Use the "Parameter control" to adjust development parameters. By default, the "Parameter control" appears at the left side of the screen. You can move its position to the right side with [Display Setting].
Furthermore, you can change it to a floating window with the [Display setting].
On the "Parameter control", there are the following 3 sections;
(1) "Main control section" consists of some dropdown lists to select a taste (=preset value) and the "Exposure bias" slider control.
(2) "Tab page" is an area for the sub-controls, which are selected on the "Parameter control".
(3) "Control box" is an area for other sub-controls, which are used to adjust an image in even more detail by setting specified values.
The "sub-control", located on "Tab page" or "Control box", is a control for selecting a value in each category of the development parameters. The sub-control can be displayed also as a floating window.
You can specify the setting of "Parameter control" by [Display setting], which appeares on the menu command [View(V)]-[Display setting].
And you can specify the setting by a right-click upon the title area.
As a basic workflow, first set the level of the Exposure bias with "Slider control", then select each "taste" for white balance, tone, color, and sharpness/noise reduction.
4.1. "Parameter Control" and "Sub-control"
Parameter control has 3 sections. On the "Main control section" that is the top section, there are the following controls;
On the bottom area of the "Parameter control", there are 8 buttons to switch sub-controls that are for fine adjustment of the development parameter or displaying information.
The dropdown list is the GUI for selecting a taste (=preset value) that is prepared in advance by ISL (Ichikawa Soft Laboratory) or a user.
The "taste" is a value consisting of development parameters. For more details about the "taste", please refer to '4.1.1 Taste'.
When you select a taste from the dropdown list, the related sub-controls automatically appear on the "Tab page". However, according to customer's preference, the sub-controls can be located on the "Control box" or a floating window.
Taste is a preset value , like a collection of development parameters.4.1.2. How to Operate GUI
You can easily define a "taste" value for frequently-used development parameters.
Model development parameters are recorded in advance in SILKYPIX as maker tastes.
You can use these to easily make adjustments to development parameters.
Open the dropdown list and select a "Taste" to apply. By doing so, the development parameter registered in tastes will be reflected.
There are both "Overall tastes" to replace all development parameters and "Partial tastes" for a set of part of the development parameters found in tastes.
Applying "Partial tastes" is an action equivalent to "Partial paste of development parameters."
Register development parameters which are used often can be saved as user tastes, making them easier to recall.22.214.171.124. All category tastes
There are two ways to register to tastes, "All category tastes" for all development parameters, and other tastes registered as category units in development parameters.
Please refer to "126.96.36.199. Registering tastes" concerning how to register.
The dropdown list of "All category tastes" located to the side of the icon at the very top of the main control section in parameter controls will be explained here.188.8.131.52. Other tastes
Tastes that can be selected here are all category tastes intended as "All categories" of development parameters.
There are two kinds of tastes, "Overall tastes" and "Partial tastes" in "All category tastes."
[Explanation of Display]
[Taste list for selection]
If "Overall tastes" is selected, all categories of development parameters will be replaced.
If "Partial tastes" is selected, only a part of the categories of development parameters will be replaced.
When you open the dropdown list, you can see and select the tastes on the list.[Display of the selected taste]
There are two kinds of tastes, one is "maker taste" prepared by ISL and the other is "user taste" defined by user.
And you can find "Default" and "Manual" on the list, which are not "tastes". They have the following meanings;
When the dropdown list is closed, the name of the current taste is displayed.
When one of registered tastes is selected, the name of the selected taste is displayed.
The name of a partial taste is not displayed. Instead, "Default" or "Manual" is displayed.
The following will explain dropdown lists of tastes other than "All category tastes."184.108.40.206. Adding Taste
Dropdown lists for these tastes are located at the top of each sub-control, with five in the main control section.
The five dropdown lists, except for the "All category tastes" located in the main control section, are, in order from the top:
[Exposure Taste]When the 6 sub-controls, "Exposure," "White balance," "Tone," "Color," "Sharpness" and "Noise reduction" are displayed as floating windows, the five dropdown lists located at the top of each sub-control have the following in common.
[White Balance Taste]
[Sharpness/Noise Reduction Taste]
These dropdown lists are used to select partial tastes for only one parameter category.
If a taste is selected from the five dropdown lists, except for the "All category tastes" located in the main control section, only development parameters that can be adjusted by the sub-control displayed on the tab page will be influenced.
If a taste is selected from these dropdown lists located at the top of the sub-control, only the development parameter that can be adjusted by the same sub-control (*1) will be influenced.
When you open the dropdown list, you can see and select the tastes on the list. There are two kinds of tastes, one is "maker taste" prepared by ISL and the other is "user taste" defined by user.
And you can find "Default" and "Manual" on the list, which are not "taste". have the following meanings;
When dropdown list is closed, the name of the current taste is displayed.
When one of registered tastes is selected, the name of the selected taste is displayed. But the name of a partial taste is not displayed.
Otherwise, "Default" or "Manual" is sometimes displayed.
You can add / register a development parameter applied to a currently selected scene as a taste.220.127.116.11. Customizing Taste
There are two ways to add / register a taste. Select [Taste category] from [Parameter (P)] [Register taste] on the menu, or click on the icon located on the right side of the dropdown list.
The "Taste registration" dialog will be displayed.
The "Taste registration" dialog format is the same as the "Edit taste" dialog. Please see the next section, "18.104.22.168. Editing tastes" concerning operation methods for this dialog.
"Tastes" added through the "Taste registration" dialog will be displayed in dialogs as selected, so set an appropriate name for the taste and click on the [OK] button to confirm.
Items set in the "Taste registration" dialog
By default, names are set sequentially, such as "User taste 1."
Change to an appropriate name to make it easy to distinguish from other tastes.
If "Taste category" is added as a taste other than "All categories," it is not necessary to edit because "Applicable development parameter category" is fixed to one category.
If the "Taste category" is "All categories," you can enable any category in "Applicable development parameter category."
Enabled categories are set as taste masks.
You can edit registered tastes.22.214.171.124. Applying Tastes to Multiple Scenes
You can customize by changing taste names and the order they are displayed to make it easier to select tastes.
You can also save / restore tastes and move then to other PCs through export and import functions
"Taste registration" is performed from [Parameter (P)] [Taste registration] on the menu.
A mark at the left of a taste title:
The taste represents all development parameters if you select taste category "All parameters".There are two kinds of tastes, maker tastes created in advance by our company, and user tastes that you create.
The taste only part of the parameters if you select taste category "All parameters".
These are displayed with a red background. They cannot be deleted, exported or moved.User taste
These are displayed with a green background.
When you add a new taste, the "Customize taste" dialog is also displayed and you can customize a name of a new taste and other settings as well as the taste customizing.
You can apply a taste to multiple scenes at the same time. In the "thumbnail mode" or "combination mode", when you select multiple scenes at the same time, the icon on the right side of the dropdown list changes to.
When you click this icon, the taste list opens. Select one taste to apply and click "OK", then the selected taste will be applied to all selected scenes.
You can perform taste registration and editing, save development parameters, read, initialize and temporarily register in the "Taste parameter" sub-control.
The "Cloakroom" is a function that temporarily records development parameters.
There are four rooms (ROOM 1~4) in which you can record development parameters. There is also a special room named "Latest."
You can record optional development parameters in the first four rooms. Development parameters for the currently selected scene are recorded in a room by clicking the o button on the left side.
When development parameters are recorded in a room, the time they were recorded is displayed.
Rooms with recorded development parameters are turned into buttons, and when you click this button, the development parameters recorded in the room are pasted onto the currently selected scene.
In this way, you can copy development parameters from other scenes and past development parameters from the same scene.
Rooms with recorded development parameters that match the development parameters of the currently selected scene are displayed in bold.
The icon on the right side is a button for entering "Continual copy mode." "Continual copy mode" is a mode for pasting development parameters recorded in a room to multiple scenes. Click on a scene in the thumbnail display to paste development parameters.
In order to leave this mode, click on the icon again.
The special room, "Latest," located at the bottom always stores the latest edited development parameters. Use this when you want to paste the latest results from adjusted development parameters to other scenes.
