it's not possible to turn this
no-image-open window off altogether (it's not, right?) I'd like the
window to be able to switch between those two positions automatically as
the first image is opened and the last image is closed.
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, to OpenOffice.org, allow the
visibility of optional UI elements to be set, so would probably be more
in line with user expectations than checkboxes in an already-crowded dialog.
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Hi,
Sven Neumann wrote:
don't you guys get it?
I get it - I'm just disappointed by it.
I shall refrain from beating the dead horse any further.
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, that the former approach was being
used, and if so, then a simple box-filter should be more accurate; if
the latter, however, then I'd expect the results to be better than a box
filter.
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:
http://www.blackfiveservices.co.uk/3Percent.png
http://www.blackfiveservices.co.uk/23Percent.png
Hope this is some help
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along, uses GIMP and then closes
all my windows, not just the toolbox, they'll come back the way I like
them next time I run GIMP. Currently, whenever that happens I have to
spend a few minutes adding tabs to a new dock window.
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the Save Window Positions Now button - how I've
failed to spot those for so long I don't know!
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-stretch filter - basically a gentle large-radius
unsharp-mask, which would require unfeasibly large convolution matrices
to do it that way.
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and move a region you now
have to manually float with either ctrl-shift-L or do Ctrl-X, Ctrl-V,
correct?
If floating selections are to be removed, how do you anticipate a user
selecting a section of an image and moving it? By creating a proper
layer from the selection?
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in PhotoPrint - I think I've
mentioned before that as a signature for matching the correct
transform I use an MD5 hash of both source and destination profiles
(excluding headers), as well as the rendering intent. Just throwing
that in, in the hope it might be useful.
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happens is that a blue cast is added. Setting
the Softproof intent to Absolute Colorimetric instead, causes a yellow
cast, but should cause a blue one. Thus, these two parameters are
currently reversed.
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presses - hence it's potentially useful for digital photographers, not
just pre-press operatives.
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not *always* the best choice.
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/
Save As?
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we should give some thought to a less intimidating default
window layout, though.
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well to change the external editor command
in GQView from gimp %f to gimp-remote %f - then the files will open
in an existing GIMP instance if there is one, and you can continue to
avoid the mouse :)
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for plugins to query the GIMP
for the profiles to be used for a particular task, the rest becomes
relatively trivial.
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for instance scale to 10% of the original image
size. You need to include data from at least a 10x10px window.
Thank you.
So I repeat, why is the Lanczos Sinc filter (or bilinear or cubic for
that matter) being used at all when reducing images?
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to a destination pixel?
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usually enough to
narrow it down to the font I'm going to use. This feature makes an
*incredible* difference to working efficiency.
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the
penalties for knowingly infringing a patent are generally much harsher
than for doing so accidentally.
Publishing any examples you may find could, unfortunately, backfire for
the same reason.
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the best,
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, then Ctrl-L, then enter path...) Is there any
reason why the save dialog's filename entry box can't support paths
directly?
Could the expanded/collapsed status of the directory selector be made
persistent across sessions?
All the best,
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be open - just that it should
remember its last status.
I would personally find that a huge improvement; somehow not being able
to see where in the filesystem you are is a bit disorienting.
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in a different file format.
Anyway, just my two-penneth :)
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that has the relevant EXIF
flag set.
I'd opt for (1) every time. I could live with (2), if and only if
there's a bug-me-not option to get rid of it.
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. Without
that, using a specific profile for individual images is next to
impossible, and while we're restricted to 8-bit precision internally,
that's pretty much a vital capability.
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done!
(It also has a Coldfire processor, and uses Digita as its OS...)
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and especially 2 need to be
done first.
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this
binary profile to the working profile, after which this parasite can be
flushed. If the user doesn't convert to the working profile, the
parasite will remain, and will be available to the display filters if
the user subsequently sets up a custom transform.
All the best,
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. (Lime green and shocking
pink seem to be good choices!)
In order to support this feature, we'd need one more flag and an
appropriate RGB colour:
gboolean proof_use_alarm;
RGBTriple proof_alarm_color;
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value in applying it to the colour
selector, so you can see which colours are off limits when targeting a
specific device.
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of
cmsCreateProofingTransform().
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profile for specific images, (which means
getting an image parameter into the display filter so parasites can be
fetched).
Hope this is some help :)
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to be enabled on
specific images.
As always, comments, criticisms and suggestions welcome :)
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source-monitor colour correction, with
optional soft-proofs, instead of just soft-proofs limited to sRGB source
and monitor.
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of implementation and any technical
points that need to be discussed further.
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results, but I've generated a source profile that
significantly improves this display.
For tricks like this, it wouldn't matter one jot if the colour selector
doesn't match the image display
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selectors) being able to make use of the display
filters; how far has this progressed?
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anyone else want to bring up any further points?
Finally, a question: How is a plugin supposed to go about storing
persistent data between sessions (i.e. in my case, the filenames of the
profiles last used)?
All the best,
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profile and the working space if they are in fact the same profile!)
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approximately 1-bit over the whole image.
If anyone's curious enough to want the source of my test program, just
ask :)
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needs to be made aware that colour-space transformations
are a destructive change, and have an opportunity to avoid them.
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colorspace and the monitor profile.
I'm not 100% sure, but I think the TIFF plugin already attaches embedded
profiles as a parasite, so they're preserved when the image is saved
again. If so, we have a lead to follow!
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the current
image's profile.
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exploring.
I think this is probably a very bad idea.
Could you expand on why you think this? Confusion? Difficulty of
implementation? Something else?
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a less than optimal conversion.
Agreed. Subconsciously, I suppose I'd considered it good manners to
save a modified image in the same colour space it started in, but you're
right, this is not necessary.
All the best
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Hi William,
William Skaggs wrote:
(1) Layer A1 is visually identical to layer B1.
(2) Layer A2 is visually identical to layer B2.
(3) When layers 1 and 2 are composited in Add mode, the two images
look different.
This can happen because of the nonlinearity in color profiles.
I can see that this
will be usuable for
pre-press work in my job!
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on
http://www.brucelindbloom.com/index.html?WorkingSpaceInfo.html I think
will be of great help.
Yes indeed, I'll digest that information in due course...
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data).
In short, though, if we use this method, we don't need to agree on what
to call our working space, because it will simply be whatever is
appropriate for the image being edited!
Hope this little essay is some help!
All the best,
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the best
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