`develop::tone` interpolates the camera curve logarithmically between knots, and a curve whose first knot sits at black (0, 0) made the first segment divide by log₂ 0: every value in it came out NaN, and `retone` (the open-time Shadows/Highlights preview) propagated it into the pixels. From a knot at black the segment is now linear, where log₂ has no value; the other segments are unchanged.
Test: `retone_lifts_shadows_with_a_curve_from_black` (finite output, shadows lifted, highlights kept) fails without the fix.
Split out of #3816 at the reviewer's request.
Co-authored-by: Claude Fable 5.1 <noreply@anthropic.com>
Strict workspace Clippy stopped on collapsible_match in affinity, raw, plugins, engine, ui-egui and xtask. Pure conditions become guarded match arms (each falling through to an existing empty arm), and the ruler drag state and the measurement command result are bound to locals, preserving evaluation order, error messages and fallbacks.
The same lint fixes also appear as a side commit in #5157 (David2766), which can drop it on rebase.
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab
Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation
8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft
saved Lab documents as sRGB TIFFs.
- codecs: a Lab channel layout (Lab, LabA) holding a* and b* as
PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD
importer), with its own Lab <-> sRGB conversion (same formulas as
photocraft-color; codecs stays standalone) for formats without Lab,
which now warn LabConverted.
- TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the
tiff crate as RGB and labelled Lab; a* and b* are converted from the
file's encoding (signed a / 256a, or offset).
- TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab
is written with 16 bits (DepthReduced).
- io: a Lab TIFF opens as a Lab document; a Lab document with one plain
layer is written to TIFF in Lab (other formats still use sRGB).
Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its
own RGB conversion matches within one level at 8 bits and exactly at 16
bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same
L*a*b* values.
Fixes#4936
* DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11)
DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a
baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr
stream for three-sample LinearRaw. The decoder arm from #2021 read the
streams but widened every sample by 257, so the values no longer matched
the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped
everything to white and a 256-entry LinearizationTable was indexed past
its end. It also required the JPEG frame to match the clipped row count,
which rejected the padded edge tiles real tiled files carry.
The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are
the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit
data) and the LinearizationTable apply to them exactly as for every other
compression. A tile may be coded at the full tile size (edge tiles padded,
as the spec says) or at the image's row count; a strip at its row count;
the width must be the segment's. BitsPerSample must be 8 and the JPEG's
component count must equal SamplesPerPixel (1 or 3); anything else is an
error, never a silent conversion. The frame header is checked before any
pixel is decoded and the JPEG decoder's own size cap is the segment the
IFD declares (already charged against the limits), so a hostile SOF cannot
size a buffer past the tile.
testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via
the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for
hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out
when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles
and strips at 37x23 (partial edge tiles, a short last strip), the default
white level, black/white scaling and a LinearizationTable against the
uncompressed path, and hostile inputs: a truncated tile, frame-size and
component-count mismatches, a 65535x65535 SOF under default and tight
limits, a tile over the allocation budget, and 12/16-bit or 4-sample
files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw
file. The parity doc's DNG row is updated; the scorecard row is left for
the coordinating branch.
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195)
- flatten: a path's flattened points are capped at 1 << 20; past it every
curve keeps a proportional share of its pieces (at least one), so hostile
handles from files (vmsk, SVG, effect outlines) cannot exhaust memory.
fill_rasterizer flattens the whole path under one budget.
- stroke: past the dash step budget (or below coordinate precision),
dash_polyline keeps the dashes made so far and draws the rest solid
instead of dropping the stroke. Open polylines are no longer copied.
- raster: coordinates are clamped to +-1e15 and edges with a non-finite
slope (vanishingly short) are skipped, so huge finite coordinates no
longer produce NaN coverage. fill_rasterizer sorts edges once instead of
after every component (stable sort, identical order).
- Cleanups: dead miter `half`, dead loop-length check in trace_mask,
shared mask render body, map_knots helper, shared straight-segment test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198)
- Patterns: one PatternBudget (decoded bytes + zero padding) is shared by
every pattern of a block, a .pat file and the pattern blocks of one
document; .abr patt sections are charged to the samples' budget.
- Patterns: a channel whose depth differs from the first is rejected (the
parsed pattern could not be written back).
- Slices: descriptor numbers no longer wrap; out-of-range ids are no id,
coordinates clamp to i32, and a v6 trailing entry without a usable id
attaches its outsets to no slice.
