| Severity: | wishlist | CC: | caulier.gilles |
| Priority: | NOR | ||
| Version: | unspecified | ||
| Target Milestone: | --- | ||
| Platform: | Compiled Sources | ||
| OS: | Linux | ||
| Latest Commit: | Version Fixed In: | 0.9.2 | |
| Sentry Crash Report: | |||
| Attachments: | svn diff of latest doc/digikam/index.docbook | ||
Am Friday 23 February 2007 schrieb Ronald L.Humble: [bugs.kde.org quoted mail] > In the opening screen for the digikam program "Welcome to digiKam > 0.9.1-beta1 photograhs should be photographs corrected. > graphics/doc/digikamimageplugins/whitebalance.docbook > Is it possible that images are reversed in > inaction-plugin-whitebalance.html? Corrected image is blue, #1 original > image seem to be corrected. No, images are not inverted, it's a matter of taste, I agree, one could invert them as well. > graphics/doc/digikamimageplugins/infrared.docbook > I do not understand the NOTE. IS the author trying to indicate the task is > easy (no nonsense) ...this is a no nonsense way to try to simulate... OR > ...this is an easy way to try to simulate... Ok, I put in a better formulation (at least I believe so). > Below is an "svn diff". I have not yet finished with showfoto.docbook. Some > changes are to the correct word witch -> which; ply -> play; doted -> > dotted. Others are matching singular subject to singular verbs. Some > changes just sound better to me. I am assuming American English and > spelling. Certainly there could be mistakes introduced by me, but I hope > you will find the svn diff helpful. Please contact me if needed. > I'm still looking into you diff. Thank you already very much for you valuable contribution. I you have further interest - we're always lookinh for handbook authors! Gerhard Created attachment 19818 [details]
svn diff of latest doc/digikam/index.docbook
This will be my last opinion on doc/digikam/index.docbook for a while as I do
not want to be trouble. I may comment on the program or the plugins. There is
NO reason to respond unless there are questions I might answer. Thank you for
your work.
1) meta-data and metadata: one should perhaps be chosen
2) grey and gray : one should perhaps be chosen
3) There some "TODO" lines, perhaps this is acceptable
4) Incomplete thought: "As this tag format is proprietary and manufacturer
specific."
Am Sunday 25 February 2007 schrieb Ronald L.Humble: [bugs.kde.org quoted mail] Well, thank you very much! Don't be so pessimistic, your comments are very much appreciated and so far have all been implemented (except this patch on which I'm still working). Your help is welcome. Gerhard Just to make sure that this one does not fall through the cracks: has everything been applied, so that this bug could be closed, or is anything still do be done? Not from me and Marcel (i think). Gerhard are you apply this patch or fixed it directly on handbook ? Gilles It is all implemented now. I close it. *** Bug has been marked as fixed ***. |
Version: (using KDE KDE 3.5.6) Installed from: Compiled From Sources Compiler: gcc (GCC) 4.1.1 20070105 (Red Hat 4.1.1-51) gcc-4.1.1-51.fc6 - Fedora Core 6 OS: Linux In the opening screen for the digikam program "Welcome to digiKam 0.9.1-beta1 photograhs should be photographs graphics/doc/digikamimageplugins/whitebalance.docbook Is it possible that images are reversed in inaction-plugin-whitebalance.html? Corrected image is blue, #1 original image seem to be corrected. graphics/doc/digikamimageplugins/infrared.docbook I do not understand the NOTE. IS the author trying to indicate the task is easy (no nonsense) ...this is a no nonsense way to try to simulate... OR ...this is an easy way to try to simulate... Below is an "svn diff". I have not yet finished with showfoto.docbook. Some changes are to the correct word witch -> which; ply -> play; doted -> dotted. Others are matching singular subject to singular verbs. Some changes just sound better to me. I am assuming American English and spelling. Certainly there could be mistakes introduced by me, but I hope you will find the svn diff helpful. Please contact me if needed. I will submit other English changes for your consideration shortly. Thank you for your work. Index: doc/digikam/index.docbook =================================================================== --- doc/digikam/index.docbook (revision 636424) +++ doc/digikam/index.docbook (working copy) @@ -1,10 +1,10 @@ -<?xml version="1.0" ?> +<?xml version="1.0" ?> <!DOCTYPE book PUBLIC "-//KDE//DTD DocBook XML V4.2-Based Variant V1.1//EN" "dtd/kdex.dtd" [ <!ENTITY kappname "&digikam;"><!-- replace kapp here, do *not* replace kappname--> <!ENTITY package "extragear-graphics"> <!ENTITY % addindex "IGNORE"> <!ENTITY % English "INCLUDE"><!-- change language only here --> - <!ENTITY digikam '<application>digiKam</application>'> + <!ENTITY digikam '<application>digikam</application>'> <!-- Do not define any other entities; instead, use the entities from kde-genent.entities and $LANG/user.entities. --> @@ -249,7 +249,7 @@ </para> <para> - Image compression can be lossy or lossless. Lossless compression methods are always preferred for their high preservation value for archival purposes before applying transformations like cropping, resizing, color corrections, &etc;. This is because lossy compression methods, especially when used at low bit rates, introduce compression artifacts. Lossy methods are suitable for natural images such as photos in applications where minor (sometimes imperceptible) loss of fidelity is acceptable to achieve a substantial reduction in bit rate. Lossy compression is good for photograph publishing on the internet. + Image compression can be lossy or lossless. Lossless compression methods are always preferred for their high preservation value for archival purposes before applying transformations like cropping, resizing, color corrections, &etc;. This is because lossy compression methods, especially when used at low bit rates, introduce compression artifacts. Lossy methods are suitable for natural images such as photos in applications where minor (sometimes imperceptible) loss of fidelity is acceptable to achieve a substantial reduction in bit rate. Lossy compression is good for photograph publishing on the Internet </para> </sect3> @@ -293,7 +293,7 @@ </para> <para> - If you want to learn more about RAW image format visit the very helpful guides<ulink url="http://en.wikipedia.org/wiki/RAW_image_format"> Wikipwdia</ulink> <ulink url="http://www.luminous-landscape.com/tutorials/understanding-series/u-raw-files.shtml"> The Luminous Landscape</ulink> and <ulink url="http://www.cambridgeincolour.com/tutorials/RAW-file-format.htm"> Cambridge in Colour</ulink>. You can convert RAW format images into JPEG or TIFF in &digikam; using the <ulink url="help:/kipi-plugins/rawconverter.html">RAW Image Converter plugin</ulink>. See the <link linkend="using-kapp-setup">Configuration</link> section for information about using plugins with &digikam;. + If you want to learn more about RAW image format visit the very helpful guides<ulink url="http://en.wikipedia.org/wiki/RAW_image_format"> Wikipedia</ulink> <ulink url="http://www.luminous-landscape.com/tutorials/understanding-series/u-raw-files.shtml"> The Luminous Landscape</ulink> and <ulink url="http://www.cambridgeincolour.com/tutorials/RAW-file-format.htm"> Cambridge in Colour</ulink>. You can convert RAW format images into JPEG or TIFF in &digikam; using the <ulink url="help:/kipi-plugins/rawconverter.html">RAW Image Converter plugin</ulink>. See the <link linkend="using-kapp-setup">Configuration</link> section for information about using plugins with &digikam;. </para> <para> @@ -1260,7 +1260,7 @@ <title>How to Use EXIF Viewer?</title> <para> - You can review embedded EXIF information for the selected image from the first sidebar tab. The EXIF Viewer is purely informational: nothing you do with it will cause any change to the EXIF sections. If there are more entries than space availbale, just scroll down with the mouse wheel. + You can review embedded EXIF information for the selected image from the first sidebar tab. The EXIF Viewer is purely informational: nothing you do with it will cause any change to the EXIF sections. If there are more entries than space available, just scroll down with the mouse wheel. </para> <para><inlinemediaobject><imageobject><imagedata fileref="sidebarmetadataexif.png" format="PNG" /> </imageobject><textobject><phrase>The EXIF Viewer in Action</phrase></textobject></inlinemediaobject> @@ -1329,7 +1329,7 @@ </para> <para> - The IPTC was established in 1965 by a group of news organisations to safeguard the telecommunications interests of the world's press. Since the late 1970s IPTC's activities have primarily focussed on developing and publishing industry standards for the interchange of news data. + The IPTC was established in 1965 by a group of news organizations to safeguard the telecommunications interests of the world's press. Since the late 1970s IPTC's activities have primarily focused on developing and publishing industry standards for the interchange of news data. </para> <para> @@ -1376,7 +1376,7 @@ </para> <para> - In this tab, a little world map is displayed to show where the picture have been taken. If you want a more detailled map, just select on the bottom your favorite web map service and press <guilabel>More Info</guilabel> to launch an external web browser instance. + In this tab, a little world map is displayed to show where the picture have been taken. If you want a more detailed map, just select on the bottom your favorite web map service and press <guilabel>More Info</guilabel> to launch an external web browser instance. </para> <example> <title>sidebar Metadata GPS info</title> @@ -1720,7 +1720,7 @@ </example> <para> - The Properties tab displays file properties informations used internally by the camera to store item and a resume of photograph informations to describe how to have taken the pcitures with camera. A flag indicates if the picture has not been downloaded yet to you computer. Note, all these informations can be unavailable with some digital cameras. + The Properties tab displays file properties informations used internally by the camera to store item and a resume of photograph informations to describe how to have taken the pictures with camera. A flag indicates if the picture has not been downloaded yet to you computer. Note, all these informations can be unavailable with some digital cameras. </para> <para> @@ -1885,7 +1885,7 @@ </para> <para> - When opictures selection is done, &digikam; will ask you where you want upload the files in your camera. A camera folder selection dialog will appear. Just select one folder and press OK to start uploading. All images from your computer will not removed. + When picture selection is done, &digikam; will ask you where you want upload the files in your camera. A camera folder selection dialog will appear. Just select one folder and press OK to start uploading. All images from your computer will not removed. </para> <example> <title>The Camera Folder Selection Dialog</title> @@ -1939,7 +1939,7 @@ <para> The approach is dead easy: whilst taking your pictures just keep a GPS device running and carry it around with the camera. Once you are done, download the pictures and the GPS tracks, and run the above plugin. It will correlate the data in the time domain; so it is important that the camera be accurate in its clock setting (the GPS device is always accurate through the satellites). The positional accuracy interpolated from the track points can be as good as 20 meters. Of course, this approach only works if your camera can record EXIF data. </para> - <para>The GPS track download from a device can be managed with the <ulink url="http://www.ncc.up.pt/gpsman">gpsman</ulink> or <ulink url="http://www.gpsbabel.org">gpsbabel</ulink>. It is important that the downloaded track are being stored in gpx format, which is the only one compatiple with the Geolocalization plugin. + <para>The GPS track download from a device can be managed with the <ulink url="http://www.ncc.up.pt/gpsman">gpsman</ulink> or <ulink url="http://www.gpsbabel.org">gpsbabel</ulink>. It is important that the downloaded track are being stored in gpx format, which is the only one compatible with the Geolocalization plugin. </para> <para> Several programs exist for &Windows; and MacOS that are able to extract and correlate data from pictures and GPS data tracks. The following site provides the same functionality for &Linux;: @@ -2089,7 +2089,7 @@ </para> <para> - You have to press the &LMB; over the undo or redo icon in the toolbar and hold it down for a moment tp produce a context menu. If you choose one of the menu items, all undo/redo actions until the chosen ones are undone/undone. + You have to press the &LMB; over the undo or redo icon in the toolbar and hold it down for a moment to produce a context menu. If you choose one of the menu items, all undo/redo actions until the chosen ones are undone/undone. </para> </sect2> @@ -2644,7 +2644,7 @@ <listitem><para> <guilabel>Stretch Contrast</guilabel>: this method enhances the contrast and brightness of the RGB values of an image by stretching the lowest and highest values to their fullest range, adjusting everything in between. This is noticeable only with washed-out images and can be a good fix-it tool for bad photographs. - <example><title>Strectch Contrast Correction</title> <screenshot><screeninfo>Stretch Contrast Correction Preview</screeninfo><mediaobject><imageobject><imagedata fileref="editorstretchcontrast.png" format="PNG" /> </imageobject></mediaobject></screenshot> </example> + <example><title>Stretch Contrast Correction</title> <screenshot><screeninfo>Stretch Contrast Correction Preview</screeninfo><mediaobject><imageobject><imagedata fileref="editorstretchcontrast.png" format="PNG" /> </imageobject></mediaobject></screenshot> </example> </para></listitem> @@ -2879,7 +2879,7 @@ <title>ICC color profile management</title> <para> - What is the importance of ICC color profile management anyway? In simple terms it is alike Hifi stereo, where high fidelity is seeked from source to speakers, passing through microphone, recoding media, player and amplifier. Much the same, ICC color profile management tries to maintain color fidelity from photographic subject through the camera to the output media screen, print, paper and beamer. Luckily digital photography has taken out one source of distortion, the storage media (as the &CD-ROM; did in the audio field). + What is the importance of ICC color profile management anyway? In simple terms it is like hi-fi stereo, where high fidelity is seeked from source to speakers, passing through microphone, recoding media, player and amplifier. Much the same, ICC color profile management tries to maintain color fidelity from photographic subject through the camera to the output media screen, print, paper and beamer. Luckily digital photography has taken out one source of distortion, the storage media (as the &CD-ROM; did in the audio field). </para> <para>The figure below pictures the problem: Every time there is a transfer from one device to another, an ICC profile is used to correct for the inaccuracies or limitations of the device. The central work space (which is called Profile Connection Space, PCS) provides a common platform to translate the device color spaces into each other. @@ -2894,20 +2894,20 @@ <tip> <para><emphasis>CM Pros.