There are several convenient ways to use the "Cloakroom." Please see "6.4. Using cloakroom functions" for details.
Sub-control is prepared for each parameter category, and they are classified as the following types;
[List of sub-controls]
4.3. Exposure Bias
You can adjust "Exposure bias" which determines a development gain at development process. This process is equivalent to the push-process or pull-process in film development.
This function allows you to get almost the same result as using the exposure compensation function of a camera.
You can adjust a value with the "Exposure bias" slider or select the value from the "Exposure bias" dropdown list.
You can take a photograph on the premise that you can adjust exposure bias at development process later. Please refer to '10.1.2 Utilizing Difference between Exposure Biases of Camera and SILKYPIX® Developer Studio 4.0' for more details.
4.3.1. Auto Exposure Bias
You can use "auto exposure bias" function by selecting "Auto(SILKYPIX evaluation)" from the "Exposure bias" dropdown list.4.3.2. Fine-Tuning Exposure Bias
The algorithm of the "auto exposure bias" function in SILKYPIX® detects an object, and analyzes the included colors precisely.
This is a quick way to getting the perfect exposure for your images, even if you underexpose your pictures a little. Slight underexposure is typical for RAW photography, as it prevents the highlight areas from loosing structure.
This feature helps reduce time when adjusting development parameters.
You can make fine-tuning of exposure bias with the "Exp. bias fine tune" slider in the "Exposure" sub-control.4.3.3. Exposure Bias Tool
We recommend you to make rough adjustment with the "Exposure bias" dropdown list or "Exp. bias" slider, then to adjust exposure finely with "Exp. bias fine tune" slider.
Since this parameter is independent of the "exposure bias" parameter, you can make exposure compensation for the "auto exposure" when you select "Auto(SILKYPIX evaluation)" as the "exposure bias" parameter.
For example, when you select "Auto(SILKYPIX evaluation)" as the "exposure bias" parameter and set this parameter +0.5EV, you can get +0.5EV brighter result than auto exposure.
This is the same as using "exposure compensation" as the setting of "auto exposure" on your camera.
Exposure bias tool allows you to adjust the brightness of a specified point to a certain exposure level.
Click the "exposure bias tool" button on the "Exposure" sub-control or on the toolbar, then the operation mode is changed to the "exposure bias tool" mode.
When you click a point or drag a rectangular selection on the preview image using the "exposure bias tool", this feature sets an "exposure bias" in a way that brightness of the point or rectangular area selected becomes the "defined level".
The "defined level" is specified as the photosensitive level on the RAW data. You can change it in the "Function setting" dialog. Please refer to '126.96.36.199 Setting up Exposure Bias Tool' for more details.
This function works effectively even when a specified point is not a chromatic color. In that case, the largest value of R, G, or B is selected as a target value and the exposure is set to the "defined level". For example, when you click the red area, this feature sets an "exposure bias" such that the R value becomes the "defined level".
* About eyedropper operation, please refer to '188.8.131.52 Enable Continuous Operation of Eyedropper Tool'.
4.4. White Balance
White balance is the function to adjust white color.
Human eyes adjust to ambient light color. We perceive the white color of an object as the same under sunlight, tungsten lamps, and fluorescent lamps. However, digial cameras, "white" under sunlight can be recorded as white, while white under tungsten lamps are recorded as a reddish white, similarly fluorescent lamps are recorded as greenish or bluish white. What provides compensation for these color shifts is "white balance".
White balance adjustments vastly change colors in photos. A white object in the photo can be expressed most accurately and naturally with this function. In other words, the basic concept of white balance is the method of expressing white as white, irrelevant of color tint.
However, it is not always true for all types of scenes.
For example, if a white object in evening glow is expressed as a clean white, you will not be able to perceive this as sunset scene. If you want to produce a melancholy mood on your picture in a cloudy sky, it may be appropriate to add a blueish tint.
Although most cameras today can automatically adjust the white balance, it is not always accurate and even if it is correct, the result is not always what you intend. Therefore, it becomes necessary to adjust the white balance according to your artistic expression. However, it is very difficult to select and correct the white balance when taking a picture.
When taking a photograph in RAW, you do not have to consider a white balance setting since it is deemed a parameters only required in the process of developing RAW data into JPEG and TIFF images. White balance settings in digital cameras are required for development processing in the camera and for converting to JPEG / TIFF images. It is not absolutely necessary to save them to RAW data.
The set white balance is reflected in preparing preview displays for displaying in thumbnail images and liquid crystal displays on the back of the camera. Therefore, it is desirable to set a value as appropriate as possible, but you can freely change the white balance while processing developments later.
If you take a picture with RAW data, you can change the white balance to what you want when you are developing the photo for a particular expression of a scene. One of the major advantages of using the RAW data is this function.
4.4.1. Adjusting White Balance with Taste
This is the way to make adjustment by selecting the white balance adjusted for each light source in advance. Select a taste that specifies a light source in the dropdown list of "white balance".4.4.2. Auto White Balance
You can also change settings in detail later, so it is convenient to select the light source first.
The preset items displayed in the dropdown list may be different for each type of camera.
There are "taste" that are prepared in the dropdown list of "white balance", which specify each light source.
If "Auto (SILKYPIX AWB)" is set in white balance, it will analyze the image and automatically adjust to a suitable white balance.4.4.3. Color Temperature and Color Deflection
Don't worry. You can use the "auto white balance" function, which expresses a light source color in white automatically.
The method and logic of "auto white balance" of SILKYPIX® is fundamentally different from "auto white balance" in cameras. And it allows very accurate detection of the white balance of high color saturation or an object having no white area, which typical "auto white balance" function cannot handle well.
There is no correct white balance. Only "you," the one taking the picture, can make this determination based on what you want the photograph to express.
However, if many photographs are being developed, setting an appropriate white balance for each photograph would be a lot of work.
You can utilize Auto White Balance as a step for efficiently determining the white balance in many photographs.
Expressing white things in white is the basis of white balance. Ultimately, when you adjust white balance for effective production, it would be best to start your work by first adjusting to an appropriate white balance so that white things are shown as white.
If you use Auto White Balance, most photographs will be automatically adjusted to an appropriate white balance, so if you are making adjustments to many photographs, first try using Auto White Balance to improve the efficiency of your work.
This is the way to adjust the white balance by specifying the color temperature.4.4.4. Gray Balance Tool
There is a "color temperature" adjustment slider on the "White balance" sub-control.
Move this slider to find the point where colors of the object are well balanced.
When the color of the object is reddish or yellowish, move the slider to decrease the color temperature.
When the color of the object is bluish, move the slider to increase the color temperature.
The "Color deflection" slider is used to remove color casts. Before using it, adjust the color temperature first.
When the color of the object appears greenish, move the slider to the + side.
When the color of the object appears magenta, move the slider to the - side.
This is a tool for adjusting white balance, targeting the gray subjects that appear in the photograph.4.4.5. Skin Color Tool
When clicking the "Gray balance tool" on the "White balance" sub-control or toolbar, you can enter the "gray balance tool" mode.
Then, click or drag the area that you want to change gray to specify the range. The white balance will be set to express that area in gray.
When there is a gray object in a photo, you can easily adjust the white balance with this function.
Taking a photograph of a gray chart or white paper in advance may be very helpful.
This is a tool for adjusting the skin of a person appearing in the photograph to an "expected pretty skin color."4.4.6. Dark Adjustment
You can switch operation mode to "Skin color tool" with the "skin color tool" button on the "white balance" sub-control, or menu command [Operation(M)]-[Skin color tool].
In the "skin color tool" mode, you can click or drag a rectangle area at the target skin on the preview, then the target area is automatically adjusted to beautiful skin color and also exposure bias is adjusted.
This tool is used at the same time as adjusting white balance and exposure bias.
There are times when adjusting skin color does not change as expected with one operation. If the result is too red, green, or blue, please click that area again. By a few repeatable operations, you can find out the suitable skin color.
Then you can additionally adjust "White balance adjustment", "Exp. bias fine tune", or "Tone" for fine-tuning.
If you use this tool on the woman's face, please avoid the emphasized make-up area. Basic foundation area, especially dull color area is suitable for picking up,
While "color temperature" and "color deflection" change the white balance of the entire image, the "dark adjustment" amends color casts of the dark portion of the image.