- LayerInfo::unpadded_len is computed from field sizes instead of
serializing every record into a scratch buffer.
- abr desc presets are moved out instead of cloned; UnFl and shmd counts
use the bounded preallocation; ImageData::decode_channel (decoded every
plane to return one, unused outside its test) is removed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Vector: bound stroke outline points (#5211)
- stroke_polygons dashes all lines first, then counts round caps and
joins. When their full-resolution tessellation would exceed 1 << 20
outline points, every round cap and join gets the same smaller segment
count (down to 4 per circle, 1 per join; area-exact radius kept).
Strokes under the budget are unchanged; no piece is dropped.
- The dash step budget (100000) is now shared by all lines of a stroke
instead of per polyline, so many subpaths cannot multiply the dash
(and cap) count. Past it the rest is drawn solid, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers
Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(history): count snapshot-only tiles against the history budget
History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open
Users on #2788 reported Select Subject dropping clothes that are close in
colour to a plain wall and bridging the gap between an arm and the torso.
Both come from the same place: the saliency pass labels low-contrast parts
of the subject as background, the background colour model then learns
them and explains them away, and the final blind hole fill closes every
enclosed gap up to 5 % of the mask.
Two changes in crates/algo:
- A second GrabCut pass whose background model only knows the backdrop. A
colour model fitted to the image frame (minus a margin around the
salient blob, in case the subject runs out of the picture) marks every
pixel it explains as probable background; the blob and whatever the
backdrop cannot account for start as probable foreground. Only
components that touch the first pass's result survive.
- Hole filling that consults the colour models: specks (<= 0.2 % of the
mask) always fill, larger holes up to 5 % fill only when their pixels
fit the foreground model better than the background's.
Tests: two regressions (a cream-shouldered figure on a near-white wall
keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus
ignored timing and picture-dump helpers. The 6 MP first run goes from
about 100 ms to about 200 ms on one core; the P29 repeat path is untouched.
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Gert Pellin <gert@pellin.be>
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Finn Newick <finnnk@gmail.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Diego Chagas <drochachagas@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The compressed RW2 layouts of earlier Lumix bodies (e.g. the DMC-GX7)
decode at full sensor resolution instead of falling back to the camera's
embedded JPEG preview. The layout was established by observation of
sample files (fixed 16 bytes per 14 pixels, predictor groups with
per-parity predictors, page-permuted downward bit order); the black
level of these files reads 15 counts low.
Adds round-trip tests through a mirrored synthetic encoder, cursor and
predictor-group unit vectors, and updates the support matrix.
Co-authored-by: Gotya-OFFCIAL <339410022+Gotya-OFFCIAL@users.noreply.github.com>
Some DNG writers state a white level the sensor never reaches (an iPhone
15 Pro Max Bayer DNG states 4095 and clips at 3567). Development clips
each channel at 1 after white balance, so red and blue reached 1 while
green stayed at 0.85 and blown highlights turned magenta. On decode, a
per-colour pile-up clearly below the white level is now raised to it, as
in storytold/lightcraft#586.
crates/raw/fuzz had no .gitignore, crates/psd/fuzz didn't ignore
Cargo.lock and crates/format/fuzz didn't ignore coverage/, so running
those fuzz targets left untracked files in the checkout. All five fuzz
crates now ignore target/, corpus/, artifacts/, coverage/ and Cargo.lock,
as codecs and affinity already did.
* Camera Raw: Whites, Blacks, Shadows and Highlights closer to Photoshop's
Measured as a black box on Photoshop 25.4's Camera Raw Filter.
Whites and Blacks are global curves of the grey level: the measured rows
per slider value, Whites first, after Shadows and Highlights. The
clipping directions adapt to the image's black and white points
(Whites up to 2.7 times stronger on a dark image, Blacks at least 1.2).
On ten public-domain photos the mean error against Photoshop drops from
4.2-36.8 to 0.9-8.9 levels of 255.
Shadows and Highlights are a local Laplacian filter (Paris et al. 2011,
fast form of Aubry et al. 2014) on the log luminance, the method Adobe
credits for process version 2012. Shadows raises pixels darker than
their surroundings by an amount set by their own and their
surroundings' tone, so big edges keep no halo, and keeps the 99th
percentile; Highlights pulls pixels brighter than their surroundings
toward them and keeps the 1st. The strengths are fitted to the photos
(mean error 2.8-9.4 levels, was 3.7-14.3); Photoshop's exact operator
was not recovered.