</emphasis> CM is really important whenever you need identical results between shooting sessions, accurate source reproduction, close rendering results between various display media (this would rather point CM to professionals).</para> - <para>As a passionate amateur you can also profit from CM, since it is mostly accociated with 16 bit color depth. RAW mode shooting is much more forgiving in terms of exposure than processed shooting (JPEG), so you can generally underexpose and recover the highlights. And, the human eye is much more sensitive to luminosity variations in the dark scales than a digital camera is. Careful tonal adjustment there close to the blacks will produce a better dynamic of the picture. That is why RAW mode pictures often have an apperance of more depth to them.</para> + <para>As a passionate amateur you can also profit from CM, since it is mostly associated with 16 bit color depth. RAW mode shooting is much more forgiving in terms of exposure than processed shooting (JPEG), so you can generally underexpose and recover the highlights. And, the human eye is much more sensitive to luminosity variations in the dark scales than a digital camera is. Careful tonal adjustment there close to the blacks will produce a better dynamic of the picture. That is why RAW mode pictures often have an appearance of more depth to them.</para> - <para><emphasis>CM Cons.</emphasis> If you do not use color management you still can realize phantastic pictures. In journalism or emotional contexts, for holiday photos you do not need any color management.</para> + <para><emphasis>CM Cons.</emphasis> If you do not use color management you still can realize fantastic pictures. In journalism or emotional contexts, for holiday photos you do not need any color management.</para> </tip> <para> - The ICC standard covers a data format to exchange colour information of devices. ISO 22028-1 specifies unambiguous exchange of color image data of color space encoding, viewing conditions, image state and reference medium. Here follows an example of the differences in color language: one kind of green defined (by the same numbers) in one color space looks different in another color space. This is what happens when no color management is applied. + The ICC standard covers a data format to exchange color information of devices. ISO 22028-1 specifies unambiguous exchange of color image data of color space encoding, viewing conditions, image state and reference medium. Here follows an example of the differences in color language: one kind of green defined (by the same numbers) in one color space looks different in another color space. This is what happens when no color management is applied. </para> <para> (88, 249, 16) in Adobe RGB <inlinemediaobject><imageobject><imagedata fileref="2Greens.png" format="PNG"/></imageobject></inlinemediaobject> The same RGB value in sRGB </para> <para> - Photographers want to use the full gamut of their camera and their inkjet printers. Editing of pictures should be done in a work space, where equal RGB-numbers result into gray. + Photographers want to use the full gamut of their camera and their ink jet printers. Editing of pictures should be done in a work space, where equal RGB-numbers result into gray. </para> <para> @@ -3036,7 +3036,7 @@ </para> <para> - <guilabel>Set EXIF Orientation Tag to Normal after rotate/flip</guilabel> : the Auto Rotate option automatically corrects the orientation of images taken with digital cameras that have an orientation sensor. The camera adds an orientation tag to the image's EXIF meta-data. &digikam; can read this tag to adjust the image accordingly. If you manually rotate an image, this meta-data will be incorrect. This option will set the orientation taq to "Normal" after an adjustment, assuming that you rotated it to the correct orientation. Switch this off if you don't want &digikam; to make changes to the orientation tag, when you rotate or flip the image. + <guilabel>Set EXIF Orientation Tag to Normal after rotate/flip</guilabel> : the Auto Rotate option automatically corrects the orientation of images taken with digital cameras that have an orientation sensor. The camera adds an orientation tag to the image's EXIF meta-data. &digikam; can read this tag to adjust the image accordingly. If you manually rotate an image, this meta-data will be incorrect. This option will set the orientation tag to "Normal" after an adjustment, assuming that you rotated it to the correct orientation. Switch this off if you don't want &digikam; to make changes to the orientation tag, when you rotate or flip the image. </para> </sect3> @@ -3045,7 +3045,7 @@ <title>Default Author Identity for IPTC</title> <para> - This settings page permits to enter default identity and copyright data as shown on the printscreen below. The data will be automatically written into the respective IPTC data fields if so selected during the download from the <link linkend="using-kapp-cameraclientrenaming">camera interface</link> + This settings page permits one to enter default identity and copyright data as shown on the printscreen below. The data will be automatically written into the respective IPTC data fields if so selected during the download from the <link linkend="using-kapp-cameraclientrenaming">camera interface</link> </para> <para> @@ -3409,7 +3409,7 @@ <shortcut><keycombo action="simul"><keycap>&Alt;</keycap><keycap>Right</keycap></keycombo> </shortcut> <guimenu>Album</guimenu><guimenuitem>Forward</guimenuitem> </menuchoice></term> - <listitem><para><action>Go forward to the previously visted View using history. You can only go forward if you've just gone back.</action></para></listitem> + <listitem><para><action>Go forward to the previously visited View using history. You can only go forward if you've just gone back.</action></para></listitem> </varlistentry> <varlistentry> @@ -4744,7 +4744,7 @@ </menuchoice></term> <listitem> <para><action> - Image Editor plugin to reduce artefacts on the current image. + Image Editor plugin to reduce artifacts on the current image. </action></para> <para> See the dedicated @@ -4962,7 +4962,7 @@ <shortcut><keycombo action="simul"><keycap>&Ctrl;</keycap><keycap>&Shift;</keycap><keycap>A</keycap></keycombo> </shortcut> <guimenu>View</guimenu><guimenuitem>Zoom AutoFit</guimenuitem> </menuchoice></term> - <listitem><para><action>Toggle between zoom factor autofit to image edito window or 100% zoom + <listitem><para><action>Toggle between zoom factor autofit to image edit window or 100% zoom window size.</action></para></listitem> </varlistentry> Index: doc/digikam/TODO =================================================================== --- doc/digikam/TODO (revision 636424) +++ doc/digikam/TODO (working copy) @@ -15,9 +15,13 @@ - Describe all new setup dialog page - Updated new camera gui - Updated image plugins dialog templates. -- Describe 16 bits images support in digikam. +- Describe 16 bits images support in digiKam. - Updated all screenshots. Gimp script to prepare screenshots for docbook: Gimp v2.3 : ftp://digikam3rdparty@ftpperso.free.fr/Tools/printscreen-v2.3.scm +<<<<<<< .mine +Gimp <= v2.2 : ftp://digikam3rdparty@ftpperso.free.fr/Tools/printscreen-to-manual.scm +======= +>>>>>>> .r636424 Index: doc/showfoto/index.docbook =================================================================== --- doc/showfoto/index.docbook (revision 636424) +++ doc/showfoto/index.docbook (working copy) @@ -1,4 +1,4 @@ -<?xml version="1.0" ?> +<?xml version="1.0" ?> <!DOCTYPE book PUBLIC "-//KDE//DTD DocBook XML V4.1.2-Based Variant V1.0//EN" "dtd/kdex.dtd" [ <!ENTITY kappname "&showfoto;"><!-- replace kapp here, do *not* replace kappname--> <!ENTITY % addindex "IGNORE"> @@ -157,7 +157,7 @@ </para> <para> - Image compression can be lossy or lossless. Lossless compression methods is always be preferred for high value content for archival purposes before to apply transformations like cropping, resizing, color corrections, &etc;. This is because lossy compression methods, especially when used at low bit rates, can introduce compression artifacts. Lossy methods are especially suitable for natural images such as photos in applications where minor (sometimes imperceptible) loss of fidelity is acceptable to achieve a substantial reduction in bit rate. Lossy compression is dedicaced to publish photographs on internet. + Image compression can be lossy or lossless. Lossless compression methods is always be preferred for high value content for archival purposes before to apply transformations like cropping, resizing, color corrections, &etc;. This is because lossy compression methods, especially when used at low bit rates, can introduce compression artifacts. Lossy methods are especially suitable for natural images such as photos in applications where minor (sometimes imperceptible) loss of fidelity is acceptable to achieve a substantial reduction in bit rate. Lossy compression is dedicated to publish photographs on the Internet. </para> </sect3> @@ -420,7 +420,7 @@ <listitem><para>(13) : Crop Image to the Selected Region.</para></listitem> - <listitem><para>(14) : Toogle to full screen.</para></listitem> + <listitem><para>(14) : Toggle to full screen.</para></listitem> <listitem><para>(15) : Run slide show tool.</para></listitem> @@ -473,7 +473,7 @@ </para> <para> - To get a popup menu with the available undo/redo actions, you have to press the left mouse button at the undo or redo icon in the toolbar and hold it down for a moment. If you choose one of the menu items, all undo/redo actions until the choosen one are done. + To get a popup menu with the available undo/redo actions, you have to press the left mouse button at the undo or redo icon in the toolbar and hold it down for a moment. If you choose one of the menu items, all undo/redo actions are disabled until the chosen action is done. </para> </sect2> @@ -627,7 +627,7 @@ If you are interested in the detailed histogram of your photograph you can view it using <menuchoice><guimenu>Image</guimenu> <guimenuitem>Properties</guimenuitem></menuchoice> and <guilabel>Histogram</guilabel> page. - The histogram for a image shows the amount of each colour that is present and their different amplitudes within the image. If your photograph has a colour cast you might be able to see what is wrong by looking at the histogram. + The histogram for a image shows the amount of each color that is present and their different amplitudes within the image. If your photograph has a color cast you might be able to see what is wrong by looking at the histogram. </para> <para> @@ -768,7 +768,7 @@ <graphic srccredit="An Over Exposed Photograph" fileref="editorhistogramsample3.png"/> </figure> - With a correctly exposed photograph, the histogram will have a distribution of brightness that will be most prominent near the centre part of the graph. + With a correctly exposed photograph, the histogram will have a distribution of brightness that will be most prominent near the center part of the graph. <figure> <title>A Correctly Exposed Photograph</title> @@ -785,7 +785,7 @@ </para> <para> - Important: not all photographs have to exhibit this bulge in the centre part of their histogram. Much depends on the subject of the photograph. In some cases, it might be appropriate for the histogram to show a peak at one end or the other, or both. + Important: not all photographs have to exhibit this bulge in the center part of their histogram. Much depends on the subject of the photograph. In some cases, it might be appropriate for the histogram to show a peak at one end or the other, or both. </para> <para> @@ -860,7 +860,7 @@ </para> <para> - Aspect Ratio Crop tool uses a relative ratio. That means it is the same if you use centimeters or inches and it doesn't specify the physical size. For example, you can see below a correspondance list of traditional photographic paper sizes and aspect ratio crop. + Aspect Ratio Crop tool uses a relative ratio. That means it is the same if you use centimeters or inches and it doesn't specify the physical size. For example, you can see below a corresponding list of traditional photographic paper sizes and aspect ratio crop. </para> <informaltable><tgroup cols="2"> @@ -946,7 +946,7 @@ <sect4 id="using-kapp-compositionguides"> <title>Composition Guide</title> <para> - When first looking at an image, the eye of the viewer rarely settles at the centre of the image, but moves instead from the top left to the right, and then from the lower left to the right again. This pattern is most unconscious but has been well-documented. It is probably associated with the western reading pattern. From the photographer's point of view, the goal then becomes to guide the gaze of the viewer to the subject, being aware of the way many people perceive an image. + When first looking at an image, the eye of the viewer rarely settles at the center of the image, but moves instead from the top left to the right, and then from the lower left to the right again. This pattern is most unconscious but has been well-documented. It is probably associated with the western reading pattern. From the photographer's point of view, the goal then becomes to guide the gaze of the viewer to the subject, being aware of the way many people perceive an image. </para> <para> @@ -1278,7 +1278,7 @@ <anchor id="colorbalancetool.anchor"/> <para> - Digital cameras often have problems with lighting conditions and it is not unusual to want to correct the colour, contrast and brightness of a photograph. You can experiment with altering the levels of different aspects of your photographs using the tools under the + Digital cameras often have problems with lighting conditions and it is not unusual to want to correct the color, contrast and brightness of a photograph. You can experiment with altering the levels of different aspects of your photographs using the tools under the <menuchoice><guimenu>Fix</guimenu> <guimenuitem>Colors</guimenuitem></menuchoice> menu. You can see any adjustments you make reflected in the preview. When you are happy with the results, press <guilabel>Ok</guilabel> and they will take effect. @@ -1411,7 +1411,7 @@ <tbody> <row> <entry> - <graphic srccredit="Orignal in Color" fileref="editorconvert_original.png"/> + <graphic srccredit="Original in Color" fileref="editorconvert_original.png"/> </entry> <entry> @@ -1558,7 +1558,7 @@ <anchor id="setupdialog.anchor"/> <para> - &showfoto; tries to give you as much control on how it works as possible. There are many options that change the behaviour of &showfoto;. To access these settings select + &showfoto; tries to give you as much control on how it works as possible. There are many options that change the behavior of &showfoto;. To access these settings select <menuchoice><guimenu>Setting</guimenu> <guimenuitem>Configure &showfoto;</guimenuitem></menuchoice> from the Menu Bar. The configuration dialog is separated into eight pages. You can change between these pages by clicking on the icons on the left-hand side of the dialog. </para> @@ -1571,15 +1571,15 @@ </para> <para> - With <guilabel>PNG compression</guilabel> option, you can reduce PNG image files size. This operation doesn't reduce image quality because PNG usees a lossless algorithm. The only effect is that image data needs more time to compress/decompress. If you have a fast computer you can change this value for to use a high compression factor (1: low compression / 9: high compression). + With <guilabel>PNG compression</guilabel> option, you can reduce PNG image files size. This operation doesn't reduce image quality because PNG uses a lossless algorithm. The only effect is that image data needs more time to compress/decompress. If you have a fast computer you can change this value for to use a high compression factor (1: low compression / 9: high compression). </para> <para> - With <guilabel>Using TIFF compression</guilabel> option, you can toogle to use <emphasis>Deflate</emphasis> compression algorithm with TIFF image files. This will reduce the TIFF image files size. This has no image quality effect because <emphasis>Deflate</emphasis> is a lossless algorithm. + With <guilabel>Using TIFF compression</guilabel> option, you can toggle to use <emphasis>Deflate</emphasis> compression algorithm with TIFF image files. This will reduce the TIFF image files size. This has no image quality effect because <emphasis>Deflate</emphasis> is a lossless algorithm. </para> <para> - By default the editor will use a black background behind photographs when they are displayed. If you prefer a different background colour you can select one here. + By default the editor will use a black background behind photographs when they are displayed. If you prefer a different background color you can select one here. </para> <para> @@ -1650,7 +1650,7 @@ <listitem> <para> - <guilabel>Display in Loop</guilabel>: If you enable this option, slideshow will loop untill you abort it. + <guilabel>Display in Loop</guilabel>: If you enable this option, slideshow will loop until you abort it. </para> </listitem> @@ -2558,7 +2558,7 @@ <term><menuchoice> <guimenu>Settings</guimenu><guimenuitem>Configure &showfoto;</guimenuitem> </menuchoice></term> - <listitem><para><action>Lauch &showfoto; configure dialog.