Green or magenta color casts sometimes occurs in the dark portion although the white balance of the bright portion in a scene is well.
In this case, you can amend color casts with this function, and you can continuously remove color fluctuation from the dark portion to the bright portion.
For example, the left picture shows a sample of strong magenta casts in the dark portion.
When using a gray patch of Macbeth chart, you will find that the bright patch is well white balanced, but the color of the dark portion becomes magenta. This affects the color of leaves (becoming yellow) and shadow (becoming red).
This function drastically eases the problem which a white balance of only dark portion is shifted. The right picture shows what happened on the same picture when magenta casts is removed by the dark adjustment function.
The main purpose of the function is to remove color casts in the dark area, however, with this function, you can also change the white balance of the dark area and bright area.
The left picture shows the original of photography. The center shows the picture of which white balance is set as the "Fine" according to the area in the direct sunlight at the back in the photo. As you can see, the color of the ground affected by the sun lighted area becomes almost greenish. When changing the white balance of the ground in order to correct the color, the color of the area in the sunlight becomes magentish in turn. Therefore, with the white balance adjustment alone you can't get the perfect effect for both the ground and the area in the sunlight simultaneously. Actually, the color of the ground should be green because the sunny spot is reflected on the ground, and the center picture shows the actual impression at photographing. However, human eyes adjust colors to match to what they want to see, so the impression of the picture should be adjusted based on this perception. In this case, you should change the white balance of the dark area by positive dark adjustment. The right picture shows how the dark adjustment removes the green casts of the ground without changing much of the color of the bright area in the sunlight. As you see, the overall colour impression has been improved.
4.4.7. White Balance Adjustment
When changing white balance, first decide the white balance of the highlight area using "color temperature" and "color deflection". Then, adjust the dark portion where you want to remove color casts with the "dark adjustment" function. This function works effectively on the dark portion, but also slightly affects the color of the bright portion. Therefore, we recommend you to adjust the "color deflection" again to finish the job.
Why do color casts occur in the dark portion?
This is caused by current leakage of an image sensor. Because of the leakage current, the intense black is not recorded as zero value in RAW data. SILKYPIX® Developer Studio 4.0 is subtracting such leakage current data from RAW data (optical black correction) to develop an image.
However, a higher temperature increases leakage current of an image sensor, and vice versa. In most cases, a camera records black with constant level, regardless of the temperature, but some conditions or photographing environment may affect the level (optical black level). According to the color sensitivity of each image sensor, as the optical black level becomes larger, the color of the dark area becomes magentish, and as the level becomes smaller, the color becomes greenish. The "dark adjustment" function reduces coloring of the dark portion in those cases. It also corrects the white balance of the dark portion when a photograph is taken under severe conditions such as extremely low temperature, high-sensitive photography, and long exposure.
The menu command [View(V)]-[White balance adjustment] displays the "White balance adjustment" sub-control.4.4.8. Summary of Color and Adjustment
Use this function when you want to adjust the white balance at the final stage of your workflow e.g. tinting
You can adjust white balance in detail with this sub-control, which has a "white balance target" graphic control, a "saturation" slider, and a "hue" slider.
This graphic control is based on the accurate colorspace. You can set the white balance visually by clicking a mouse directly.
[Mouse wheel operation]
You can change "saturation" parameter with the mouse wheel on the white balance target.
And with [SHIFT] key, you can change "hue" parameter.
It shows the angle from the right hand side of the white balance target in clockwise. Move the slider to change the angle in detail.
You can specify the setting value indicates:
It shows the radius from the center of the white balance target. Move the slider to change the radius in detail. The range is 0.00 to 1.00 (0.00 is the center of the white balance target, 1.00 is the maximum radius).
We will now introduce you some setting samples to show how to get the colors you want.
4.5. Tone Adjustment
Tone adjustment parameter adjusts the contrast, high or low.
Use the "Tone curve" for making minute adjustments.
4.5.1. Adjusting Tone with Taste
Select a taste from the dropdown list of "Tone".4.5.2. Fine-Tuning Tone
Tones in incremental steps from Low to Strongest are included as maker tastes.
"Average" is the SILKYPIX default setting. "Average" is a higher contrast than that obtained using sRGB and Adobe RGB standard tone curves, and is set to improve the overall appearance of an image.
Setting to "Standard" will give similar contrast levels to sRGB and Adobe RGB standard tone curves.
Tone adjustment can also be made to "Contrast", "Contrast center, and "Gamma."
4.5.3. Tone Curve
Contrast means the difference between bright area and dark area.
When increasing the contrast, the bright area becomes brighter and the dark area becomes darker, i.e. high contrast.
On the contrary, when decreasing the contrast, difference between the bright area and dark area becomes smaller, i.e. low contrast.
This is the reference to judge the brightness when adjusting the contrast. Upper levers from the contrast center are considered bright, and lower levels are considered dark. In other words, this reference decides the point where the brightness level is not changed when adjusting the contrast.
When setting the contrast center smaller, the tone of an image becomes lighter.
This is because the contrast is increased based on the dark area, and causes the dark area to become smaller and the bright area larger.
For example, by strengthening the contrast, "Bright areas" become brighter and "Dark areas" become darker, but "Mid contrast" is the midpoint between "Bright areas" and "Dark areas," and there will be no influence on contrast.
When setting the contrast center larger, the tone of the image becomes darker.
While, setting the contrast center smaller, the tone of the image becomes brighter with the mid contrast level expanding.
Therefore, if a target object is dark, set the contrast center smaller, and if it is bright, set the contrast center larger to obtain an ideal tone.
Mid contrast is displayed with the mark at the bottom of the histogram. The brightness of R, G, B where the mouse cursor is pointed to on the preview display is also displayed here.
When you use this function to adjust while looking at brightness distribution on parts you want to use contrast, you can find the optimal value relatively easily.
Gamma is a brightness adjustment. As the gamma increases, the overall brightness becomes higher, and vice versa.
You may think it is the same as exposure bias operation, however, they are not the same thing.
With the exposure bias, the brightness is adjusted without changing the ratio of bright range and dark range . However, with gamma, the ratio is changed.
When increasing the gamma value, the bright range is compressed, and the dark range is expanded.
When decreasing the gamma value, the dark range is compressed and the bright range is expanded.
Therefore, in this software, this operation is considered as a tone-change-operation and classified as 'Tone Adjustment' since it changes tone.
Black level controls create clarity of the dark areas.
You can specify the level of black with this function. When increasing this parameter, the color black becomes deeper black.
This function works effectively when a picture is taken against the sun and the image becomes unimpressive, or when a landscape image becomes washed out, or when a landscape image becomes obscured or influenced by haze.
By placing a check next to "Display graph in tone curve," you can display the status of adjustments here in a graph in the "Tone curve" sub-control.
By adjusting the "Tone" parameter when displayed as a graph in the tone curve, you can visually confirm the parameter status in the graph.
Displaying the "Tone" graph can also be useful when making further minute adjustments on the "Tone curve."
The "Tone curve" is a tool for making minute adjustments to tone expression and for converting brightness for effect.
The menu command [View(V)]-[Tone curve(T)] displays the "Tone curve" sub-control. You can also display it using the sub-control icon "Tone curve" button.
You can set the curve (= Tone curve) that converts brightness on this sub-control. The horizontal axis means input (brightness of source picture) and the vertical axis means output (brightness results of a picture after adjustment). You can control lightness in a picture by operating this curve.
* By dragging window's frame of the "Tone curve" sub-control, you can adjust a size of the dialog. In addition, by dragging it while pressing the Shift key, you can adjust the size while fixing the aspect ratio of it.
184.108.40.206. Selecting a Taste
Several tastes that have good effects are included as Maker Tastes in tastes.220.127.116.11. Editing Points
There are also special items such as "Initialization" and "Initialize All" within the tastes of the tone curve.
"Initialization" initializes only the tone curve of the selected channel (all RGB, R, G or B), while "Initialize All" initializes all four tone curves.
The curve is drawn as passing through a point, and you can operate the curve by moving the point.18.104.22.168. Control explanation
Selected point information is displayed on the "Input / Output" control. You can move the point by editing the value in this control or by dragging the point on the tone curve.