The tone stages decode light with the document's curve: filter.cameraRaw
stores encodingGamma (1.8 for ProPhoto, where raws open).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw Shadows/Highlights: no contour lines on smooth gradients
Twelve reference values over a raw's whole range left more than a stop
between them, and the remapping changes within half a stop: coefficients
interpolated across that gap drew contour lines in out-of-focus areas
(Shadows +100 on a Nikon D4 raw). References are now an eighth of a stop
apart over the image's tones (the deepest 0.1 % share the lowest), on a
copy at most 1600 px across whose change comes back to full size by a
guided upsampling, so a 16-megapixel image takes about 2 s per slider and
the preview matches the result.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw on raw opens: Shadows/Highlights in linear light, D4 look and black point as Photoshop
Measured black-box on 29 Nikon D4 NEFs opened through Camera Raw in Photoshop 25.4 (sliders at
+-100 and +50, exposure +-1) against our own linear development of the same files.
- Shadows and Highlights of the open-time dialog now act while developing, in linear light before
the tone curve, as Camera Raw does for raw files (exposure -1 gives the same gains). The log2
gain is slider/100 * C(B - anchor): B is a guided-filter base of the log2 luminance on a copy
1232 px on its long side, the anchor is image-adaptive (Shadows: log2 power mean p=1.5 of the
linear luminance; Highlights: mean log2 luminance). New module photocraft_raw::tone; the
preview undoes the camera curve to show the same (photocraft_raw::retone).
- The D4 profile copies Camera Raw's default rendering: look matrix folded into the
ForwardMatrix, per-channel curve, and an adaptive black point (0.33 x the 0.1th percentile of
the luminance, Sensor::black_point).
Against Photoshop on the 29 frames (1/4 size, log2 Y): default rendering median difference
0.29 -> 0.04 stop; correlation of the slider's effect Shadows +100 0.96, -100 0.91, Highlights
-100 0.87, +100 0.85 (the previous filter model: 0.68 and 0.55 on DSG_3464).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* docs: the open-time Camera Raw re-develop covers Shadows and Highlights
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw raw-stage Shadows: keep shadow contrast as Photoshop does
The user saw Photoshop's shadows sink deeper with more contrast. Measured on the 29 D4 NEFs:
with Shadows +100 our shadow detail had 0.79 of Photoshop's local contrast and shadows sat 0.38
stop lighter. Two causes:
- The black point now comes before the Shadows / Highlights gain, as in Camera Raw (lifting
first let the lift wash out the black point's deep-shadow contrast).
- The guided upsampling's epsilon goes from 0.01 to 1 stop^2: the change follows strong edges
but stays smooth inside texture (with 0.01 it followed every detail and flattened it). Near
strong edges the effect still matches Photoshop as well as elsewhere.
Shadows +100: shadow detail 0.79 -> 0.91, shadow bias +0.38 -> +0.16 stop; effect correlation
Shadows -100 0.906 -> 0.946, Highlights -100 0.870 -> 0.886, others unchanged.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw on raw opens: Clarity, Texture and Dehaze in linear light, as Photoshop
Measured black-box from Photoshop 25.4 opening 29 Nikon D4 NEFs through Camera Raw (descriptor
keys Cl12, CrTx, Dhze; each at ±100 and +50, and +100 at exposure −1, 348 opens). All three act
before the tone curve: the change at exposure −1 equals the one at 0 (correlation 0.98–0.99).
- Clarity: log2 luminance split into bands between guided-filter bases (radii 2, 8, 32, 128 on
the 1232 px work copy), each band scaled by a measured gain that follows its base's tone, plus
a tone term; carried to full size with the Shadows / Highlights change.
- Texture: Gaussian bands σ 0.5…16 on a half-size copy, each through its measured response
(small detail raised more than strong edges, flat areas unchanged), guided-upsampled.
- Dehaze: He, Sun and Tang's dark channel prior on linear ProPhoto (dark channel in Display P3,
airlight from the brightest 0.1 % of it, guided-smoothed transmission), w 0.8 at +100;
−100 a uniform veil. The black point stays the default rendering's.
Against Photoshop, PhotoCraft's develop vs Photoshop's open on all 29 frames (median effect
correlation, log2 luminance at 1/4 size, Texture at 1/2): Clarity +100 0.81, −100 0.85;
Texture +100 0.85, −100 0.88; Dehaze +100 0.61 (0.78 in gamma 2.2: the crushed shadows
differ), −100 0.96. Shadows / Highlights unchanged (0.964 / 0.886).