</action></para></listitem> + <listitem><para><action>Launch &showfoto; configure dialog.</action></para></listitem> </varlistentry> </variablelist> @@ -2742,7 +2742,7 @@ <title>Compilation and Installation</title> <para> -In order to compile and install &showfoto; on your system, type the following in the basedirectorys of the <emphasis>libkipi</emphasis> and <emphasis>digikam</emphasis> module distributions: +In order to compile and install &showfoto; on your system, type the following in the basedirectorys of the <emphasis>libkipi</emphasis> and <emphasis>digiKam</emphasis> module distributions: <screen width="40"> <prompt>%</prompt> <userinput>export WANT_AUTOCONF_2_5=1</userinput> Index: doc/digikamimageplugins/blurfx.docbook =================================================================== --- doc/digikamimageplugins/blurfx.docbook (revision 636424) +++ doc/digikamimageplugins/blurfx.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="blurfx"> +<chapter id="blurfx"> <chapterinfo> <title>Blur FX</title> @@ -31,7 +31,7 @@ <title>Introduction</title> <para> -With this plugin, you can transform an ordinary photograph into a work of art suitable for framing using blurring operations. It use algorithms copyrighted by Pieter Voloshyn. +With this plugin, you can transform an ordinary photograph into a work of art suitable for framing using blurring operations. It uses algorithms copyrighted by Pieter Voloshyn. </para> <sect1 id="using-plugin-blurfx"> @@ -66,7 +66,7 @@ <row> <entry> - <guilabel>Radial Blur</guilabel>: blurs the image by roating the pixels around the specified center point. This simulates the blur of a rotating camera. + <guilabel>Radial Blur</guilabel>: blurs the image by rotating the pixels around the specified center point. This simulates the blur of a rotating camera. </entry> <entry> @@ -76,7 +76,7 @@ <row> <entry> - <guilabel>Far Blur</guilabel>: blurs the image to simulates the effect of an unfocused camera lens. The subject seems to recede into the background. + <guilabel>Far Blur</guilabel>: blurs the image to simulate the effect of an unfocused camera lens. The subject seems to recede into the background. </entry> <entry> @@ -106,7 +106,7 @@ <row> <entry> - <guilabel>Softener Blur</guilabel>: blurs the image softly in the darker tones and strongly in the high lights. This gives photographes a dreamy and glossy soft focus effect (Hamilton effect). It's ideal for creating romantic portraits, glamour photography, or addding a warm and subtle glow. + <guilabel>Softener Blur</guilabel>: blurs the image softly in the darker tones and strongly in the high lights. This gives photographs a dreamy and glossy soft focus effect (Hamilton effect). It's ideal for creating romantic portraits, glamour photography, or adding a warm and subtle glow. </entry> <entry> @@ -161,7 +161,7 @@ </para> <warning><para> -Some effects can take long time to run and cause high CPU load. You can always abort an effect by pressing the <guilabel>Abort</guilabel> button during preview rendering. +Some effects can take a long time to run and cause high CPU load. You can always abort an effect by pressing the <guilabel>Abort</guilabel> button during preview rendering. </para></warning> </sect1> Index: doc/digikamimageplugins/index.docbook =================================================================== --- doc/digikamimageplugins/index.docbook (revision 636424) +++ doc/digikamimageplugins/index.docbook (working copy) @@ -93,7 +93,7 @@ One of the nicest things about the &digikam; Image Editor is how easily its functionality can be extended, by using plugins. Plugins can manipulate images in almost any way you can imagine. Their advantage is that it is much easier to add a capability to the Image Editor by writing a small plugin than by modifying -the Image Editor core. Many valuable plugins have C++ source code that amounts to 100-200 lines only or so. +the Image Editor core. Many valuable plugins have only one to two hundred lines of C++ source code. </para> <para> @@ -103,7 +103,7 @@ </para> <para> -Since 0.9.0 release, all plugins support 16 bits image color depth. This is want mean that you can edit and fix your RAW camera files dirrectly in &digikam; Image Editor and ShowFoto without lost color informations. +Since the 0.9.0 release, all plugins support 16 bits image color depth. What this means is that you can edit and fix your RAW camera files dirrectly in &digikam; Image Editor and ShowFoto without losing color information. </para> <para> Index: doc/digikamimageplugins/restoration.docbook =================================================================== --- doc/digikamimageplugins/restoration.docbook (revision 636424) +++ doc/digikamimageplugins/restoration.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="restoration"> +<chapter id="restoration"> <chapterinfo> <title>Photograph Restoration</title> @@ -27,7 +27,7 @@ </para> <para> -The digiKam image plugin <emphasis>Photograph Restoration</emphasis> is definitely one of the most advanced tools to reduce photograph artefacts. +The digiKam image plugin <emphasis>Photograph Restoration</emphasis> is definitely one of the most advanced tools to reduce photograph artifacts. </para> </abstract> @@ -42,11 +42,11 @@ <title>Introduction</title> <para> -This fantastic restoration filter is a new development providing unprecedented possibilities in the public domain to remove lots of unwanted stuff from your images. It is well adapted to deal with degraded images suffering from Gaussian noise, film grain, scratches or compression artefacts and local degradations usually encountered in digital (original or digitized) images. The smoothing happens along the image curvatures, thus preserving the meaningful content much alike our human eye would want it. +This fantastic restoration filter is a new development providing unprecedented possibilities in the public domain to remove lots of unwanted stuff from your images. It is well adapted to deal with degraded images suffering from Gaussian noise, film grain, scratches or compression artifacts and local degradations usually encountered in digital (original or digitized) images. The smoothing happens along the image curvatures, thus preserving the meaningful content much like our human eye would want it. </para> <para> -The same algorithm can be used for colorization and texture replacement which is covered by another plugin (inpainting...). The restoration algorithm has been developed by the IMAGE team of GREC CNRS lab in Caen/France and is a part of <ulink url="http://cimg.sourceforge.net">CImg project</ulink>. +The same algorithm can be used for colorization and texture replacement which is covered by another plugin (inpainting...). The restoration algorithm has been developed by the IMAGE team of GREC CNRS lab in Caen/France and is a part of the <ulink url="http://cimg.sourceforge.net">CImg project</ulink>. </para> @@ -65,8 +65,8 @@ <listitem><para><guilabel>None</guilabel>: Using most common default filter settings not optimized for any particular purpose.</para></listitem> <listitem><para><guilabel>Reduce Uniform Noise</guilabel>: Optimum settings for image noise due to sensors.</para></listitem> - <listitem><para><guilabel>Reduce JPEG Artefacts</guilabel>: JPEG's compression is not perfect, in fact for some types of images it is far from it. As a lossy compression algorithm, there are some compression "artefacts" - slight defaults showing in the decompressed image. This setting aims at correcting this problem.</para></listitem> - <listitem><para><guilabel>Reduce Texturing</guilabel>: Optimized to remove artefacts from scanning, digitizing or Moire patterns.</para></listitem> + <listitem><para><guilabel>Reduce JPEG Artifacts</guilabel>: JPEG's compression is not perfect, in fact for some types of images it is far from it. As a lossy compression algorithm, there are some compression "artifacts" - slight defaults showing in the decompressed image. This setting aims to correct this problem.</para></listitem> + <listitem><para><guilabel>Reduce Texturing</guilabel>: Optimized to remove artifact's from scanning, digitizing or Moire patterns.</para></listitem> </itemizedlist> </para> @@ -81,7 +81,7 @@ <itemizedlist> <listitem><para><guilabel>Detail Preservation</guilabel> p [0, 100]: this controls the preservation of the curvatures (features). A low value forces an equal smoothing across the image, whereas bigger values preferably smooth the homogeneous regions and leaves the details sharper. A value of 0.9 should well preserve details so that no sharpening is required afterwards. Note that <guilabel>Detail Preservation</guilabel> must be always inferior to <guilabel>Anisotropy</guilabel>.</para></listitem> - <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in wave-like pattern, whereas JPEG artefacts are suited for values close to 1. </para></listitem> + <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in wave-like pattern, whereas JPEG artefact's are suited for values close to 1. </para></listitem> <listitem><para><guilabel>Smoothing</guilabel> [0, 500]: this sets the maximum overall smoothing factor (when p defines the relative smoothing). Set it according to the noise level.</para></listitem> <listitem><para><guilabel>Regularity</guilabel> [0, 100]: this parameter is concerned with the uniformity of the smoothing. Imagine the smoothing process as a combing of the image. Then the Regularity would correspond to the size of the comb. The bigger this value, the more even the overall smoothing will be. This is necessary when much noise is present since it is then difficult to estimate the local geometry. Also if you want to achieve a 'van Gogh' turbulence effect, setting it higher than 3 is recommended.</para></listitem> <listitem><para><guilabel>Filter Iterations</guilabel>: number of times the blurring algorithm is applied. Usually 1 or 2 is sufficient.</para></listitem> @@ -112,7 +112,7 @@ </para> <warning><para> -Photograph restoration is (comparatively) very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by pressing <guilabel>Abort</guilabel> button during preview rendering. +Photograph restoration is (comparatively) very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by pressing the <guilabel>Abort</guilabel> button during preview rendering. </para></warning> </sect1> @@ -130,7 +130,7 @@ </figure> <para> -Below, you can see an another Photograph Restoration example using <guilabel>Reduce Texturing</guilabel> Restoration type applied to an old color photograph acquire with a digital flat scanner. You see the very prominent artefact resulting of scanner light on plastic photograph paper. The original image is (1), the corrected image (2). +Below, you can see another Photograph Restoration example using <guilabel>Reduce Texturing</guilabel> Restoration type applied to an old color photograph acquired with a digital flat scanner. You see the very prominent artifact resulting from the scanner light on plastic photograph paper. The original image is (1), the corrected image (2). </para> <figure> Index: doc/digikamimageplugins/unsharp.docbook =================================================================== --- doc/digikamimageplugins/unsharp.docbook (revision 636424) +++ doc/digikamimageplugins/unsharp.docbook (working copy) @@ -33,7 +33,7 @@ </para> <para> -Some scanners apply a sharpen filter while scanning. It's worth to disable it so that you keep control on your image. +Some scanners apply a sharpen filter while scanning. It's worth it to disable it so that you keep control on your image. </para> <note><para> @@ -66,7 +66,7 @@ </para> <para> -The <guilabel>Threshold</guilabel> control is a fraction of the maximum RGB value, needed to apply the difference amount. It allows you to set the minimum difference in pixel values that indicates an edge where sharpening should be applied. That way, you can protect areas of smooth tonal transition from sharpening, and avoid creation of blemishes in face, sky or water surface. +The <guilabel>Threshold</guilabel> control is a fraction of the maximum RGB value, needed to apply the difference amount. It allows you to set the minimum difference in pixel values that indicates an edge where sharpening should be applied. That way, you can protect areas of smooth tonal transition from sharpening, and avoid the creation of blemishes in sky or water surfaces, or faces. </para> </sect1> Index: doc/digikamimageplugins/emboss.docbook =================================================================== --- doc/digikamimageplugins/emboss.docbook (revision 636424) +++ doc/digikamimageplugins/emboss.docbook (working copy) @@ -37,7 +37,7 @@ <title>Using the plugin</title> <para> -The <guilabel>Depth</guilabel> control allows to define the contrast of the filtering. +The <guilabel>Depth</guilabel> control allows one to define the contrast of the filtering. A value of 30 (10%) is the standard. </para> Index: doc/digikamimageplugins/perspective.docbook =================================================================== --- doc/digikamimageplugins/perspective.docbook (revision 636424) +++ doc/digikamimageplugins/perspective.docbook (working copy) @@ -31,7 +31,7 @@ <title>Introduction</title> <para> -With this tool you can work on the the perspective in a photograph. This is very useful when working with photographs that contain keystone distortion. Keystone distortion occurs when an object is photographed from an angle rather than from a straight-on view. For example, if you take a picture of a a tall building from ground level, the edges of the building appear to meet each other at the far end. +With this tool you can work on the the perspective in a photograph. This is very useful when working with photographs that contain keystone distortion. Keystone distortion occurs when an object is photographed from an angle rather than from a straight-on view. For example, if you take a picture of a tall building from ground level, the edges of the building appear to meet each other at the far end. On the other hand you can use this tool to introduce a new perspective that is not a face-on view but to give the picture a creative spin. </para> @@ -43,7 +43,7 @@ </para> <para> -To change the perspective, use the square areas at the image corners for dragging. The perspective preview is rendered automatically. On the right of the dialog you'll find a set of informations witch help you to control the perspective change: +To change the perspective, use the square areas at the image corners for dragging. The perspective preview is rendered automatically. On the right of the dialog you'll find a set of information which will help you to control the perspective change: <itemizedlist> <listitem><para><guilabel>New Width</guilabel>: show the new image width in pixels including the empty area around the image resulting from the geometrical transformation.