Click the mouse on a graph to place a point at the position.
You can also click to switch to a mode that will add a point to the tone curve and add a point from the preview display.
Select a point for operations. The selected point is displayed with .
You can switch selections by clicking the point with the mouse.
Move the point by dragging the selected point on the graph or by changing the coordinate value of the point displayed in the "Input / Output" control.
Move and right-click the mouse on the target point to delete.
In addition, you can delete the current point by pressing the
The process is reflected in order of tone curve settings for each R, G, and B first and then tone curve setting for RGB.
[How to use "Add point" function]
Click "Add point" button to add the target tone point on the tone curve.
4.6. Color Adjustment
You can select and adjust saturation and color mode.
4.6.1. Adjusting Saturation with Taste
Select a taste from the dropdown list of "Color".4.6.2. Fine-Tuning Saturation
Select "Monochrome" or "Monochrome 2" to create a monochrome picture.
Monochrome 2 can create a natural-looking monochrome picture that has more similar sensitivity characteristics to human eyes than Monochrome.
Select the appropriate mode for your picture according to the scene.
Use the final color image at the last sequence to create a monochrome picture.
You will be able to create various monochrome pictures by changing the white balance and color mode.
The taste includes a range of saturation that is considered to be appropriate to normal use. However, if you want more or less saturation, or adjust saturation more precisely, you can set it manually.4.6.3. Selecting Color Mode
The color mode sets a prescibed method of color reproduction. Select a mode in the "color mode" dropdown list in the "Color" sub-control.
There are "Standard color", "Memory color", "Portrait color", and "Film color" in the color mode.
22.214.171.124. Standard Color
This is the standard color creation of SILKYPIX®, which aims for true color reproduction.126.96.36.199. Memory Color
This mode provides reasonably natural colors for many scenes.
True colors in photo are not always "beautiful colors."188.8.131.52. Portrait Color
It is common knowledge that colors in our memory, or colors of an object that we perceive are different from actual colors. Although they differ in individuals, we can see a trend and directional characteristc.
We consider the picture "beautiful" when colors in our memory or colors we perceive are printed in the photo.
This mode creates colors of perception.
Although the directional character is different for each color, in short, saturation tends to be higher than the "Standard color" mode.
This mode provides "beautiful colors" for many scenes, but colors of some objects with high saturation such as flowers become too vivid and over saturated.
In such case, adjust with '4.10 Fine Color Controller', set lower saturation level or lower development gain to correct the conflicting color.
Memory color 1 performs the same color reproduction as "memory color 1" in the previous version of the software. Memory color 2 provides a humanistic touch of memory color with a new color reproduction technology called "3-dimentional color mapping method."
Select the mode, as you like.
This mode is not effective in a portrait photography.
The color of human skin is a type of orange and this mode will over saturated such colors.
If you want more beautiful skin color, select "Portrait color" in the color mode.
With pictures of people, you can create "pleasing skin tones" by creating more natutal skin colors at the expense of accurate and neutral color reproduction.184.108.40.206. Film Color
Portrait color mode is a color reproduction which emphasises skin tones and is better suited to photographing people.
Skin color is easily effected by different lighting soures. More specifically, luminosity, saturation and hue of skin are all effected under different the light source.
In this mode, overall saturation is reduced with luminousity being given to skin tones. Colors which are distant from skin tones are slightly effected because of the necessity to achieve greater skin tone balance.
In "Standard color" mode, when you require "pleasing and expected colors" by adjusting the white balance, the color balance in parts other than skin may easily be effected or break up. However, in this mode, colors close to skin tones are reproduced as accuarelyy much as possible and are adjusted to obtain a normal white balance. Therefore, when used on portraits, both a natural background and pleasing skin tones are easy to achieve.
Female skin tones were mainly use as a reference in the development of this mode.
This emphasis in "expected" colors are especially strong in women, while men portraits seem to render better with tanned healthy colors (tinted slightly with yellow).
Therefore, the portrait mode may not be appropriate for male portraits if one wishes to use this for natural skin tones or brownish skin tones.
When this mode is not appropriate for your picture, use the "Standard color."
Portrait color 1 reproduces colors similar to "Portrait colors" in earlier versions of this software.
Portrait color 2 is a mode that provides skin color with a new color reproduction technology "3-dimentional color mapping method", which is different from Portrait color 1.
Portrait color 3 provides colors of clothes and background slightly shifted to "memory color" based on "Portrait color 2."
This mode provides color reproduction similar to reversal film.
In film, the light source or exposure impacts on colors, this is different in digital cameras. If you want a neutral color when using film, the color of the light source is critical and the exposure range is limited.
Since we did not wish for this digital cameras to be limited in this way, we have adjusted each parameter to realize all adjustment functions including the white balance or exposure bias and film tone colors simultaneously.
Therefore, you can get the film-like color easily when you select this "Film color" in the "Color mode."
However, the tone of the gray axis is not effected when changing this mode. Adjust the tone, too, if required.
Since the film tone mode (for example, vivid film tone V) makes saturation high, colors in that mode are effected according to the white balance adjustment.
In the "White balance" sub-control, adjust the white balance to create your favorite colors if needed.
4.10 Fine Color Controller' allows more precise color adjustment.
4.7. Sharpness/Noise Reduction
Sharpness and "Noise reduction" both have an own sub-control, but they belong to the common category of the development parameter.
Therefore they have a common taste dropdown list. Please remember that any taste generated from this function contains both sharpness and noise reduction parameters.
If you make sharpness stronger, then noise is also emphasized. Therefore you should try and balance the adjustment of sharpness and noise reduction at the same time, in order to achive better results.
4.7.1. Adjusting Sharpness with Taste
Select a taste from the dropdown list of "Sharpness/Noise reduction".4.7.2. Sharpness Adjustment
The sharpness adjustment of the software controls the outline phenomenon or noise occurrence mentioned above.4.7.3. Noise Reduction Adjustment
The preset value provides you with well balanced parameters , but you can also set them manually to make more precise adjustments.
Set to an appropriate strength while referring to printed results.
When switching to "Sharpness" sub-control, three sliders appear. The details are explained below.
Please refer to '10.1.8 Creating Extremely Clear Image' to make complete adjustment for sharpness setting.
Use it to fix the overall level of the sharpness.
Use it to fix the emphasis level of fine edge (detail).
When increasing this parameter, you can improve resolution of the detail without emphasizing outline.
However, this function emphasizes noise at the same time, remember to balance with noise level.
* Detail emphasis level changes according to both of (1) outline emphasis parameters and this parameter. When decreasing (1) outline emphasis, detail emphasis also becomes smaller at the same time. At first, make rough adjustments by (1) outline emphasis parameter and then adjust accordingly with this parameter.
Use this to adjust the level to control false black or opposite coloring which appearing around the outline when the sharpness is increased.
However, when this parameter is increased, color separation doesn't work well (The color in the color boundary between different colors is lost and the area becomes white).
Keep this parameter and the color separation in balance.
There are two types of sharpness algorithm, "normal sharp" and "pure detail".
Normal sharp is ordinary algorism.
Pure detail is an ISL original algorithm for obtaing higher resolution looking images. It gives a stronger effect than with "normal sharp".
Noise means the rough texture that occurs in high sensitive photography. We call it high frequency noise in the software.
At the high sensitive photography, red, green, or blue spots appear, too. We call them color noise in this software.
The function to remove such noise is the noise reduction.
In this software, the noise reduction function has independent parameters for every category.
The following sections are summaries of the function of noise reduction.
220.127.116.11. False Color Control
The false color control function changes the process level of false color reduction.
The software enables one to reduce both false colors occur in the fine structure area (high frequency area) and color noise.
When too much color noise at high sensitive photography or false colors in the fine structure area occurs, increase the reduction level.
However, there are some limitations in this function.
As the reduction level becomes stronger, the color separation level goes down, which makes colors in the color boundary blur. Also, there is a problem of "color spill," which is the phenomenon that occurs when the vivid color leaks around the picture.
Therefore, too strong reduction level may decrease the picture quality.