The open-time Camera Raw dialog re-develops for them and its preview shows them (retone).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The per-file colour fit (`fit_preview_look`) converted the embedded JPEG to sRGB only when the JPEG
carried an ICC profile, and otherwise read it as sRGB. A Sony body set to Adobe RGB writes no profile
into its previews; it states the colour space only in the raw's EXIF (ColorSpace Uncalibrated with
InteropIndex "R03", the DCF option file for Adobe RGB). The fit then targeted a desaturated,
hue-shifted reference, and the developed raw came out that way.
`photocraft_raw::embedded_preview_color_space` reads that EXIF (sRGB, Adobe RGB or unstated; never for a
DNG, whose previews are the converter's), and `preview_profile` uses it when the preview has no ICC
profile of its own. A preview's own profile still wins. LightCraft reads the same tags for the same
reason (storytold/lightcraft#778).
Measured on 19 private Sony ILCE-1M2 ARWs, all shot in Adobe RGB, against the camera's JPEG read as
Adobe RGB (median CIE76 ΔE at 240 px): full-frame 400 mm shots against blue sky 5.6-7.0 → 1.5-2.4,
their mean a* offset +4.3…+4.9 → +0.7…+1.1; every file improved, mean of the medians 4.9 → 2.2.
Tests: `exif_colour_space_of_the_previews` (sRGB, Adobe RGB; R98, a missing interop IFD, other values,
a DNG and junk are unstated) and `a_preview_without_a_profile_takes_the_raws_exif_colour_space` (fails
without the EXIF fallback; the preview's own ICC profile wins). The hostile-input harness calls the new
function.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A one-sample LinearRaw DNG (VueScan film scans, Leica Monochrom) was
rejected as "LinearRaw data with 1 samples per pixel". The DNG decoder
now accepts it and develop renders it as neutral grey: the one sample
fills all three channels, white balance, colour matrices and camera
looks do not apply, and the output is R = G = B in 16-bit ProPhoto.
io skips the preview colour fit for such files.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* raw: fit non-DNG colour to the camera's embedded JPEG
* raw look: clippy (as_chunks) and rustfmt after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* DNG: lossy compression 34892 (baseline JPEG tiles)
Adobe's lossy DNG (compression 34892) decodes: each tile is a complete
baseline JPEG (8-bit luma at tile size), decoded by zune-jpeg into the
tile geometry (a mismatch is an error), widened 0xFF -> 0xFFFF like
Photoshop's read of 8-bit CFA data. Predictors and the rest of the
pipeline are unchanged.
testgen grows LossyJpegTiles (image-rs encodes the Q60 fixtures behind
the testgen feature), so CI runs a decode oracle: a smooth ramp stays
within a few quantisation steps of the 8-bit source, and a tile cut
mid-stream fails cleanly.
* Lossy DNG: check the tile JPEG header before decoding; zune deps go workspace
decode_headers() runs and the (width, height) == (s.w, rows) check fires
before decode(), so a hostile SOF cannot allocate the decoder's buffers
(up to 16384x16364) before the size mismatch is caught. The mismatch has
a regression test that swaps a 32x32 tile JPEG for a 16x16 one. zune-core
and zune-jpeg move to [workspace.dependencies] next to image and flate2.
* chore(ui): format prefs_ui (the workspace fmt gate is red on main until #2417 lands)
* Lossy DNG: 3-sample LinearRaw (YCbCr) decodes to RGB; tiles size-check
Real lossy DNGs are 3-sample YCbCr LinearRaw, not single-channel CFA:
the tile now decodes through zune-jpeg's YCbCr-to-RGB output when
SamplesPerPixel is 3 (gray stays for CFA), the decoded length is checked
against the tile's sample count, and other sample counts say unsupported.
The generator writes RGB tiles for 3-sample specs. A LinearizationTable
maps the decoded samples in the develop stage as before - nothing to add
in the sensor. Test: a 3-sample ramp with 64-step channel separation
(surviving Q60 chroma quantisation) decodes within the quality band.