</para></listitem> Index: doc/digikamimageplugins/noisereduction.docbook =================================================================== --- doc/digikamimageplugins/noisereduction.docbook (revision 636424) +++ doc/digikamimageplugins/noisereduction.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="noisereduction"> +<chapter id="noisereduction"> <chapterinfo> <title>Noise Reduction</title> @@ -18,8 +18,8 @@ <abstract> <para> -The digiKam image plugin <emphasis>Noise Reduction</emphasis> is a powerfull tool to reduce the image noise. -It use an algorithm copyrighted by Peter Heckert. +The digiKam image plugin <emphasis>Noise Reduction</emphasis> is a powerful tool to reduce image noise. +It uses an algorithm copyrighted by Peter Heckert. </para> </abstract> @@ -38,7 +38,7 @@ </para> <para> -If you want more informations about what's digital camera sensor noise, please take a look in this <ulink url="http://www.cambridgeincolour.com/tutorials/noise.htm">tutorial</ulink>. +If you want more informations about digital camera sensor noise, please take a look in this <ulink url="http://www.cambridgeincolour.com/tutorials/noise.htm">tutorial</ulink>. </para> <sect1 id="using-plugin-noisereduction"> @@ -50,15 +50,15 @@ </figure> <para> -The above screenshot shows a typical scene taken with an analog camera using hight sensitivity black and white film. It shows grainess noise which can be reduced sucessfuly with this plugin. +The above screenshot shows a typical scene taken with an analog camera using hight sensitivity black and white film. It shows grainess noise which can be reduced successfully with this plugin. </para> <para> -The resizeable image panel with the original preview helps you to pan within the image. Move the red rectangle around to select the area that lets you judge on the optimal filter settings. The preview window shows the filter output using the current settings. It can be rearranged in four different combinations as depicted in the icons below the original preview. This screenshot shows the first arrangement where the same cutout is shown for comparison. On the bottom of preview area, you can see <guilabel>Zoom Factor</guilabel> settings to magnify indeep an area of image. +The resizeable image panel with the original preview helps you to pan within the image. Move the red rectangle around to select the area that lets you judge the optimal filter settings. The preview window shows the filter output using the current settings. It can be rearranged in four different combinations as depicted in the icons below the original preview. This screenshot shows the first arrangement where the same cutout is shown for comparison. On the bottom of the preview area, you can see <guilabel>Zoom Factor</guilabel> settings to magnify an area of the image. </para> <para> -You can see below a full description of all parameters. In most cases only <guilabel>Details</guilabel> tab is needed and the other parameters available into <guilabel>Advanced</guilabel> tab can be left at their default setting. +You can see below a full description of all parameters. In most cases only <guilabel>Details</guilabel> tab is needed and the other parameters available iunder the <guilabel>Advanced</guilabel> tab can be left at their default setting. <itemizedlist> @@ -67,31 +67,31 @@ </para></listitem> <listitem><para> -<guilabel>Threshold</guilabel>: use the slider for coarse adjustment, and the spin control for fine adjustment. This controls edge detection sensitivity. This value should be set so that edges and details are clearly visible and noise is smoothed out. This value is not bound to any intensity value, it is bound to the second derivative of intensity values. Simply adjust it and watch the preview. Adjustment must be made carefully, because the gap between noisy, smooth, and blur is very small. Adjust it as carefully as you would adjust the focus of a camera. +<guilabel>Threshold</guilabel>: use the slider for coarse adjustment, and the spin control for fine adjustment. This controls edge detection sensitivity. This value should be set so that edges and details are clearly visible and noise is smoothed out. This value is not bound to any intensity value; it is bound to the second derivative of intensity values. Simply adjust it and watch the preview. Adjustment must be made carefully, because the gap between noisy, smooth, and blur is very small. Adjust it as carefully as you would adjust the focus of a camera. </para></listitem> <listitem><para> -<guilabel>Texture</guilabel>: this control set the texture accuracy. This value can be used, to get more or less texture accuracy. When decreased, then noise and texture are blurred out, when increased then texture is amplified, but also noise will increase. It has almost no effect to image edges, opposed to filter <guilabel>Edge</guilabel>, which would blur edges, when increased. If <guilabel>Edge</guilabel> is adjusted in away so that edges are sharp, and there is still too much area noise, then <guilabel>Texture</guilabel> detail could be used to reduce noise without blurring edges. Another way would be to decrease <guilabel>Radius</guilabel> and to increase <guilabel>Edge</guilabel>. +<guilabel>Texture</guilabel>: this control sets the texture accuracy. This value can be used, to get more or less texture accuracy. When decreased, then noise and texture are blurred out, when increased then texture is amplified, but also noise will increase. It has almost no effect on image edges, as opposed to filter <guilabel>Edge</guilabel>, which would blur edges, when increased. If <guilabel>Edge</guilabel> is adjusted in a way so that edges are sharp, and there is still too much area noise, then <guilabel>Texture</guilabel> detail could be used to reduce noise without blurring edges. Another way would be to decrease <guilabel>Radius</guilabel> and to increase <guilabel>Edge</guilabel>. </para></listitem> <listitem><para> -<guilabel>Sharpness</guilabel>: this control set the sharpness level. this value defines the pixel distance in which the filter looks ahead for luminance variations. When this value is increased, then spikenoise is erased. You can eventually readjust filter <guilabel>Edge</guilabel>, when you changed this setting. When this value is to high, then the adaptive filter cannot longer accurately track image details, and noise can reappear or blur can occur. +<guilabel>Sharpness</guilabel>: this control set the sharpness level. This value defines the pixel distance the filter looks ahead for luminance variations. When this value is increased, then spikenoise is erased. You can eventually readjust filter <guilabel>Edge</guilabel>, when you have changed this setting. When this value is to high, then the adaptive filter can no longer accurately track image details, and noise can reappear or blur can occur. </para></listitem> <listitem><para> -<guilabel>Edge</guilabel>: this control set the edge accuracy for sharpness. This value improves the frequency response for the filter. When it is too strong then not all noise can be removed, or spike noise may appear. Set it near to maximum, if you want to remove weak noise or JPEG-artifacts, without loosing detail. +<guilabel>Edge</guilabel>: this control set the edge accuracy for sharpness. This value improves the frequency response for the filter. When it is too strong then not all noise can be removed, or spike noise may appear. Set it near maximum if you want to remove weak noise or JPEG-artifacts without losing detail. </para></listitem> <listitem><para> -<guilabel>Erosion</guilabel>: this control set the phase shift for edges. This value can be used to erodes singular spikes and it has a smooth effect to edges, and sharpens edges by erosion, so noise at edges is eroded. The effect is dependant from <guilabel>Sharpness</guilabel>, <guilabel>Damping</guilabel>, and <guilabel>Edges</guilabel>. Set it to minimum, if you want to remove weak noise or JPEG-artifacts. When this value is increased, then also increasing <guilabel>Damping</guilabel> is often useful. This setting can provides sharpening and antialiasing effect to edges when spike noise is corrected. +<guilabel>Erosion</guilabel>: this control set the phase shift for edges. This value can be used to erode singular spikes and it has a smooth effect on edges, and sharpens edges by erosion, so noise at the edges is eroded. The effect is dependent on <guilabel>Sharpness</guilabel>, <guilabel>Damping</guilabel>, and <guilabel>Edges</guilabel>. Set it to minimum if you want to remove weak noise or JPEG-artifacts. When this value is increased, then also increasing <guilabel>Damping</guilabel> is often useful. This setting can provide sharpening and antialiasing effect on edges when spike noise is corrected. </para></listitem> <listitem><para> -<guilabel>Luminance</guilabel>: this control set the luminance tolerance of image. It's recommended to use only <guilabel>Color</guilabel> or <guilabel>Luminance</guilabel> tolerance settings to make an image correction, not the both at the same time. This settings don't influence the main smoothing process controled by <guilabel>Details</guilabel> settings. +<guilabel>Luminance</guilabel>: this control set the luminance tolerance of an image. It's recommended to use only <guilabel>Color</guilabel> or <guilabel>Luminance</guilabel> tolerance settings to make an image correction, not both at the same time. This settings does not influence the main smoothing process controlled by <guilabel>Details</guilabel> settings. </para></listitem> <listitem><para> -<guilabel>Color</guilabel>: this control set the color tolerance of image. It's recommended to use only <guilabel>Color</guilabel> or <guilabel>Luminance</guilabel> tolerance settings to make an image correction, not the both at the same time. This settings don't influence the main smoothing process controled by <guilabel>Details</guilabel> settings. +<guilabel>Color</guilabel>: this control set the color tolerance of an image. It's recommended to use only <guilabel>Color</guilabel> or <guilabel>Luminance</guilabel> tolerance settings to make an image correction, not the both at the same time. This settings don't influence the main smoothing process controlled by <guilabel>Details</guilabel> settings. </para></listitem> <listitem><para> @@ -99,7 +99,7 @@ </para></listitem> <listitem><para> -<guilabel>Damping</guilabel>: this control set the phase jitter damping adjustement. This value defines how fast the adaptive filter-radius reacts to luminance variations. If increased, then edges appear smoother, if too high, then blur may occur. If at minimum then noise and phase jitter at edges can occur. It can supress spike noise when increased and this is the preferred method to remove it. +<guilabel>Damping</guilabel>: this control set the phase jitter damping adjustment. This value defines how fast the adaptive filter-radius reacts to luminance variations. If increased, then edges appear smoother, if too high, then blur may occur. If at minimum then noise and phase jitter at edges can occur. It can suppress spike noise when increased and this is the preferred method to remove it. </para></listitem> <listitem><para> Index: doc/digikamimageplugins/freerotation.docbook =================================================================== --- doc/digikamimageplugins/freerotation.docbook (revision 636424) +++ doc/digikamimageplugins/freerotation.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="freerotation"> +<chapter id="freerotation"> <chapterinfo> <title>Free Rotation</title> @@ -39,16 +39,16 @@ <title>Using the plugin</title> <para> -Rotate your image by using the <guilabel>Angle</guilabel> slider (value in degrees). Press to <guilabel>Reset Values</guilabel> for reset the slider to zero. A rotating effect preview is available on the right side of the dialog. The new target image dimensions in pixels are shown. +Rotate your image by using the <guilabel>Angle</guilabel> slider (value in degrees). Press <guilabel>Reset Values</guilabel> to reset the slider to zero. A rotating effect preview is available on the right side of the dialog. The new target image dimensions in pixels are shown. </para> <para> For better orientation, the Free Rotation tool provides a vertical and horizontal guide. Move the mouse cursor under image preview to display the dashed line guide. Move the cursor to an supposedly vertical or horizontal feature in the image like the sea or a building border -and press the left mouse button for freeze the dashed lines position. Now, adjust the angle accordinly with the guide. +and press the left mouse button to freeze the position of the dashed lines. Now, adjust the angle accordingly with the guide. </para> <warning><para> -After rorating the image, you often find that things are better but not quite perfect. One solution is to rotate a bit more, but there is a disadvantage to that approach. Each time you rotate an image, because the rotated pixels don't line up precisely with the original pixels, the image inevitably gets blurred a little bit. For a single rotation, the amount of blurring is quite small, but two rotations cause twice as much blurring as one, and there is no reason to blur things more than you have to. Sure, the guide tool available in the Free Rotation preview can help you to apply correctly at the first time an angle adjustment to an image. +After rotating the image, you often find that things are better but not quite perfect. One solution is to rotate a bit more, but there is a disadvantage to that approach. Each time you rotate an image, because the rotated pixels don't line up precisely with the original pixels, the image inevitably gets blurred a little bit. For a single rotation, the amount of blurring is quite small, but two rotations cause twice as much blurring as one, and there is no reason to blur things more than you have to. The guide tool available in the Free Rotation preview can help you to correctly apply an angle adjustment to an image on the first attempt. </para></warning> </sect1> @@ -71,7 +71,7 @@ <guimenuitem>Crop</guimenuitem></menuchoice> Image Editor menu. </para> -<para>A more elegant way to crop the rotated image is to use the <guilabel>Auto-crop</guilabel> function. Choose anyone of the following options from the combo-box to your preference:</para> +<para>A more elegant way to crop the rotated image is to use the <guilabel>Auto-crop</guilabel> function. Choose any one of the following options from the combo-box to your preference:</para> <itemizedlist> Index: doc/digikamimageplugins/refocus.docbook =================================================================== --- doc/digikamimageplugins/refocus.docbook (revision 636424) +++ doc/digikamimageplugins/refocus.