18.104.22.168. Noise Reduction
Use the "Noise reduction" slider in the "Noise reduction" sub-control to reduce the high frequency noise. This function reduces the noise, with using RAW data.22.214.171.124. Noise Canceller
Also, you can remove noise that often occurs when the sharpness is increased. Use the "Noise level" and the "Noise cancel" in the "Noise reduction" sub-control.
Refer to '10.1.8 Creating Extremely Clear Image' for the operation.
126.96.36.199.1. Noise Level
Fix the level of outline for outline emphasis with this parameter. The sharpness adjustment of this software only works toward the outlines above the setting of the noise level, and not effective for the outline or noise under that level.
Therefore, increasing this parameter may remove the noise, which is too noticeable.
However, as it becomes higher, the resolution especially in areas of detail becomes lower.
If you want to increase the resolution of details, lower the noise level.
188.8.131.52.2. Noise Cancel
Specify the level to cancel the noise which is under the noise level set with the noise level function.
* If too much rough texture is seen in a photo, we recommend you to make the level higher to modify.
4.8.1. Demosaic Sharp Adjustment
The "Demosaic sharp" in the "Development" sub-control fixes the development quality.4.8.2. Resolution Plus
Normally, set this value around "80."
Set it lower for a picture with full of noise. Please refer to '10.1.4 Relation between Demosaic Sharp and Picture Quality' for more information.
You can change it temporary in order to speed up preview display. Please refer to '10.1.1 Speeding-up of Refreshing Preview' for your reference.
Resolution Plus is a parameter than can be used only if RAF files taken in WIDE mode on FUJIFILM FinePix S3/S5 Pro are developed.4.8.3. Colorspace
As for the Super CCD honeycomb SRII sensor installed in FinePix S3/S5 Pro, low sensitivity pixels (R pixels) are located between high sensitivity pixels (S pixels).
At our company, we believed that we could raise the limited resolution by using information in low sensitivity pixels. This software has a development engine that makes constructive use of low sensitivity pixel information in resolution.
However, compared to high sensitivity pixels, low sensitivity pixels have only about 1/16 the sensitivity and there is a lot of noise, so when used in resolution, noise may increase and artefacts may be noticeable around the outlines.
This function, Resolution Plus, controls the extent of use of low sensitivity pixels in resolution.
When set to 0, low sensitivity pixel information is not used in resolution (even in this case, it is used as always in gradation reproduction and in high dynamic range processing).
When set to 100, the maximum is used in resolution.
This parameter is influenced by the Demosaic sharp settings. Adjust Demosaic sharp settings at the same time and balance jags in resolution and the outlines.
184.108.40.206. Input Colorspace4.8.4. JPEG/TIFF Processing Mode
You can specifically set the input colorspace for a JPEG/TIFF image by this control.220.127.116.11. Output Colorspace
SILKYPIX automatically determines the input colorspace of a JPEG/TIFF image according to the standard of EXIF2.21.
When the JPEG/TIFF image does not include the colorspace information or when the colorspace is recorded by other way that is not based on the standard of EXIF2.21, SILKYPIX treats the image as sRGB colorspace. Furthermore, if an ICC profile is attached, it will utilize the ICC profile's color space. (*1)
If an input color space cannot be detected and an input color space is not designated, it will be processed in sRGB.
When SILKYPIX® cannot determine the correct colorspace, it may not be possible achieve correct color reproduction. In this case, please set specifically the input colorspace by this control.
Select colorspace in "Colorspace" dropdown list in "Color" sub-control to decide the tone expression at development, working colorspace adjusted by the tone curve, and colorspace for image file created after development.
You can select "sRGB" or "Adobe RGB."
sRGB is the standard colorspace for Windows. Since Windows handles sRGB colorspace by default, use the software with the sRGB setting generally.
Adobe RGB is effective in processing images which are intended for additional photo retouching software, or for printing purposes.
It has wider color reproduction range than sRGB, but cannot be utilised unless you have proper image processing environment to handle AdobeRGB color profiles (Note that an improper environment will generate strange colors).
When reading files output by Adobe RGB with other software, set Adobe RGB colorspace for the profile setting (Operation varies depending on each software, so refer to the manual of the software you are using).
This software also enables the embedding of a color profile indicating the colorspace into an output file. A file with an embedded profile allows transferring the colorspace to the software supporting the color profile.
In addition, this software complies with Exif 2.21 Specification and outputs Exif information indicating Adobe RGB colorspace.
Please refer to '9.1 Setting for Developed Image' for embedding profile or Exif information output.
You can switch enable/disable the function to process JPEG/TIFF image.4.8.5. Reserved Development
You will not be able to edit JPEG / TIFF images with SILKYPIX if the check is removed from "Make JPEG / TIFF subject to processing."
In this mode, controls for making adjustments to development parameters are disabled and operations cannot be performed.
Utilize this in the following cases.
If you are someone who always takes photographs in RAW, you can prevent mistakenly making image adjustments to JPEGs recorded at the same time as original images.
If you select a JPEG / TIFF image developed by SILKYPIX in this mode, you can view the development parameters included in the development results.
The development parameters displayed here are those set when developing the image.
You can copy these development parameters in the paste buffer or cloakroom and apply them to other JPEG / TIFF images.
Development parameters will not be displayed if the JPEG / TIFF images were saved under a setting that does not embed the development parameters or if the JPEG / TIFF image was recorded and saved by something other than SILKYPIX.
Set reserved development for selected scene. When setting reserved development, you can develop a batch of multiple scenes from [Develop (D)] [Batch Development (V) of Reserved Development Scene] in the menu.
4.9. Highlight Controller
Highlight controller function controls color creation in highlight area.
The menu command [View(V)]-[Highlight controller] displays the "Highlight controller" sub-control.
This function controls a color clip in the highlight area, where one of color components (R, G, or B) is saturated. There are several types of controls. The "Chroma/Luminance" and the "Saturation/Hue" controls impact on the area where at least one of color components is saturated. The "Restoration" control restores the lightness of the area that were clipped at capture. Combined with under exposure bias adjustment, you can restore gradation to areas that have clipped. You can restore gradation to areas that have been whiteout.
4.9.1. Emphasis on Chroma/Luminance
Chroma/Luminance controls the priority of chroma or luminance to create colors in the highlight area.4.9.2. Emphasis on Saturation/Hue
The following pictures were developed based on the RAW data with highlight area (flowers). They were developed with chroma, luminance, or intermediate between Saturation/Tone.
Chroma emphasizes the colors of the flowers, and "Luminance" controls the highlight area effectively to emphasise the glare of the reflected light.
Here is another sample.
Highlight controller works effectively with the lighter area such as the sunset scene.
The following pictures, which are sunset scenes, were developed with each priority, chroma, luminance, and intermediate between them.
After giving priority to chroma with the "Chroma/Luminance" slider, you can also control the priority of saturation or hue to finish development process.4.9.3. Luminance Restoration
As shown below, since R value (red) of the orange flower in orange was saturated, the hue of the highlight area became yellowish.
In such case, emphasize the hue with the "Saturation/Hue" slider to prevent reversal of the hue.
This process is also effective for the highlight area of skin, which sometimes becomes yellow.
In some cases, it is more helpful to give priority to saturation.
In the following picture (a bee and a flower), you can see the color of pink and yellow are nicely reproduced by putting priority on saturation.
This function restores original colors, which were lost by over-exposure photography.
In RAW data, the color information may be recorded correctly even though it is lost on the photo.
In such case, make the exposure bias under at the capture stage and you can restore the tones recorded in RAW data.
However, the area where the sensor is saturated cannot be restored with this way. Restoration enables to restore the lost lightness information based on information provided with a sensor with lower sensitivity.
The left is a picture of RAW data, which was taken with exposure set to the trees and ground and developed without exposure bias. The center picture was developed with -2EV exposure bias. The tones of the sky and clouds were restored and you can check lens flare. The right picture was restored by restoration.
As you see, the sky and clouds become clearer with this operation.
In addition, the following example is created with the image combine of the upper left picture and the sky and clouds in the right picture.
This shows the best result with the restored sky and clouds, and appropriate exposure on the trees and ground. This sample takes full advantage of development based on RAW data.