* Web: leave the JPEG XL DNG decoder out of the wasm (0.88 MB, 23.1 MiB now)
The 0.6.0 web build went over packaging/web/package.sh's 24 MiB gate (26,980,503 bytes on
782bcb67). Today's landings added 1.34 MB; the biggest single item was jxl-oxide (#2047, JPEG
XL-compressed DNG): ~0.6 MB of jxl_* code plus brotli-decompressor and tables, 0.88 MB after
wasm-opt. 0c72d954 brought the wasm back to 25,144,413 bytes (21 KB under the gate) by deflating
catalogs and fonts; this takes it to 24,262,088 bytes (23.14 MiB, 904 KB of headroom).
jxl-oxide is now a native-only dependency of photocraft-raw. On wasm32 a JPEG XL DNG segment
returns RawError::Unsupported ("can't be opened in the browser version of PhotoCraft; open it
in the desktop app"), like the other cfg-gated web features; every other DNG compression and
raw format still opens in the browser. Native builds are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* xtask i18n-coverage: read the deflated catalog! registry entries
0c72d954 changed the LANGUAGES registry from include_str!("xx.tsv") to catalog!("xx"), so
`cargo xtask i18n-coverage` failed with "language `ja` has no include_str! catalog". Parse the
new form (the macro argument is the catalog's file stem).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* DNG: JPEG XL compression 52546 (DNG 1.7, Samsung Expert RAW)
Decode JPEG XL-compressed DNG strips and tiles with jxl-oxide (pinned
=0.12.6), with geometry and channel checks, Limits/AllocTracker budgets
and catch_unwind around the decoder. Warn when a DNG carries a
ProfileGainTableMap (tag 52525), which is not applied yet.
Tests encode fixtures in-process with zune-jpegxl (dev-dependency only).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* raw README: list Deflate DNG beside JPEG XL after rebasing onto #1971
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Integer DNGs with zlib-compressed strips or tiles (compression 8) now decode, with TIFF predictor 1
and 2 (wrapping at the sample's container). Output is capped at the tile size; floating-point
predictor 3 and lossy DNG keep their unsupported errors. flate2 was already a workspace dependency.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
RAF's header, metadata records and Fuji IFD give size, packing (16-bit, 12-bit LSB-first,
14-bit in 32-bit words), layout, black, WB, crop and exposure bias; X-Trans and other
periodic non-Bayer CFAs go through a new edge-directed demosaic. Compressed and early
SuperCCD RAF stay unsupported (preview fallback). Tests use synthetic files only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Sony cRAW files with no BlackLevel tag take the 512 their tone curve gives the black
code instead of 0 (the ILCE-7 no longer develops washed out; the RX0 corpus oracle moves
to 512 too). cameras.rs gains measured image areas without a full profile: the Nikon
D800E and Sony ILCE-7 crop like the camera's JPEG.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The five RAW readers cast the u32 Orientation to u16 before the 1..=8 check, so a LONG
65538 became 2 and rotated the image. A shared tiff::orientation checks the range on
the u32 first. Fixes#1817.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Seven public-domain files (raw.pixls.us), one per decode path: Canon
PowerShot SX50 HS as CR2 and as its DNG conversion, Nikon D3 uncompressed
NEF, Sony DSC-RX0 cRAW ARW, Panasonic DC-G9 high-res RW2 (10480x7794,
crop 10368x7776), Olympus E-1 with a GRBG CFA, and the Olympus E-5 as
the documented known-unsupported packed-ORF case (still previews).
xtask grows --pixls (single-file downloads, the server redirects
/data/ to /download/), a sha256-verified manifest and a --update-manifest
path; photocraft-raw gains the corpus feature and oracle tests: format,
make/model, sensor size, CFA, black/white levels and the crop are exact,
developing yields the crop in 16-bit RGB, deterministic, with sane
range coverage.
Two real findings already documented by the tests: the PowerShot CR2 and
the RX0 ARW carry no as-shot white balance we read, so the grey-world
estimate brightens those scenes (the same camera's DNG develops blacks
to ~0). Reading the Canon and Sony maker-note WB tags is the follow-up.
* CR2: read ColorData's as-shot white balance as words
CANON_COLOR_DATA is an UNDEFINED entry: uints() hands its bytes back one
by one, but the WB_RGGBLevelsAsShot offsets count 16-bit words. Reading
word i at entry offset i*2 (file byte order, bounds-checked) finds the
quadruple at 0x47 in the corpus PowerShot SX50 HS: [1613, 951, 951, 1605]
-> [1.70, 1.0, 1.69], matching the white balance its own DNG conversion
neutralises (AsShotNeutral -> [1.58, 0.955, 1.666] through the color
matrix). With this the file's balance is used instead of the grey-world
estimate; the regression test pins the words and the missing estimate
warning. (The remaining brightness gap between the CR2 and the DNG of
the same camera is the CR2 path's exposure normalisation, to be looked
at next; the estimate was never what brightened the file.)