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="refocus"> +<chapter id="refocus"> <chapterinfo> <title>Refocus a Photograph</title> @@ -33,7 +33,7 @@ </para> <para> -Some scanners apply a sharpen filter while scanning. It's worth to disable it so that you keep control over your image. +Some scanners apply a sharpen filter while scanning. It's worth it to disable it so that you keep control over your image. </para> <para> @@ -41,7 +41,7 @@ </para> <para> -The Refocus technique works differently from <ulink url="help:/digikamimageplugins/unsharp.html">Unsharp Mask</ulink> and is also unlike the <ulink url="help:/digikam/using-kapp-imageeditor.html#using-kapp-adjustsharpness">Sharpen Filter</ulink> which both increase the contrast of the feature the edges of an image. Refocus rather reverses the process by which the image got blurred by the circular aperture of the camera. This method gives you as much of the original "in focus" image as possible. Refocus uses a very powerful deconvolution algorithm that will reclaim the data that has been mixed up. In mathmatical terms, blurring is usually the result of a convolution, a deconvolution will reverse the process, this is exactly what Refocus is doing. Furthermore, the FIR filter technique allows to remove much of the noise and granularity that often gets accentuated in the sharpening process of all sharpening filters. +The Refocus technique works differently from <ulink url="help:/digikamimageplugins/unsharp.html">Unsharp Mask</ulink> and is also unlike the <ulink url="help:/digikam/using-kapp-imageeditor.html#using-kapp-adjustsharpness">Sharpen Filter</ulink> which both increase the contrast of a feature's edges in an image. Refocus rather reverses the process by which the image got blurred by the circular aperture of the camera. This method gives you as much of the original "in focus" image as possible. Refocus uses a very powerful deconvolution algorithm that will reclaim the data that has been mixed up. In mathematical terms, blurring is usually the result of a convolution, a deconvolution will reverse the process, this is exactly what Refocus is doing. Furthermore, the FIR filter technique allows the removal of much of the noise and granularity that often gets accentuated in the sharpening process of all sharpening filters. </para> <sect1 id="using-plugin-refocus"> @@ -71,15 +71,15 @@ </para> <para> -In practice, in most cases the Circular convolution works much better than the Gaussian convolution. The Gaussian convolution has a very long tail, so mathematically the result of the convolution also depends on source pixels at a large distance from the original source pixel. The FIR Wiener inverse of a Gaussian convolution in most cases is heavily influenced by source pixels at a large distances, and in most cases this produces undesirable results. +In practice, in most cases the Circular convolution works much better than the Gaussian convolution. The Gaussian convolution has a very long tail, so mathematically the result of the convolution also depends on source pixels at a large distance from the original source pixel. The FIR Wiener inverse of a Gaussian convolution in most cases is heavily influenced by source pixels at large distances, and in most cases this produces undesirable results. </para> <para> -The Circular convolution generally produces much better results. One reason is that the FIR Wiener inverse of the Circular convolution in general influenced by source pixels in the immediate neighborhood of the original source pixel. Another reason is that a Circular convolution is theoretically a good mathematical model for images that are slightly unfocused. +The Circular convolution generally produces much better results. One reason is that the FIR Wiener inverse of the Circular convolution is, in general, influenced by source pixels in the immediate neighborhood of the original source pixel. Another reason is that a Circular convolution is theoretically a good mathematical model for images that are slightly unfocused. </para> <para> -To set correctly the deconvolution filter, the plug-in has the following parameters: +To correctly set the deconvolution filter, the plug-in has the following parameters: <itemizedlist> @@ -103,11 +103,11 @@ <para> -Below, you can see few hints to help you work with the refocus plug-in: +Below, you can see a few hints to help you work with the refocus plug-in: <itemizedlist> - <listitem><para>Preferrably perform all cropping, color and intensity curve corrections on the image before using this plug-in.</para></listitem> + <listitem><para>Preferably perform all cropping, color and intensity curve corrections on the image before using this plug-in.</para></listitem> <listitem><para>Otherwise use this plug-in before performing any other operations on the image. The reason is that many operations on the image will leave boundaries that are not immediately visible but that will leave nasty artifacts.</para></listitem> @@ -135,11 +135,11 @@ </para> <para> -Sharpening applies a small convolution matrix that increases the difference between a source pixel and its immediate neighbors. FIR Wiener filtering is a more general technique because it allows a much larger neighborhood and better parameterizations. Sharpening only works when your images are very slightly blurred. Furthermore, for high values of the sharpening parameter the results frequently looks "noisy". With FIR Wiener filtering this noise can be greatly reduced by selecting higher values for the <guilabel>Correlation</guilabel> and <guilabel>Noise filter</guilabel> parameters. +Sharpening applies a small convolution matrix that increases the difference between a source pixel and its immediate neighbors. FIR Wiener filtering is a more general technique because it allows a much larger neighborhood and better parameterizations. Sharpening only works when your images are very slightly blurred. Furthermore, for high values of the sharpening parameter the results frequently look "noisy". With FIR Wiener filtering this noise can be greatly reduced by selecting higher values for the <guilabel>Correlation</guilabel> and <guilabel>Noise filter</guilabel> parameters. </para> <para> -Unsharp masking is another very popular image enhancement technique. From a mathematical point of view its justification is a bit obscure but many people are very fond of it. The first step is to creat a blurred copy of the source image. Then the difference between the source image and the blurred image is subtracted from the source image, hence the name unsharp masking. If fact, unsharp masking is more of a contrast enhancement on the important image feature than a sharpening. It does not undo the aperture pattern interference of the camera diaphragm as refocus does. +Unsharp masking is another very popular image enhancement technique. From a mathematical point of view its justification is a bit obscure but many people are very fond of it. The first step is to create a blurred copy of the source image. Then the difference between the source image and the blurred image is subtracted from the source image, hence the name unsharp masking. If fact, unsharp masking is more of a contrast enhancement on the important image feature than a sharpening. It does not undo the aperture pattern interference of the camera diaphragm as refocus does. </para> <para> @@ -151,7 +151,7 @@ </para> <para> -Below, you can see a comparison of different filter apply on a small unfocused image: +Below, you can see a comparison of different filters applied to a small unfocused image: <informaltable><tgroup cols="2"> @@ -163,11 +163,11 @@ <tbody> <row> <entry> - <graphic srccredit="Orignal Blured Image Preview" fileref="refocus-notsharpened.png"/> + <graphic srccredit="Original Blurred Image Preview" fileref="refocus-notsharpened.png"/> </entry> <entry> - Original blured color image to fix. This image have been taken with an analog still camera. The unfocusing result of an insuffisant light for the auto-focus lens. + Original blurred color image to fix. This image has been taken with an analog still camera. The unfocused result is due to insufficient light for the auto-focus lens. </entry> </row> Index: doc/digikamimageplugins/border.docbook =================================================================== --- doc/digikamimageplugins/border.docbook (revision 636424) +++ doc/digikamimageplugins/border.docbook (working copy) @@ -12,7 +12,7 @@ <abstract> <para> -The digiKam image plugin <emphasis>Add Border</emphasis> is a tool for add decorative border around an image. +The digiKam image plugin <emphasis>Add Border</emphasis> is a tool for adding decorative borders around an image. </para> </abstract> @@ -26,7 +26,7 @@ <title>Introduction</title> <para> -Keeping the viewer's interest within the confines of the edges of a photograph is not a simple task. One of the simplest ways to hold attention into a picture is to incorporate a decorative frame around an image. This way is a kind of psychological barrier to the straying eye. The <menuchoice><guimenu>Image</guimenu> +Keeping the viewer's interest within the confines of the edges of a photograph is not a simple task. One of the simplest ways to hold attention on a picture is to incorporate a decorative frame around an image. This presents a psychological barrier to the straying eye. The <menuchoice><guimenu>Image</guimenu> <guimenuitem>Add Border</guimenuitem></menuchoice> Image Editor menu can be used for that. </para> @@ -38,19 +38,19 @@ </para> <para> -<guilabel>Type</guilabel>: this option specifies the decorative frame style to apply around the image. <guilabel>Solid</guilabel> style just surround the image with a colored line, <guilabel>Niepce</guilabel> style surround the image with a fine line and a large border (ideal for black and white pictures), <guilabel>Beveled</guilabel> style adds a neat dimension to your image (ideal for create button effect), and <guilabel>Decorative</guilabel> styles adds an ornamental border using patterns. +<guilabel>Type</guilabel>: this option specifies the decorative frame style to apply around the image. <guilabel>Solid</guilabel> style just surrounds the image with a colored line, <guilabel>Niepce</guilabel> style surrounds the image with a fine line and a large border (ideal for black and white pictures), <guilabel>Beveled</guilabel> style adds a neat dimension to your image (ideal for create button effect), and <guilabel>Decorative</guilabel> styles adds an ornamental border using patterns. </para> <para> -<guilabel>Width</guilabel>: this option specifies the border width in percents of image size. the border is added around the image. The width value range are limited from 1% to 50%. Look the preview area to see the result. +<guilabel>Width</guilabel>: this option specifies the border width in percents of image size. The border is added around the image. The width value range is limited from 1% to 50%. Look at the preview area to see the result. </para> <para> -<guilabel>First</guilabel>: this option specifies the first color to use with the current Border Type. Look the preview area to see the result. +<guilabel>First</guilabel>: this option specifies the first color to use with the current Border Type. Look at the preview area to see the result. </para> <para> -<guilabel>Second</guilabel>: : this option specifies the second color to use with the current Border Type. Look the preview area to see the result. +<guilabel>Second</guilabel>: : this option specifies the second color to use with the current Border Type. Look at the preview area to see the result. </para> <para> @@ -58,7 +58,7 @@ </para> <note><para> -The target image decorated with border will be more big than original but it will use the same aspect ratio. This way is important for printing pictures, especially if you have used the Aspect Ratio Crop tool before to use this tool. +The target image decorated with ia border will be bigger than original but it will use the same aspect ratio. This way is important for printing pictures, especially if you have used the Aspect Ratio Crop tool before using this tool. </para></note> </sect1> Index: doc/digikamimageplugins/oilpaint.docbook =================================================================== --- doc/digikamimageplugins/oilpaint.docbook (revision 636424) +++ doc/digikamimageplugins/oilpaint.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="oilpaint"> +<chapter id="oilpaint"> <chapterinfo> <title>Oil Paint</title> @@ -12,8 +12,7 @@ <abstract> <para> -The digiKam image plugin <emphasis>Oil Paint</emphasis> gives your image the look of an oilpainting. -It use an algorithm copyrighted by Pieter Voloshyn. +The digiKam image plugin <emphasis>Oil Paint</emphasis> gives your image the look of an oil painting. It uses an algorithm copyrighted by Pieter Voloshyn. </para> </abstract> @@ -27,8 +26,7 @@ <title>Introduction</title> <para> -The digiKam image plugin <emphasis>Oil Paint</emphasis> helps to give your digital images a nice -oilpainting-like look. Pictures of nature and still lifes are well suited for this effect. +The digiKam image plugin <emphasis>Oil Paint</emphasis> helps to give your digital images a nice oil painting-like look. Pictures of nature and still lifes are well suited for this effect. </para> <sect1 id="using-plugin-oilpaint"> Index: doc/digikamimageplugins/lensdistortion.docbook =================================================================== --- doc/digikamimageplugins/lensdistortion.docbook (revision 636424) +++ doc/digikamimageplugins/lensdistortion.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="lensdistortion"> +<chapter id="lensdistortion"> <chapterinfo> <title>Lens Distortion Correction</title> @@ -35,7 +35,7 @@ </para> <note><para> -This plugin treats the geometrical distortions. Chromatic abberations will not be corrected by this plugin. +This plugin treats the geometrical distortions. Chromatic aberrations will not be corrected by this plugin. </para></note> <para> @@ -59,7 +59,7 @@ <title>Using the plugin</title> <note><para> -A bit of explanation first. The geometrical corrections use 4th-order polynominal coefficients. +A bit of explanation first. The geometrical corrections use 4th-order polynomial coefficients. <itemizedlist> <listitem><para>The 1st-order coefficient changes the size of the image. The plugin calls this <guilabel>Zoom</guilabel>.</para></listitem> <listitem><para>The 2nd-order coefficient treats the main geometrical distortion of lenses and can correct the convex or concave shape of the image.