When you create two types of developed pictures with different exposure bias and restoration parameters, and combine them with a photo-retouching software, you can operate with wide dynamic range and create a better photo. This is the excellent advantage of RAW data.
4.9.4. Dynamic Range
This function allows you to compress the highlight gradation.18.104.22.168. Method for Effectively Utilizing Dynamic Range
If you set it larger value, you can make smooth gradation of highlight area or make detail expression of highlight area. Areas under moderate brightness will not be influenced.
This compresses and stores RAW data of a wider range in highlighted sections, so the effects are such that gradation of highlighted sections is smoothed and details in highlighted areas are emphasized. On the other hand, highlighted sections become more moderate.
Please remember that you cannot use this function for overexposed scenes.
If you adjust the "Dynamic range" alone, basically, it will be necessary to leave extra information in highlighted sections. Decide how much extra information to leave and how effectively it will function. If there is absolutely no room in the highlighted sections there will be no effects even if "Dynamic range" is adjusted.
If the highlighted section has more than 1.0EV space available and "Dynamic range" is set to 1.0EV, highlighted sections are compressed so that values of 1.0EV brightness are expressed as pure white more so than values expressed as pure white to that point.
In order to effectively utilize dynamic range, you must not lose highlighted parts during photography.
It is also desirable to have as much headroom as possible in the highlighted area when taking a photograph.
The method for taking photographs without losing highlighted portions and with as much headroom as possible depends on the functions of the digital camera that you use.
Generally, photography that does not lose highlighted portions is possible by taking underexposed photographs, but there are cases in which it is hard to lose highlighted portions even when taken with a reasonable exposure using your digital camera. Using a digital camera with a wide dynamic range is advantageous.
However, no matter how wide the dynamic range of the digital camera photographs is, it makes no difference if it loses the highlighted portion. Not losing the highlighted portion is the most important condition when taking pictures.
Develop an effective photography method taking into consideration the characteristics of the digital camera you use. How effective you are when taking an underexposed photograph differs depending on the type of camera you use, its mode, the surrounding environment and the purpose for creating the image. You must pay attention, because taking photographs that are too underexposed leads to increased noise.
As an example, the following explains shooting and developing with a digital single-lens reflex camera with RAW data recorded at 12-bit gradation.
This is a technique for giving attention to the expression of the highlighted parts, so generally, there are many times when the subject is bright enough and it is possible to photograph with an ISO film speed of minimum sensitivity. Under these type of photography conditions, take underexposed photos decisively at 1.0EV ~ 2.0EV when clipping is a concern for the subject. Keep the ISO film speed as is and take your photographs with your camera's exposure bias function set to -1.0EV ~ -2.0EV.
If you correct to a camera exposure bias of -1.0EV and take your photograph, the shutter speed doubles and exposure time is halved. If you develop this photograph as is, you will end up with a dark photograph under 1.0EV, so sensitize SILKYPIX's exposure parameter to +1.0EV.
Under these conditions, there are almost no changes if you take your photograph under normal exposure and develop it without sensitization. One disadvantage of sensitization is that it emphasizes noise, but you cannot tell most of the increase in noise if sensitization is around +1.0EV ~ +2.0EV with a digital single-lens reflex camera.
This condition means that brightness information will retain 1.0EV better than information projected on the image as development results. This makes it possible to utilize the space from the highlighted portions and express the highlights.
If photographed at under 1.0EV, the dynamic range parameter functions effectively at 0.0 ~ 1.0EV. If photographed at under 2.0EV, the range of adjustments will increase to 0.0 ~ 2.0EV.
4.10. Fine Color Control
The fine color controller is a powerful color adjusting function that can freely handle colors.
Select [Display (V)] [Fine color controller] from the menu to display the "Fine color controller" sub-control.
It can also be displayed from the fine color controller icon in the sub-control icons at the bottom of parameter controls.
The fine color controller divides colors into 8 hues and provides a function for adjusting colors in each of the hues.
The color circle hue display shown on the control is arranged so that white is in center of the chroma chart, with color positions starting at the 3:00 position on a clock and going clockwise in the following order.
Color placement is arranged on this color circle such that the further from the center of the color circle, the higher the chroma, and they are placed at average color intervals as much as possible to meet human perception.
Hues are the Munsell value of the hue at roughly the center of the hue block, and color names are mainly given following names found in JIS standards (JIS Z 8102).
There are two main ways to adjust parameters on the fine color controller. These are a method of operating a mouse on the color circle and a method of setting parameter values using a slider control.
Please use these together for effective parameter adjustments.
4.10.1. Adjustments using the color circle
As seen in the diagram of the color circle shown above, the color circle is divided into 8 hue blocks, and there are operation points in each of these blocks.4.10.2. [Adjusting with the sliders]
(1) shows a block, and (2) shows an operation point.
A hue for operation is selected by clicking any of the 8 blocks. Borderlines of the blocks of hues for operation are displayed in bold.
Operation points in each block can be moved by dragging the mouse or with the mouse wheel.
With either of these methods, movements along the circumference are interlocked with "Hue," and distance from the center of the color circle is interlocked with "Chroma."
Adjusting the "Brightness" parameter can be done with the mouse wheel, but it will not be shown on the color circle.
Parameters adjusted through mouse operations are reflected on the slider control, so both the color circle display and the slider control display are synchronized.
[Mouse wheel operation]
You can operate the "saturation" slider with the mouse wheel on color circle GUI.
[SHIFT] key + mouse wheel is for the "hue" slider and [CTRL] key + mouse wheel is for the "lightness" slider.
Adjustments to each parameter value on standard controls, compared to the method of adjusting the color circle with the mouse, will be explained here.4.10.3. Methods and Notes on Utilizing Fine Color Controller
The Fine Color Controller is a color transformation tool that displays emphasized colors or, conversely, moderates them, and changes colors.
It is advantageous to perform adjustments on the image as the last process because color engineering is a type of image processing that destroys the balance of colors.
We hope that you will experiment and use freely, but one matter that requires attention is that it is advantageous to adjust white balance, exposure and color mode before adjusting the fine color controller.
White balance and exposure are basic adjustments and giving priority to these adjustments does not mean that you are limiting fine color controller, but if you perform fine color controller adjustments first, you may not be able to adjust the white balance and exposure as you would like.
The color mode is an item you should try adjusting before using the fine color controller if you want to emphasize the subject.
It would not be an exaggeration to say that the color mode is a kind of fine color controller taste. First choose a color mode that seems to be desirable before independently adjusting the fine color control.
[Example of adjustment] One example would be a photograph of a person as the main subject taken close up against a background of a blue sky and red flowers.
4.11. Lens Aberration Controller
Lens aberration correction is a function to correct lens aberration at development in order to create high quality image.
The menu command [View(V)]-[Lens aberration controller] displays the "lens aberration controller" sub-control. The sub-control can be displayed also with the lens aberration controller buttonunder the left.
Photo lenses have aberration. Today, the resolution of digital camera has improved, therefore, lens aberration may have a damaging effect on the picture quality. There are various kinds of lens aberration such as spherical aberration, coma aberration, astigmatism, curved field, distortion aberration, axial chromatic aberration, chromatic aberration of magnification, and shading reduction that is a decrease of light volume occurring in the periphery. To adjust these aberration three corrections are available:
shading, distortion, and chromatic aberration.
4.11.1. Shading (Peripheral Brightness Reduction) Correction
Shading correction is a function to correct light falloff at edges, which is a characteristic of a lens, making an area around the object darker. Use two parameters to correct shading.4.11.2. Distortion Correction
22.214.171.124. Angle of View
Input the diagonal angle of view of the lens at photographing. Calculate and correct shading on lens design theory from this angle.126.96.36.199. Correction Ratio for Amount of Light
On a lens, light volume is decreasing toward the periphery area. The angle of view is larger in a wide-angle lens and smaller in a telescopic lens.
Based on conversion to 35mm film format (full size digital single-lens reflex camera), the angle of view of a 50mm standard lens is approximately 46 degrees, that of a 135mm telescopic lens is approximately 18 degrees, and that of a 35mm wide-angle lens is approximately 63 degrees. When you input the angle of view,shading correction of a lens is performed through the calculation of logical lens shading.