* cr2: drop the unused glob import in the corpus test
* CR2 WB: synthetic word-offset oracle, entry bounds, corpus test behind the feature
testgen writes ColorData as Canon does, UNDEFINED bytes that are 16-bit words
with the PowerShot's WB_RGGBLevelsAsShot at word offset 0x47, and the new
color_data_wb_as_words test checks the decoded balance in every CI run (the
corpus oracle stays behind the corpus feature and now panics when its file is
missing instead of silently skipping). word() reads stay inside the entry's
own byte count, and the shared inspect example moves back to the corpus PR.
The DNG default crop was applied only when both DefaultCropOrigin and
DefaultCropSize were present, so a file carrying just the size was
developed at the whole active area. Each tag now takes its own default
from DNG 1.7.1.0: the origin (0, 0), the size the whole image. The
existing bounds check is unchanged, so an origin-only crop that no
longer fits still falls back to the active area with a warning, and a
tag with the wrong number of values is still reported as incomplete.
Fixes#950.
NEF carries no colour description, so D4 frames developed with the camera channels taken as
sRGB primaries and no tone curve (dark, pale), the sensor's optical-black columns showed as a
purple stripe on the right, and clipped highlights turned pink (green saturates first).
crates/raw/src/cameras.rs holds camera profiles measured from the cameras' own output (no
third-party tables), applied to TIFF/EP raws by make, model and sensor size. Sensor gains
tone_curve (like DNG ProfileToneCurve, per channel in linear ProPhoto), folded into the gamma
LUT; other cameras develop exactly as before.
Nikon D4, from 148 uncompressed NEFs of one body (ISO 100–10000):
- image area 4928x3280 at (8, 6): where the camera's own full-size JPEG sits, found by aligning
the two (2 columns of optical black on the left, 50 + 8 on the right);
- black 0 (the data is black-subtracted in camera: the darkest image pixels reach 0);
- white 15520: green saturates at 15546–15672, red and blue at 15687–16383, so one level just
below green makes clipped highlights white without moving the white balance;
- ForwardMatrix (white-balanced camera → XYZ D50) and tone curve fitted to the embedded JPEGs
(Picture Control Standard, Active D-Lighting off; 52 frames, smooth areas). On 15 held-out
frames PhotoCraft's development is 7.0/255 per channel from the camera's JPEG on average,
against 34 before.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
The "is this the undecoded compressed/packed ORF" guard summed the strip
byte counts and compared the sum with width × height × 2. Tiff::tag_uints
returns an empty list when the entry is missing or unreadable, so a file
whose IFD0 entry table is truncated (a partial download, a damaged card)
summed to zero and was reported as "Olympus compressed (or packed) ORF is
not decoded" — a format the user's camera does not produce — while the same
file cut a few bytes earlier or later was correctly reported as malformed.
Missing or unreadable strip byte counts are now RawError::Malformed before
the compression check. Regression test: a synthetic uncompressed ORF cut
right before its StripByteCounts entry is Malformed, and no prefix of the
file reads as the compressed variant.
Co-authored-by: wstock <1394687+wstock@users.noreply.github.com>
Co-authored-by: Claude Fable 5.1 <noreply@anthropic.com>
* raw: decode Nikon compressed NEF (lossless + lossy)
Nikon's default NEF (TIFF compression 34713) opened only as the embedded
8-bit JPEG preview. Decode the Huffman-coded strip: lossless and lossy
type 1 / 2, 12 and 14 bit, with the seeds and curve of maker note 0x0096
in the maker note's byte order. "Lossy after split" files stay
unsupported and keep the preview fallback.
Clean-room: format facts from prose write-ups (Clévy, Claff, ExifTool tag
names, T.81). The fixed Huffman tables are not in the files; they come
from LightCraft's black-box analysis of CC0 raw.pixls.us samples
(storytold/lightcraft#86, verified there on ~45 files from ~35 bodies).
No decoder code is shared: nefc.rs is written against this crate's TIFF
reader.
Also read Nikon BlackLevel (0x003d) in 14-bit units for 12-bit data, as
measured for LightCraft (D750 / D850 / Z 50).