</para></listitem> @@ -82,7 +82,7 @@ </para> <para> -<guilabel>Edge</guilabel>: this value controls the amount of 4th-order distortion. The Edge control has more effect at the edges of the image than at the centre. For most lenses, the <guilabel>Edge</guilabel> parameter has the opposite sign of the <guilabel>Main</guilabel> parameter. +<guilabel>Edge</guilabel>: this value controls the amount of 4th-order distortion. The Edge control has more effect at the edges of the image than at the center. For most lenses, the <guilabel>Edge</guilabel> parameter has the opposite sign of the <guilabel>Main</guilabel> parameter. </para> <para> @@ -102,7 +102,7 @@ </para></note> <para> -To help you finding the best correction the tool provides a vertical and horizontal guide. Move the mouse cursor in the image preview to display the dashed lines guide. Move the cursor to an important place in the image like the sea level or a building border and press the left mouse button for freeze the dashed lines position. Now, adjust the barrel/pincushion correction to align with the guide. +To help you finding the best correction the tool provides a vertical and horizontal guide. Move the mouse cursor in the image preview to display the dashed lines guide. Move the cursor to an important place in the image like the sea level or a building border and press the left mouse button to freeze the position of the dashed lines. Now, adjust the barrel/pincushion correction to align with the guide. </para> <para> @@ -110,7 +110,7 @@ </para> <para> -On most images using the barrel correction is enough, however with some shots such as front pictures, frames, paintings, the next logical step is to use perspective correction to make all the angles 90 degrees. Note that when you hold your camera by hand you almost always introduce some kind of slight perspective distortion. +On most images using the barrel correction is enough. However with some shots such as front pictures, frames, and paintings, the next logical step is to use perspective correction to make all the angles 90 degrees. Note that when you hold your camera by hand you almost always introduce some kind of slight perspective distortion. </para> </sect1> Index: doc/digikamimageplugins/adjustcurves.docbook =================================================================== --- doc/digikamimageplugins/adjustcurves.docbook (revision 636424) +++ doc/digikamimageplugins/adjustcurves.docbook (working copy) @@ -31,11 +31,11 @@ <title>Introduction</title> <para> -The Curves tool is the most sophisticated tool available to adjust the images' tonality. Start it from the <menuchoice><guimenu>Fix</guimenu><guimenuitem>Colors</guimenuitem><guimenuitem>Curves Adjust</guimenuitem></menuchoice> Image Editor menu. +The Curves tool is the most sophisticated tool available to adjust the image's tonality. Start it from the <menuchoice><guimenu>Fix</guimenu><guimenuitem>Colors</guimenuitem><guimenuitem>Curves Adjust</guimenuitem></menuchoice> Image Editor menu. </para> <para> -This plugin provides visual curves to modify the intensity values of the active layer displayed as a histogram non-linearily. In <guilabel>Smooth</guilabel> curve edition mode, you change the curves shape by adding new points to the curve or by moving end point positions. Another mode is to draw all the curve manually in <guilabel>Free</guilabel> curve edition mode. In both cases the effect is immediately displayed in the image preview area to the left, where the preview can be configured by clicking on the top left icons. +This plugin provides visual curves to modify the intensity values of the active layer displayed as a histogram non-linearly. In <guilabel>Smooth</guilabel> curve edition mode, you change the curves shape by adding new points to the curve or by moving end point positions. Another mode is to draw all the curves manually in <guilabel>Free</guilabel> curve edition mode. In both cases the effect is immediately displayed in the image preview area to the left, where the preview can be configured by clicking on the top left icons. </para> <sect1 id="using-plugin-adjustcurves"> @@ -81,7 +81,7 @@ </para></listitem> <listitem><para> - With color channels, moving right will decrease saturation up to reaching complementary color. To delete all control points (apart from both end points), click on the <guilabel>Reset Values</guilabel> button. To delete only one point, move it onto another point. Just ply with the curves and watch the results. You even can solarize the picture on part of its tonal range. This happens when the curve is inverted in some part. + With color channels, moving right will decrease saturation up to reaching complementary color. To delete all control points (apart from both end points), click on the <guilabel>Reset Values</guilabel> button. To delete only one point, move it onto another point. Just play with the curves and watch the results. You even can solarize the picture on part of its tonal range. This happens when the curve is inverted in some part. </para></listitem> <listitem><para> @@ -101,7 +101,7 @@ </para> <para> -The curves tool has several features that facilitate the positioning of points on the control curves. Clicking the mouse button in the original image preview area produces a vertical doted bar in the graph area of the curves tool. The bar position corresponds to the pixel value the mouse cursor is over in the image window. Clicking and dragging the mouse button interactively updates the position of the vertical bar. In this way, it is possible to see where different pixel values in the image are located on the control curve and helps to discover the locations of shadow, midtone, and highlight pixels. +The curves tool has several features that facilitate the positioning of points on the control curves. Clicking the mouse button in the original image preview area produces a vertical dotted bar in the graph area of the curves tool. The bar position corresponds to the pixel value the mouse cursor is over in the image window. Clicking and dragging the mouse button interactively updates the position of the vertical bar. In this way, it is possible to see where different pixel values in the image are located on the control curve and helps to discover the locations of shadow, midtone, and highlight pixels. </para> <para> Index: doc/digikamimageplugins/solarizeimage.docbook =================================================================== --- doc/digikamimageplugins/solarizeimage.docbook (revision 636424) +++ doc/digikamimageplugins/solarizeimage.docbook (working copy) @@ -31,7 +31,7 @@ exposing a partially developed print to a brief flash of light, then completing the development. The colored, darker areas shield the additional light from the sensitive photo layers, which has the net effect of making the lighter areas darker and colors being inverted during the second exposure. -The result resembles a partially negative image. The plugin allows to adjust the interesting effect smoothly. +The result resembles a partially negative image. The plugin adjusts this interesting effect smoothly. </para> <sect1 id="using-plugin-solarize"> Index: doc/digikamimageplugins/inpainting.docbook =================================================================== --- doc/digikamimageplugins/inpainting.docbook (revision 636424) +++ doc/digikamimageplugins/inpainting.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="inpainting"> +<chapter id="inpainting"> <chapterinfo> <title>Photograph Inpainting</title> @@ -77,7 +77,7 @@ <itemizedlist> <listitem><para><guilabel>Detail Preservation</guilabel> p [0, 100]: this controls the preservation of the curvatures (features). A low value forces an equal smoothing across the image, whereas bigger values preferably smooth the homogeneous regions and leaves the details sharper. A value of 0.9 should well preserve details so that no sharpening is required afterwards. Note that <guilabel>Detail Preservation</guilabel> must be always inferior to <guilabel>Anisotropy</guilabel>.</para></listitem> - <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in wave-like pattern, whereas JPEG artefacts are suited for values close to 1. </para></listitem> + <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in a wave-like pattern, whereas JPEG artifacts are suited for values close to 1. </para></listitem> <listitem><para><guilabel>Smoothing</guilabel> [0, 500]: this sets the maximum overall smoothing factor (when p defines the relative smoothing). Set it according to the noise level.</para></listitem> <listitem><para><guilabel>Regularity</guilabel> [0, 100]: this parameter is concerned with the bigger structures. The bigger this value, the more even the overall smoothing will be. This is necessary when much noise is present since it is then difficult to estimate the geometry. Also if you want to achieve a 'van Gogh' turbulence effect, setting it higher than 3 is recommended.</para></listitem> <listitem><para><guilabel>Filter Iterations</guilabel>: number of times the blurring algorithm is applied. Usually 1 or 2 is sufficient.</para></listitem> @@ -108,7 +108,7 @@ </para> <warning><para> -Photograph Inpainting is (comparatively) very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by pressing <guilabel>Cancel</guilabel> button during rendering. +Photograph Inpainting is (comparatively) very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by pressing the <guilabel>Cancel</guilabel> button during rendering. </para></warning> </sect1> @@ -117,7 +117,7 @@ <title>The plugin in action</title> <para> -Below, you can see a <guilabel>Remove Small Area</guilabel> Inpainting type applied to a color photograph taken at Guatemala city with an analog camera. Look like there is a strange black artefact on the face front, resulting of a bad film stockage during the travel. The original image is (1), the corrected image (2). +Below, you can see a <guilabel>Remove Small Area</guilabel> Inpainting type applied to a color photograph taken at Guatemala city with an analog camera. There is a strange black artifact on the face front, resulting of a bad film stockage during the travel. The original image is (1), the corrected image (2). </para> <figure> Index: doc/digikamimageplugins/texture.docbook =================================================================== --- doc/digikamimageplugins/texture.docbook (revision 636424) +++ doc/digikamimageplugins/texture.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="texture"> +<chapter id="texture"> <chapterinfo> <title>Apply Texture</title> @@ -26,7 +26,7 @@ <title>Introduction</title> <para> -By adding texture to your image, whether color or black and white, you can make it look like an oil painting on canvas, an Old Masters etching, a Pop Art portrait composed of enlarged half-tone dots, or even a mural on a brick wall.The <menuchoice><guimenu>Image</guimenu> +By adding texture to your image, whether color or black and white, you can make it look like an oil painting on canvas, an Old Masters etching, a Pop Art portrait composed of enlarged half-tone dots, or even a mural on a brick wall. The <menuchoice><guimenu>Image</guimenu> <guimenuitem>Apply Texture</guimenuitem></menuchoice> Image Editor menu can be used for that. </para> @@ -39,7 +39,7 @@ </figure> <para> -Two options give you control over the texture applying on image: +Two options give you control over the texture applied to an image: </para> <para> @@ -47,7 +47,7 @@ </para> <para> -<guilabel>Relief</guilabel>: dragging this option to the right increases the appearance of depth or three-dimensionality of the texture on image. +<guilabel>Relief</guilabel>: dragging this option to the right increases the appearance of depth or three-dimensionality of the texture on the image. </para> </sect1> @@ -56,7 +56,7 @@ <title>The plugin in action</title> <para> -A <guilabel>Paper</guilabel> texture effect apply to a photograph is available below. The original image is (1), the target image is (2). <guilabel>Relief</guilabel> factor used is 200. +A <guilabel>Paper</guilabel> texture effect applied to a photograph is available below. The original image is (1), the target image is (2). <guilabel>Relief</guilabel> factor used is 200. </para> <figure> Index: doc/digikamimageplugins/raindrops.docbook =================================================================== --- doc/digikamimageplugins/raindrops.docbook (revision 636424) +++ doc/digikamimageplugins/raindrops.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="raindrops"> +<chapter id="raindrops"> <chapterinfo> <title>Rain Drops</title> @@ -26,7 +26,7 @@ <title>Introduction</title> <para> -The digiKam image plugin <emphasis>Raindrops</emphasis> is nice little tool to put raindrops onto your images. Naturally, it renders your picture in a kind of wet look. It use an algorithm copyrighted by Pieter Voloshyn. +The digiKam image plugin <emphasis>Raindrops</emphasis> is a nice little tool to put raindrops onto your images. Naturally, it renders your picture in a kind of wet look. It uses an algorithm copyrighted by Pieter Voloshyn. </para> <sect1 id="using-plugin-raindrops"> @@ -37,9 +37,9 @@ </para> <para> -<guilabel>Drop size</guilabel> obviously allows to change the size of the drops. As the drop size doesn't +<guilabel>Drop size</guilabel> obviously changes the size of the drops. As the drop size doesn't automatically scale with the image size it is often necessary to reduce the size for small images. -<guilabel>Number</guilabel> changes the number and densitiy of drops. +<guilabel>Number</guilabel> changes the number and density of drops. <guilabel>Fish eye</guilabel> changes the optical effect of the drops across the image. </para> Index: doc/digikamimageplugins/superimpose.docbook =================================================================== --- doc/digikamimageplugins/superimpose.docbook (revision 636424) +++ doc/digikamimageplugins/superimpose.docbook (working copy) @@ -31,7 +31,7 @@ <title>Introduction</title> <para> -This tool allow to combine two images by superimposing them very easily. You can use this tool to reframe your photographs and the story they tell. +This tool easily allows the superimposing of one image upon another image. You can use this tool to reframe your photographs and the story they tell. Existing images or artificially created graphics can be used as PNG template files containing borders, frames, gradients, and composite images that can be added to or superimposed on other images. Template files aren't installed along with the digiKam but can be found at <ulink url="http://digikam3rdparty.free.fr/Templates/">this url</ulink>. Download the content to the digiKam album database and set the <guilabel>Root Template Directory</guilabel> (see Using the Plugin section below). </para> Index: doc/digikamimageplugins/channelmixer.docbook =================================================================== --- doc/digikamimageplugins/channelmixer.docbook (revision 636424) +++ doc/digikamimageplugins/channelmixer.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="channelmixer"> +<chapter id="channelmixer"> <chapterinfo> <title>Channel Mixer</title> @@ -46,11 +46,11 @@ </figure> <para> -With the channel combo box you select and display the histogram per color. It gives a first hint of how to correct the channels by their relative distribution and amplitude. The left half of the dialog window always shows a preview of what you are doing. The orignal for comparison can be seen when selecting its own window tab. +With the channel combo box you select and display the histogram per color. It gives a first hint of how to correct the channels by their relative distribution and amplitude. The left half of the dialog window always shows a preview of what you are doing. The original for comparison can be seen when selecting its own window tab. </para> <para> -The target photo preview has a red marker available. If you place this marker somewherer in the image, a corresponding vertical bar will be drawn in the histogram indicating the color level value in the current channel selected. +The target photo preview has a red marker available. If you place this marker somewhere in the image, a corresponding vertical bar will be drawn in the histogram indicating the color level value in the current channel selected. </para> <para> Index: doc/digikamimageplugins/hotpixels.docbook =================================================================== --- doc/digikamimageplugins/hotpixels.docbook (revision 636424) +++ doc/digikamimageplugins/hotpixels.