However, it does not always match to the actual shading of the photograph. (Please refer to '188.8.131.52 Detail of Shading Reduction') Please move the slider and find the best point using the value mentioned above.
Input the ratio that you apply for the correction.184.108.40.206. Detail of Shading Reduction
When you set the amount 0%, no correction is performed, and the amount 100%, the logical value calculated based on the angle is used. You can set the parameter up to 120%.
You can use this function to adjust the level of correction for the following cases. The case you want to remain the shading effect without complete correction since the shading is one of the tastes that are unique to a lens. Or a case that a bright object is on the periphery of a photo and when you make corrections it becomes too bright and lost.
You can also increase the shading level by setting minus value. Use the value to emphasize the center area on purpose by darkening the periphery, or to make the background quiet.
Reducing shading happens through several complex factors.
Although image formation is distorted in a wide angle lens, the lens periphery tends to be lighter as the object is much distorted.
For example, fish-eye lens prevents the shading effect by distorting the object in the lens periphery.
On the contrary, with a wide-angle lens, generally, corrections to distortions are performed so that a straight line appears as a straight line, but the perimeter of the image becomes dark because this method corrects by enlarging the perimeter.
Also, in a certain type of lens, a lens aperture seen from an oblique direction becomes smaller (vignetting), and such lens causes larger shading effect in the periphery area than the logical features.
An aperture value also impacts on the shading level. When it is the minimum value, large shading is caused, and when it is a larger value, shading becomes smaller.
Moreover, with a digital camera, oblique incidence to the image sensor causes shading.
Therefore, use the angle of view for reference only. Find the best-balanced point by yourself.
It is helpful to understand that correction amount becomes smaller and correction between the center and periphery becomes linear when making the angle parameter smaller, and correction amount becomes larger especially in the periphery when making the angle parameter bigger.
When you find that most of the area is corrected well, except the periphery area, make the parameter bigger to increase the light level in the periphery. When the relationship between the most of the area and the periphery is less, make the parameter smaller.
Distortion correction is a function to correct distortion aberration, making a straight line less distorted. Before using this function, check the "Distortion" checkbox.4.11.3. Transverse Chromatic Aberration Correction
220.127.116.11. Distortion Rate
See the right picture. When the image is distorted like a barrel, move the slider to the left to set minus value. Adjust the parameter with the slider to the point that the distorted line becomes straight. If the image is distorted like a pincushion, shown in the left picture, move the slider to the right to find the best point. If the slider stays at the center 0, no correction is performed. After the correction, you can compare the original image with the corrected image by checking and non-checking the "Distortion" checkbox.
18.104.22.168. Center/Edge Control
Determine which one should take priority when adjusting distortion, center or edge.Automatic trimming of protruding areas and enlargements so that the original image size will be the same are performed through distortion correction. Protruding pixels can be taken out through distortion correction by using the "Expansion" function in the trimming function.
If the image around the center is distorted greatly even though the straight line at the corner is corrected well, move the slider to select the center priority. If the distorted level around the center is too weak, move the slider to an opposite side.
Iterative adjustments of this parameter and distortion rate can correct almost all of the distortion charateristics found in photo lenses. If you use this parameter properly, it is possible to correct or modify a lens having complicated distortion aberration.
Most camera lens distortion can be driven to a point where it is not noticeable by alternately repeating these parameter adjustments and adjustments to the distortion rate. It is possible to correct or mitigate even from a lens with complicated distortion characteristics, such as the so-called jingasa (complex barrel) type, if these parameters are adjusted effectively.
Please also refer to "4.13.4. Trimming expansion."
Distortion correction functions were developed with the aim to correct lens distortions, but it is possible to use them in various ways, such as alleviating the phenomenon of radial images from wide-angle lens through exaggerated perspective, or on the contrary, strong distortions. Different from the simple transformation functions in photo retouching software, corrections performed here simulate distortion characteristics that occur with a lens in reference to the design of an actual photographic lens.
The next example is of a transformation from strengthening distortion. The image before corrections (left side) shows a bubble and face that has been distorted, but the distortion is transformed to a natural form in appearance by making corrections that strongly twist the distortion (right side).
Enjoy combining various parameters that give you the feeling you have a lens that can freely control distortion. You will surely find new expressions.
Transverse chromatic aberration correction is a function to correct false coloring on the edge around objects in an image. The transverse chromatic aberration is a disadvantage specific to an optical lens.
The transverse chromatic aberration is caused by the difference in lens magnification rates for each colored light (red light, green light, and blue light) incoming to a lens.
The transverse chromatic aberration correction is performed by changing R and B magnification slightly.
First, enlarge the area, where the edge of an object in the image periphery is colored, to more than 400%, and display it (Please refer to '[Reason to enlarge more than 400% and selecting edge for proper correction]').
Then, decrease the false color control in the "Noise reduction" sub-control (for example, 0 - 80).
After that, check the "Chromatic aberration" checkbox to adjust the R rate and the B rate.
When you correct a picture, enlarge the periphery area as shown below to check the correction result and change parameters.
22.214.171.124. R Rate
This adjusts the lens magnification for red light. If the edge is colored by red or cyan (complimentary color of red), change this parameter first.126.96.36.199. B Rate
This adjusts the lens magnification for blue light. If the edge is colored by blue or yellow (complimentary color of blue), change this parameter first.188.8.131.52. Transverse Chromatic Aberration Tool
When these two parameters are appropriate, coloring is decreased most.
First, look the edge condition and change the R rate so that "red <--> cyan" in the both sides of edge is decreased. Then change the B rate to adjust "blue <--> yellow" coloring. Repeat the R rate and B rate adjustments to find the best point.
Do not try to decrease coloring, but try to distribute the edge coloring uniformly. After that, when increasing the "False color ctrl" slider in the "Noise reduction" sub-control, the remaining colors are disappeared. Increase the parameter until you are satisfied, and finish adjustments.
At this time, if colors still remain even after the false color control is maximized, there is a possibility that transverse chromatic aberration is so big that it exceeds the correctable range or that coloring occurs because of aberration other than transverse chromatic aberration. For example, too light background shows a possibility of coma aberration.
At the present time, you can correct transverse chromatic aberration.
This tool allows you to adjust "R rate" and "B rate" by one action.
Click button to switch operation mode to "Transverse chromatic aberration tool", and drag the target rectangle area on the preview image.
Then "chromatic aberration" parameter is automatically calculated.
Please retry a few times with another position until you get the good result.
* Please refer to [Reason to enlarge more than 400% and selecting edge for proper correction].
[Reason to enlarge more than 400% and selecting edge for proper correction]
Enlarging preview with more than 400% stops simplified development and glare at the time of updating preview, so you can view images more easily. In transverse chromatic aberration correction process, it is recommended to set the preview ratio with more than 400% in order to check changes in the image and to adjust parameters. If updating preview according to parameter changes is too slow to display, increase the preview ratio more, or make the window for displaying updated preview smaller.
It is preferable to select the edge you want to change when enlarging a display for adjustments. Please pay attention to the following points.
4.12. Rotation/Digital Shift
The menu command [View(V)]-[Rotation/Digital shift] displays the "Rotation/Digital shift" sub-control. The sub-control can be displayed also with the Rotation/Digital Shift button under the left.
Rotation is a function to rotate an image.4.12.2. Digital Shift
This software allows -45degree to +45degree rotation.
Then, by using the "expansion" in the trimming functions, the image is enlarged and trimmed so as to maintain the same pixels as the original image.
This software allows large rotations of -45degree to +45degree, but larger areas will be lost with larger rotations.
In this case, you can cut off necessary parts by using the trimming "Expansion" function and displaying all pixels lost through rotation.
184.108.40.206. Rotation Tool
Rotation tool can correct a slant horizontal/vertical line to a horizontal or vertical.
You can use this tool on "preview mode" or "combination mode". You can use the "rotation tool" by clicking menu command [Operation(M)]-[Rotation tool] or button on the "Rotation/Digital shift" sub-control.
Then the mouse cursor shows you "rotation tool" mode. In this mode, please trace the horizontal line or vertical line by mouse dragging.