Refs #50.
* raw: Nikon NEF without a BlackLevel tag is black-subtracted in camera
A D3200 NEF's darkest samples are 0-4 (noise around zero): assume 0
without the "black level not recorded" warning when the Nikon maker
note is present but has no 0x003d tag.
* raw: trim Nikon's right-edge padding columns
A D3200 NEF pads every row with 46 columns of 256 (exact in 97.5% of the
rows, lossy-coding noise elsewhere) after its 6034 image columns; they
developed as a pink stripe on the right. Trailing columns (at most 128)
that hold the last column's value in at least 90% of their rows, when
that value is dark, are left out of the active area and crop. A white-
clipped edge is never trimmed.
* raw: decode Sony cRAW, Panasonic RW2 (RawFormat 5) and uncompressed Olympus ORF
- sony.rs: compressed ARW (SonyRawFileType 2): 32-pixel runs as two
16-byte blocks of 11-bit max/min, 4-bit positions and 7-bit deltas,
then the SonyToneCurve (0x7010) to 14 bits. From Dietz (EI 2016) and
the RawDigger write-up; bit order and curve scale by observation.
- rw2.rs: RawFormat 5 12/14-bit packing (10/9 pixels per 16-byte LE
block), stored in 0x4000-byte pages split at 0x1FF8 (observed), with
PanasonicRaw CFA, black, linearity limit, WB and sensor borders.
RawFormat 4 and older stay unsupported (preview fallback).
- orf.rs: uncompressed 16-bit ORF (E-1, E-400): left-justified
samples, EXIF CFAPattern, Olympus ImageProcessing black / WB /
ValidBits / crop; compressed ORF stays unsupported but its maker-note
preview (CameraSettings 0x0101/0x0102) is now found.
- testgen: cRAW, RW2 and ORF encoders/builders; vendor_codecs tests
round-trip each codec; hostile tests fuzz/truncate all three.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* raw: README support matrix for cRAW, RW2, ORF and the clean-room gaps
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* raw: clean-room camera raw decoder and developer (photocraft-raw)
A new standalone crate (no workspace deps, wasm-safe, no unsafe) written
from TIFF 6.0, TIFF/EP, the DNG 1.7 spec, ITU-T T.81 Annex H and published
demosaicing papers:
- Lossless JPEG (LJ92) decoder: predictors 1-7, point transform, restart
intervals, combined Huffman+extra-bits fast table.
- DNG: uncompressed (8-16 bit, packed) and LJ92, strips and tiles, CFA and
LinearRaw, linearization, black level (repeat, deltas), white level,
active area, default crop, ColorMatrix/CameraCalibration/ForwardMatrix
interpolation by CCT, AnalogBalance, AsShotNeutral/WhiteXY,
BaselineExposure, orientation.
- CR2 (LJ92 slices, SensorInfo borders, ColorData as-shot WB, measured
black) and TIFF/EP raws (NEF/ARW/PEF uncompressed or LJ92, incl. Sony
lossless ARW tiles, Nikon/Sony documented black and WB tags).
- Develop: black/white scaling, WB with highlight clipping, bilinear /
Malvar-He-Cutler / AHD demosaic (rayon bands, sequential on wasm),
camera -> XYZ D50 -> ProPhoto, exposure, gamma 1.8, 16-bit, orientation.
- Embedded JPEG preview finder; clear Unsupported errors for CR3, RAF,
ORF, RW2, vendor-compressed NEF/ARW/PEF, lossy/JXL/float DNG, X-Trans.
- Limits checked before every allocation; testgen feature with an LJ92
encoder and DNG/CR2/TIFF-EP writers; round-trip, colour-reference,
truncation and corruption tests.
Registered as a standalone crate in xtask layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* io: open camera raws through photocraft-raw (16-bit ProPhoto), preview fallback
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* raw: DNG GainMap opcode, fuzz targets, stress tools; open raws from the apps
- Apply DNG OpcodeList2 GainMap (lens shading, e.g. phone DNGs); report other opcodes.
- cargo-fuzz targets (develop, ljpeg) and a mutation stress example.
- Raw extensions in the desktop/web open dialogs and the batch folder list.
- file.open returns the import notes (how a raw was developed, preview fallback).
- codecs: the camera raw refusal points at photocraft-raw.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* raw: clippy 1.99 (is_multiple_of, clamp)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Unemars