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="hotpixels"> +<chapter id="hotpixels"> <chapterinfo> <title>Hot Pixels Correction</title> @@ -50,14 +50,14 @@ </para> <para> -This plugin can be used to fix the "Hot pixels" and "Stuck Pixels" on a photograph using a Black Frame subtraction method. There is no yet a manual editor to select bad pixels. +This plugin can be used to fix the "Hot pixels" and "Stuck Pixels" on a photograph using a Black Frame subtraction method. There is not yet a manual editor to select bad pixels. </para> <sect1 id="using-plugin-blackframecreation"> <title>Create the Black Frames</title> <para> -The Black Frame substraction method is the most accurate "Hot Pixels" and "Stuck Pixels" removal. First you have to create a "Black Frame" as a reference. This is easy to do. When you finish taking your long exposure shots, put a lens cap on the camera and take one "dark" image with the same exposure time as the images before. This image will be all dark, but with close examination you will see that it has the Hot and Stuck Pixels (colored dots). These are positioned at the same place as on your previous shots. +The Black Frame subtraction method is the most accurate "Hot Pixels" and "Stuck Pixels" removal. First you have to create a "Black Frame" as a reference. This is easy to do. When you finish taking your long exposure shots, put a lens cap on the camera and take one "dark" image with the same exposure time as the images before. This image will be all dark, but with close examination you will see that it has the Hot and Stuck Pixels (colored dots). These are positioned at the same place as on your previous shots. </para> <para> @@ -65,7 +65,7 @@ </para> <warning><para> -If you use an old digital camera, it is important to re-shoot the Black Frame next time you are taking a long exposure pictures to detect new Hot and Stuck Pixels on CCD defects. +If you use an old digital camera, it is important to re-shoot the Black Frame the next time you are taking long exposure pictures to detect new Hot and Stuck Pixels. </para></warning> </sect1> @@ -79,7 +79,7 @@ </figure> <para> -At first as explained in the previous section you need to load a Black Frame corresponding to the image to correct. An automatic parsing will be processed on the Black Frame to find bad pixels. Note that the plugin will remember the previous Black Frame used on the last plugin session and it will be re-opened automatically with the next session. +As first as explained in the previous section you need to load a Black Frame corresponding to the image to correct. An automatic parsing will be processed on the Black Frame to find bad pixels. Note that the plugin will remember the previous Black Frame used during the last plugin session and it will be re-opened automatically with the next session. </para> <para> @@ -87,7 +87,7 @@ </para> <para> -Select an area to see bad pixels on preview and the filter result using 'Separate View' options of image panel. Choose the best <guilabel>Filter</guilabel> method to interpolate pixels or pixel blocks. These are the available filters: +Select an area to see bad pixels on preview and filter the result using the 'Separate View' option of the image panel. Choose the best <guilabel>Filter</guilabel> method to interpolate pixels or pixel blocks. These are the available filters: <itemizedlist> @@ -109,7 +109,7 @@ <title>The plugin in action</title> <para> -Below, you can see the Hot Pixels Correction plugin applied to a color photograph taken with a defficient digital camera at 200 ISO sensitivity with a long exposure shot. The original image magnified to 300% is (1), the corrected image (2). +Below, you can see the Hot Pixels Correction plugin applied to a color photograph taken with a deficient digital camera at 200 ISO sensitivity with a long exposure shot. The original image magnified to 300% is (1), the corrected image (2). </para> <figure> Index: doc/digikamimageplugins/antivignetting.docbook =================================================================== --- doc/digikamimageplugins/antivignetting.docbook (revision 636424) +++ doc/digikamimageplugins/antivignetting.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="antivignetting"> +<chapter id="antivignetting"> <chapterinfo> <title>Anti Vignetting</title> @@ -31,7 +31,7 @@ <title>Introduction</title> <para> -Wide angle lenses, especially those used in medium and large format photography, frequently do not uniformly illuminate the entire sensor plane. Instead, they "vignette" (shade) the edges and corners of the image, substantially reducing the light reaching the sensor there. But telelenses may show vignetting too. +Wide angle lenses, especially those used in medium and large format photography, frequently do not uniformly illuminate the entire sensor plane. Instead, they "vignette" (shade) the edges and corners of the image, substantially reducing the light reaching the sensor there. But telephoto lenses may show vignetting too. </para> <para> @@ -71,7 +71,7 @@ </para> <para> -The only way to be sure which settings of <guilabel>Density</guilabel>, <guilabel>Power</guilabel>, and <guilabel>Radius</guilabel> best compensate for the actual optical characteristics of a given lens is to expose a uniformly illuminated scene (for example, a grey card lit by diffuse light) and perform densitometry on the resulting image (for example with Adjust Level plugin histogram position bar). Failing that, or specifications by the lens manufacturer giving the precise degree of vignetting at one or more working apertures, you may have to experiment with different settings to find those which work best for each of your lenses. For help you in this task, the plugin dialog provide a thumbnail mask rendering applied on the image. Fortunately, the response of the human eye is logarithmic, not linear like most digital imaging sensors, so you needn't precisely compensate for the actual vignetting to create images which viewers will perceive as uniformly illuminated. +The only way to be sure which settings of <guilabel>Density</guilabel>, <guilabel>Power</guilabel>, and <guilabel>Radius</guilabel> best compensate for the actual optical characteristics of a given lens is to expose a uniformly illuminated scene (for example, a grey card lit by diffuse light) and perform densitometry on the resulting image (for example with Adjust Level plugin histogram position bar). Failing that, or specifications by the lens manufacturer giving the precise degree of vignetting at one or more working apertures, you may have to experiment with different settings to find those which work best for each of your lenses. To help you in this task, the plugin dialog provides a thumbnail mask rendering applied on the image. Fortunately, the response of the human eye is logarithmic, not linear like most digital imaging sensors, so you needn't precisely compensate for the actual vignetting to create images which viewers will perceive as uniformly illuminated. </para> <para> Index: doc/digikamimageplugins/distortionfx.docbook =================================================================== --- doc/digikamimageplugins/distortionfx.docbook (revision 636424) +++ doc/digikamimageplugins/distortionfx.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="distortionfx"> +<chapter id="distortionfx"> <chapterinfo> <title>Distortion FX</title> @@ -33,7 +33,7 @@ <title>Introduction</title> <para> -With this plugin, you can transform an ordinary photograph into a work of art suitable for framing using distorting operations. It use algorithms copyrighted by Pieter Voloshyn. +With this plugin, you can transform an ordinary photograph into a work of art suitable for framing using distorting operations. It uses algorithms copyrighted by Pieter Voloshyn. </para> <sect1 id="using-plugin-distortionfx"> @@ -58,7 +58,7 @@ <row> <entry> - <guilabel>Fish Eyes</guilabel>: warps the photograph around a 3D spherical shape to reproduce the common photograh 'Fish Eyes' effect. + <guilabel>Fish Eyes</guilabel>: warps the photograph around a 3D spherical shape to reproduce the common photograph 'Fish Eyes' effect. </entry> <entry> @@ -98,7 +98,7 @@ <row> <entry> - <guilabel>Cylinder H/V</guilabel>: warps the photograph around a 2 cylinders, vertical and horizontal. + <guilabel>Cylinder H/V</guilabel>: warps the photograph around two cylinders, vertical and horizontal. </entry> <entry> @@ -108,7 +108,7 @@ <row> <entry> - <guilabel>Caricature</guilabel>: distorts photograph with 'Fish Eyes' effect inverted. + <guilabel>Caricature</guilabel>: distorts the photograph with 'Fish Eyes' effect inverted. </entry> <entry> @@ -158,7 +158,7 @@ <row> <entry> - <guilabel>Block Waves 2</guilabel>: like Block Waves 1 but with another version of glass blocks distorsion. + <guilabel>Block Waves 2</guilabel>: like Block Waves 1 but with another version of glass blocks distortion. </entry> <entry> @@ -178,7 +178,7 @@ <row> <entry> - <guilabel>Circular Waves 2</guilabel>: other variation of Circular Waves effect. + <guilabel>Circular Waves 2</guilabel>: another variation of Circular Waves effect. </entry> <entry> @@ -208,7 +208,7 @@ <row> <entry> - <guilabel>Tiles</guilabel>: splits the photograph into square blocks and move them randomly inside the image. + <guilabel>Tiles</guilabel>: splits the photograph into square blocks and moves them randomly inside the image. </entry> <entry> @@ -223,7 +223,7 @@ </para> <warning><para> -Some effects can take long time to run and cause high CPU load. You can always abort an effect by pressing <guilabel>Abort</guilabel> button during preview rendering. +Some effects can take a long time to run and cause high CPU load. You can always abort an effect by pressing the <guilabel>Abort</guilabel> button during preview rendering. </para></warning> </sect1> Index: doc/digikamimageplugins/sheartool.docbook =================================================================== --- doc/digikamimageplugins/sheartool.docbook (revision 636424) +++ doc/digikamimageplugins/sheartool.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="sheartool"> +<chapter id="sheartool"> <chapterinfo> <title>Shearing Image</title> @@ -27,22 +27,22 @@ <title>Introduction</title> <para> -Shear tool is used to shift an image to a direction and the other part to the opposite direction. For instance, a horizontal shearing will shift the upper part to the right and the lower part to the left. This is not a rotation: the image is distorted. In other words, it will turn a rectangle into a parallelogram. This tool is available to <menuchoice><guimenu>Transform</guimenu><guimenuitem>Shear</guimenuitem></menuchoice> menu. +Shear tool is used to shift an image in one direction and the other part in the opposite direction. For instance, a horizontal shearing will shift the upper part to the right and the lower part to the left. This is not a rotation: the image is distorted. In other words, it will turn a rectangle into a parallelogram. This tool is available to <menuchoice><guimenu>Transform</guimenu><guimenuitem>Shear</guimenuitem></menuchoice> menu. </para> <sect1 id="using-plugin-sheartool"> <title>Using the plugin</title> <para> -Shear your image by using the <guilabel>Horizontal Angle</guilabel> and <guilabel>Vertical Angle</guilabel> sliders (values in degrees). You can shear along either Horizontally and vertically at the same time. Press to <guilabel>Reset Values</guilabel> for re-init the sliders to zero. A shearing effect preview is available on the middle of dialog. The new target image dimensions in pixels are displayed at the right side of dialog. +Shear your image by using the <guilabel>Horizontal Angle</guilabel> and <guilabel>Vertical Angle</guilabel> sliders (values in degrees). You can shear Horizontally and vertically at the same time. Press <guilabel>Reset Values</guilabel> to re-init the sliders to zero. A shearing effect preview is available on the middle of the dialog. The new target image dimensions in pixels are displayed at the right side of the dialog. </para> <para> -For helping you, the tool provide too a vertical and horizontal guide. Move the mouse cursor under image preview for display the dashed lines guide. Move the cursor to an important place in the image like the sea or a building border and press the left mouse button for freeze the dashed lines position. Now, adjust the shear correction accordinly with the guide. +To help you, the tool provides a vertical and horizontal guide. Move the mouse cursor under image preview to display the dashed lines guide. Move the cursor to an important place in the image like the sea or a building border and press the left mouse button to freeze the position of the dashed lines. Now, adjust the shear correction accordingly with the guide. </para> <warning><para> -After to apply a shearing adjustment, the image inevitably gets blurred a little bit. For a single shearing, the amount of blurring is quite small, but two shearing cause twice as much blurring as one, and there is no reason to blur things more than you have to. +After applying a shearing adjustment, the image inevitably gets blurred a little bit. For a single shearing, the amount of blurring is quite small, but two shearings cause twice as much blurring as one. There is no reason to blur things more than you have to. </para></warning> <para> Index: doc/digikamimageplugins/adjustlevels.docbook =================================================================== --- doc/digikamimageplugins/adjustlevels.docbook (revision 636424) +++ doc/digikamimageplugins/adjustlevels.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="adjustlevels"> +<chapter id="adjustlevels"> <chapterinfo> <title>Adjust Levels</title> @@ -31,13 +31,13 @@ <title>Introduction</title> <para> -Situated between the more sophisticated Adjust Curves plugin and the simpler Brightness/Contrast/Gamma Image Editor tool is this Adjust Levels tool for improving exposure. Allthough the dialog for this tool looks very complicated, for the basic usage we have in mind here, the only part you need to deal with is the +Situated between the more sophisticated Adjust Curves plugin and the simpler Brightness/Contrast/Gamma Image Editor tool is this Adjust Levels tool for improving exposure. Although the dialog for this tool looks very complicated, for the basic usage we have in mind here, the only part you need to deal with is the <guilabel>Input Levels</guilabel> area, concretely the 3 sliders that appear below the histogram. </para> <para> This plugin contains a visual graph of the intensity values of the active layer or selection (histogram). -Below the graph are five sliders that can be clicked into and dragged to constrain and change the intensity +Below the graph are five sliders that can be clicked on and dragged to constrain and change the intensity level for the image. The left sliders position represents the dark areas and similarly, the right position represents the light areas. </para> @@ -87,7 +87,7 @@ <listitem><para><guilabel>Input Levels</guilabel>: the input levels allow manual adjustments to be selected for each of the ranges. The main area is a graphic representation of image dark, mid and light tones content. They are on abscissa from level 0 (black) to level 255 (white). - Pixel number for a level is on ordinate axis. The curve surface represents all the pixels of the image for the selected channel (histogram). A well balanced image is an image with levels + Pixel number for a level is on the ordinate axis. The curve surface represents all the pixels of the image for the selected channel (histogram). A well balanced image is an image with levels (tones) distributed all over the whole range. An image with a predominant blue color, for example, will produce a histogram shifted to the left in Green and Red channels, manifested by green and red color lacking on highlights. The level ranges can be modified in three ways: @@ -107,7 +107,7 @@ <listitem><para><guilabel>Output Levels</guilabel>: the output levels allow manual selection of a narrowed-down output level range. There are also two sliders located here that can be used to interactively change the output levels like <guilabel>Input Levels</guilabel>. - This ouput level compression may, for example, be used to create a bleached image as a background for some other subject to put into the foreground.