Then the rotation angle is set automatically so as to correct the horizontal line or vertical line horizontally or vertically respectively.
Digital shift has advantages such as shift lenses have.
With this function, you can make perspective control, or correct a distorted building to a straight one.
The "V perspective" slider can change the magnifications for the upper area and lower area of the image. When moving it to the left (smaller value), the magnifications for the upper area becomes larger, and to the right (large value), the magnifications for the lower area becomes larger. The "H perspective" slider can change magnifications for the left area and the right area of the image. When moving it to the left, the magnification for left area becomes and to the right, the magnification for the right area becomes larger.
The modified image shape becomes a trapezoid or distorted rectangle, however, it is automatically trimmed and modified to restore the original shape at the original aspect ratio. Therefore, the number of pixels does not change, avoiding resolution reduction due to deformation.
In this case, the "expansion" of the trimming function is used. Please refer to '4.13.4 Expansion of Trimming.'
Digital shift can be applied to a wide range of photographs, not just pictures of buildings. As seen in the following example, you can reduce the size of a face and make legs look longer in pictures of people. This is an example (after corrections) of an image (before corrections) where legs look longer by making the difference in distance look shorter with a digital shift of +6 (bottom: fall).
The deformation of this process is not a simple conversion from a rectangle to a trapezoid, but the projection conversion from three-dimensional space to two-dimensional space. This is the same type of conversion when taking a picture of real three-dimensional objects with a camera. Then you can get the same effect of using a shift lens.
Using this tool, you have the lens which can shift freely. Try various combinations of parameters to find a new expression.
You will need information on angle of view of a lens in order to get the right effect of digital shift.
The default angle-of-view parameter is set almost properly based on the EXIF information of the input file.
However, when you don't attach a manufacturer-made lens or attach an old lens, the angle of view may not be set properly.
If you find that the image is distorted vertically or horizontally after the digital shift process, adjust the "angle" parameter.
Frequent use of the "angle" parameter gives an impression as if the aspect ratio with digital shift changes.
Enjoy this as a part of the expressions.
Use when making a creation by trimming a part of the image in a photograph.
Trimming area settings can be performed by switching "Operation mode" in the preview display to "Set trimming area."
The "Operation mode" of the "Set trimming area" can be used only if the "Preview window" is displayed from either "Preview display mode" or "Combination display mode."
Switching to "Operation mode" can be performed by selecting [Operation mode (M)] [Set trimming area] from the menu, or by clicking on the icon in the tool bar, or by pushing [CTRL] + [T].
When "Operation mode" changes to "Set trimming area," the "Set trimming area" sub-control will be displayed along with handles for controlling the frame lines that show the trimming area on the preview image.
When a trimming area is set, a trimming mark will be displayed on the thumbnail.
When setting trimming areas, first determine a format for setting the trimming area with "Area setting format."
You can freely set the trimming area into a rectangle, and can perform trimming in accordance with the purpose of the output by fixing the aspect ratio.
There are three way to set the trimming area: Adjusting the handles displayed in the "Preview display" with your mouse; Adjusting parameters in the "Set trimming area" sub-control; and designating with the "Trimming tools."
The trimming area has to be set for each scene, but the "Area setting format" is common to each scene as a software setting.
4.13.1. How to Operate Handle in Trimming Area
Trimming areas can be set by using the mouse to operate handles displayed on the preview image.4.13.2. How to Operate "Setting for trimming" Dialog
4.13.3. Trimming Tool
Click the icon to switch to trimming tools mode.4.13.4. Expansion of Trimming
Trimming tools are tools that set trimming areas by dragging the mouse on the preview image.
Set a rectangle from the start point of the drag to the end point as the trimming area, following the "Area setting format."
The rectangle from the start point of the drag to the end point will be the trimming area when "Free size" is selected as the "Area setting format."
When other settings are selected, the aspect ratio of the trimming area is fixed. The rectangle trimming area is automatically calculated and displayed from the location of the mouse while dragging.
With RAW data, information on an area a little larger than the area for development processing may be recorded as a photograph through default development processing. This area is called the expansion area.
Also, whiteout areas caused by "Distortion" from "Rotation / Digital shift" and "Lens aberration controller" are included in the expansion area.
When "Expansion of trimming" is on, the trimming area, including this expansion area, can be set.
The size of expansion areas varies according to the type of digital camera. Also, black areas from no exposure and invalid images such as electronic noise may be recorded, depending on the type of camera.
Blank areas that occur as a result of edited parameters are processed in gray.
4.14. Image properties
Change properties of currently selected image
Select [Display] [Image Properties] from the menu. You can also display the image properties button sub-control icon at the bottom of parameter controls.
You can edit comments here.
4.14.1. File information
File information for the selected image file is displayed.
Information related to the file format is displayed in "Character Information." Refer to this information when a selected image is not shown in the preview display, because information may be displayed if it is a format not supported by SILKYPIX ® or if the file is corrupted.4.14.2. Data information
"Edit Date and Time" displays the date and time of the latest edit by SILKYPIX. This is the edit date and time development parameter that SILKYPIX automatically records. It is not displayed for scenes that have not had development parameters edited or for initial development parameters.
This is mainly information recorded in Exif information for RAW data and JPEG / TIFF images. Information related to the image and secondary information on the image is displayed here.4.14.3. Image information
"Comments" are items that can be edited.
This is mainly information recorded in Exif information for RAW data and JPEG / TIFF images. Photographic information such as camera settings at the time the photograph was taken is displayed here.
When recording to a developed JPEG / TIFF image, the "Name of Lens Used" is recorded in a standard format to XMP, while other information is recorded as Exif information.
4.15.1. Setting On / Off
Some settings within the development parameters can be set "On / Off." This is found in the "Fine Color Controller," " Lens Distortion Correction" and "Rotation / Digital Shift" sub-controls.4.15.2. Compatible mode
All sub-controls in "Fine Color Controller" and the development parameters divided into three blocks in "Lens Distortion Correction" can be switched on / off.
If parameter blocks are off, they will have equal status no matter what value is used in the development parameters composed of the parameter blocks.
"Compatible Mode" uses development parameters edited in earlier versions such as SILKYPIX Developer Studio 1.0, 2.0, 3.0, SILKYPIX Marine Photography Pro. 3.0 and SILKYPIX Jpeg Photography 3.0, and is a mode that runs so that development results will be equal to SILKYPIX® Developer Studio 4.0.
SILKYPIX® Developer Studio 4.0 shows development results that differ from earlier products, even under the same parameters for "Style" and "Sharpness / Noise Reduction."
Therefore, we have included a "Compatible Mode" so that you can use the properties of development parameters adjusted with earlier products. If in "Compatible Mode," you can obtain results equal to those of earlier products.
"Compatible Mode" can apply to "Style" and "Sharpness / Noise Reduction." Furthermore, "Compatible Mode" is also found in "All Categories" of tastes, including these categories.
The tastes of these categories will be displayed in "Compatible Mode (Manual Designation)" if the development parameters adjusted in earlier products are read by SILKYPIX® Developer Studio 4.0.
Development parameters displayed in "Compatible Mode (Manual Designation)" are recognized as "Development parameters from earlier products" and can be adjusted as "Development parameters from earlier products" as long as you stay in "Compatible Mode."
"Compatible Mode" uses development parameters created in the past with the aim of obtaining development results equal to those output in the past. This can be used when it is necessary to reprint the same photograph.
It is possible to adjust development parameters as "Development parameters from earlier products" in "Compatible Mode," but this usage is not recommended. We recommend that you work after changing to development parameters in SILKYPIX® Developer Studio 4.0 when you want to adjust development parameters.
"Compatible Mode" is found as a development parameter for each scene, but its status cannot be registered in "Taste."
"Compatible Mode" is found as a development parameter for each scene, but its status cannot be registered in "Taste."
SILKYPIX® Developer Studio 4.0's development parameters are automatically converted if development parameters corresponding to "Compatible Mode" are registered and used in "Taste."
4.15.3. Keyboard and Mouse Operation for Macintosh
This manual is described on the assumption that the mouse has 2 or more buttons and keyboard operation is for Windows PC.
Therefore if you use Macintosh PC, please pay attention for the following;