</para></listitem> + This output level compression may, for example, be used to create a bleached image as a background for some other subject to put into the foreground.</para></listitem> <listitem><para><guilabel>Auto</guilabel>: this button performs an automatic setting of the levels based on the pixel intensities of the image.</para></listitem> @@ -124,7 +124,7 @@ </para> <para> -The Adjust Levels tool has several features to facilitate the positioning input levels sliders. Clicking the mouse button in the original image preview area produces a vertical doted bar in the graph area of the histogram. The bar position corresponds to the pixel value under the mouse cursor in the image window. Clicking and dragging the mouse button interactively updates the position of the vertical bar. In this way it is possible to see where different pixel values in the image are located on the input levels sliders and helps to discover the locations of shadow, midtone, and highlight pixels. +The Adjust Levels tool has several features to facilitate the positioning of input levels sliders. Clicking the mouse button in the original image preview area produces a vertical dotted bar in the graph area of the histogram. The bar position corresponds to the pixel value under the mouse cursor in the image window. Clicking and dragging the mouse button interactively updates the position of the vertical bar. In this way it is possible to see where different pixel values in the image are located on the input levels sliders and helps to discover the locations of shadow, midtone, and highlight pixels. </para> <para> @@ -132,7 +132,7 @@ </para> <para> -<guilabel>Over Exposure Indicator</guilabel> option checks all color channel to see if more than one channel in a pixel is over-exposed, and you will see the combined color resulting of channel level settings. This feature is available as an indicator in the target preview area and has no effect on final rendering. +<guilabel>Over Exposure Indicator</guilabel> option checks all color channels to see if more than one channel in a pixel is over-exposed, and you will see the combined color results of the channel level settings. This feature is available as an indicator in the target preview area and has no effect on final rendering. </para> </sect1> Index: doc/digikamimageplugins/filmgrain.docbook =================================================================== --- doc/digikamimageplugins/filmgrain.docbook (revision 636424) +++ doc/digikamimageplugins/filmgrain.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="filmgrain"> +<chapter id="filmgrain"> <chapterinfo> <title>Film Grain</title> @@ -28,7 +28,7 @@ <para> The digiKam image plugin <emphasis>Filmgrain</emphasis> is an easy tool to produce film grain on your -images as known from classical high speed film material as, for example, the famous B/W KodaK Tri-X. +images as known from classical high speed film material as, for example, the famous B/W Kodak Tri-X. In order to increase film sensitivity, manufacturers employed larger silver grains in the photo emulsion. </para> Index: doc/digikamimageplugins/blowup.docbook =================================================================== --- doc/digikamimageplugins/blowup.docbook (revision 636424) +++ doc/digikamimageplugins/blowup.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="blowup"> +<chapter id="blowup"> <chapterinfo> <title>Blowup Photograph</title> @@ -69,14 +69,14 @@ <para>If you want to set filter parameters for finer adjustments, use <guilabel>Smoothing Settings</guilabel> and <guilabel>Advanced Settings</guilabel> tabs: <figure> - <title>Photograp Blowup Smoothing Settings</title> + <title>Photograph Blowup Smoothing Settings</title> <graphic srccredit="Blowup Photograph Smoothing Settings" fileref="blowupsettings1.png"/> </figure> <itemizedlist> <listitem><para><guilabel>Detail Preservation</guilabel> p [0, 100]: this controls the preservation of the curvatures (features). A low value forces an equal smoothing across the image, whereas bigger values preferably smooth the homogeneous regions and leaves the details sharper. A value of 0.9 should well preserve details so that no sharpening is required afterwards. Note that <guilabel>Detail Preservation</guilabel> must be always inferior to <guilabel>Anisotropy</guilabel>.</para></listitem> - <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in wave-like pattern, whereas JPEG artefacts are suited for values close to 1. </para></listitem> + <listitem><para><guilabel>Anisotropy</guilabel> alpha [0, 100]: a low value smooths equally in all directions, whereas a value close to 1 smooths in one direction only. If you have film grain or CCD kind of noise a high value will result in wave-like pattern, whereas JPEG artifacts are suited for values close to 1. </para></listitem> <listitem><para><guilabel>Smoothing</guilabel> [0, 500]: this sets the maximum overall smoothing factor (when p defines the relative smoothing). Set it according to the noise level.</para></listitem> <listitem><para><guilabel>Regularity</guilabel> [0, 100]: this parameter is concerned with the bigger structures. The bigger this value, the more even the overall smoothing will be. This is necessary when much noise is present since it is then difficult to estimate the geometry. Also if you want to achieve a 'van Gogh' turbulence effect, setting it higher than 3 is recommended.</para></listitem> <listitem><para><guilabel>Filter Iterations</guilabel>: number of times the blurring algorithm is applied. Usually 1 or 2 is sufficient.</para></listitem> @@ -107,7 +107,7 @@ </para> <warning><para> -Blowup Photograph is very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by pressing <guilabel>Cancel</guilabel> button during rendering. +Blowup Photograph is very fast in what it is doing, but it can take a long time to run and cause high CPU load. You may always abort computation by the pressing <guilabel>Cancel</guilabel> button during rendering. </para></warning> </sect1> Index: doc/digikamimageplugins/whitebalance.docbook =================================================================== --- doc/digikamimageplugins/whitebalance.docbook (revision 636424) +++ doc/digikamimageplugins/whitebalance.docbook (working copy) @@ -1,4 +1,4 @@ -<chapter id="whitebalance"> +<chapter id="whitebalance"> <chapterinfo> <title>White Balance</title> @@ -30,7 +30,7 @@ <title>Introduction</title> <para> -White Balance setting is a common hurdle for digital still cameras. In the 'good old time' of film rolls, the white balance was done by the photolab. Nowadays the poor little camera has to guess what is white and what is black. Most of the time, what the camera chooses as the white point, is not of the correct shade or hue. Using this plugin it is easy to correct this problem. It provides a variery of parameters that can be trimmed to obtain a better result. +White Balance setting is a common hurdle for digital still cameras. In the 'good old time' of film rolls, the white balance was done by the photo lab. Nowadays the poor little camera has to guess what is white and what is black. Most of the time, what the camera chooses as the white point, is not of the correct shade or hue. Using this plugin it is easy to correct this problem. It provides a variety of parameters that can be trimmed to obtain a better result. </para> <note><para> @@ -50,11 +50,11 @@ </figure> <para> -The preview window can be resized. To the left, both an original and a target preview tab is shown. The target preview is updated dynamically according to the plugin's settings. If you want to see the orginal whitebalance, just click on that tab. +The preview window can be resized. To the left, both an original and a target preview tab is shown. The target preview is updated dynamically according to the plugin's settings. If you want to see the original whitebalance, just click on that tab. </para> <para> -The target photo preview has a red marker available. The luminosity value of the pixel under the marker is shown as a vertical line in the histogram . +The target photo preview has a red marker available. The luminosity value of the pixel under the marker is shown as a vertical line in the histogram. </para> <para> @@ -62,7 +62,7 @@ </para> <para> -With <guilabel>Exposure</guilabel> you can digitally change the original photo exposure. Increasing the exposure is has the risk of making the pixel noise more visible and to blow out the highlights. Check the <guilabel>Over exposure indicator</guilabel> at the lower right to see if you run into saturation problems. +With <guilabel>Exposure</guilabel> you can digitally change the original photo exposure. Increasing the exposure has the risk of making the pixel noise more visible and to blow out the highlights. Check the <guilabel>Over exposure indicator</guilabel> at the lower right to see if you run into saturation problems. The <guilabel>Black Point</guilabel> adjustment can be used to cut the histogram from the left. If your photograph looks foggy (histogram has empty space on the left, black side), you probably need to use this option. The <guilabel>Exposure</guilabel> and <guilabel>Black Point</guilabel> adjustments can be automatically estimated by pressing the <guilabel>Auto Exposure Adjustments</guilabel> button. This sets the black point quite accurately. </para> @@ -241,7 +241,7 @@ </para> <para> -<guilabel>Over Exposure Indicator</guilabel> option adds up the colors if more than one channel in a pixel is over-exposed, and you will see the combined color resulting of White Color Balance controls settings. This rule is applied to target preview area as an indication only and has no effect on the final rendering. +<guilabel>Over Exposure Indicator</guilabel> option adds up the colors if more than one channel in a pixel is over-exposed, and you will see the combined color resulting of White Color Balance controls settings. This rule is applied to the target preview area as an indication only and has no effect on the final rendering. </para> <para> @@ -258,7 +258,7 @@ <title>The plugin in action</title> <para> -Below, you can see a photograph White Color Balance correction applied to a color photograph taken with an Olympus C3000Z at midday. Look like color temperature is tinted to light blue. Camera have been set with default parameter in auto exposure mode. White Color Balance setting used to correct this photograph is <guilabel>Sun</guilabel> light color temperature. <guilabel>Exposure</guilabel> settings is unchanged. The original image is (1), the corrected image (2). +Below, you can see a White Color Balance correction applied to a color photograph taken with an Olympus C3000Z at midday. It looks like color temperature is tinted to light blue. The camera was set with default parameters in auto exposure mode. The White Color Balance setting used to correct this photograph is <guilabel>Sun</guilabel> light color temperature. <guilabel>Exposure</guilabel> settings is unchanged. The original image is (1), the corrected image (2). </para> <figure> Index: doc/digikamimageplugins/infrared.docbook =================================================================== --- doc/digikamimageplugins/infrared.docbook (revision 636424) +++ doc/digikamimageplugins/infrared.docbook (working copy) @@ -33,19 +33,19 @@ <para> Simulating classical infrared film material (the effect is rendered in black and white) is an interesting alienation effect that is even stronger and more dramatic than pure black and white conversion. Contrast and an abstract touch are improved, which can underpin the expression of the photographer as an artists. -It is like taking a picture in black and white with a red filter on the camera lenses. Areas which reflect little red light, e.g. the sky, will show as low density, dark areas. Areas which are excellent reflectors of red light, e.g. most green foliage, will be high density areas. And snow landscapes are really dramatic. +It is like taking a picture in black and white with a red filter on the camera lenses. Areas which reflect little red light, e.g. the sky, will show as low density, dark areas. Areas which are excellent reflectors of red light, e.g. most green foliage, will be high density areas. Snow landscapes are really dramatic. </para> <para> The algorithm is based on the method of the 'Simulate Infrared Film' tutorial of the GimpGuru.org web site available at <ulink url="http://www.gimpguru.org/Tutorials/SimulatedInfrared">this url</ulink>. -The plugin tries to reproduce the famous Ilford(tm) SFX200 infrared film, cf. <ulink url="www.ilford.com/html/us_english/prod_html/sfx200/sfx200.html">this url</ulink>. This film has a sensitivity range of 200-800 ISO. +The plugin tries to reproduce the famous Ilford(tm) SFX200 infrared film, <ulink url="www.ilford.com/html/us_english/prod_html/sfx200/sfx200.html">cf</ulink>. This film has a sensitivity range of 200-800 ISO. </para> <sect1 id="using-plugin-infrared"> <title>Using the plugin</title> <para> -The left part of the dialog window lets you select the region to be shown in the preview section. Move the red rectangle with the mouse around to show the effect on different parts of the image. +The left part of the dialog window lets you select the region to be shown in the preview section. Move the red rectangle with the mouse to show the effect on different parts of the image. </para> <para> @@ -53,7 +53,7 @@ </para> <note><para> -Because the filter mix color channel to reproduce infrared film (especially green channel), this is a non-sence to try to simulate infrared effect from black and white original photograph. +Because the filter mixes color channels to reproduce infrared film (especially green channel), this is a non-sence to try to simulate an infrared effect from a black and white original photograph. </para></note> </sect1> @@ -62,7 +62,7 @@ <title>The plugin in action</title> <para> -This is an example of the infrared film effect applied to a color image taken in New Zealand's landscapes. The original image is (1) and the converted image is (2). The film sensitivity used to simulate the infrared film is ISO-400. +This is an example of the infrared film effect applied to a landscape color image taken in New Zealand. The original image is (1) and the converted image is (2). The film sensitivity used to simulate the infrared film is ISO-400. </para> <figure>