* PNG: keep a stereo file's sTER pairing on save (#6063)
Read the sTER chunk (PNG Extensions 1.4.0 §3.6) when a PNG opens, store it
on the document's FileEncoding, and write it back when saving, so a stereo
PNG still says it is a stereo pair. Covers the ordinary and the palette
PNG encoders, including interlaced output.
* io tests: pass the new sTER argument to encode_png_indexed
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: highperfocused <highperfocused@pm.me>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* 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
* 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.
* 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: 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>
Lab skips the native single-layer path (the codecs have no Lab layout)
and goes through the sRGB composite, which always warned that the
layers were flattened. With a single plain layer nothing is flattened:
only the sRGB conversion is reported now.
Fixes#4852
Read SMPTE 268M DPX in both byte orders (SDPX, XPDS): the first image
element, descriptor 6 (luma), 50 (RGB) or 51 (RGBA), at 8, 10, 12 or 16
bits, with 10-bit packing 0, 1 (method A) or 2 (method B) and 12-bit
packing 0 or 1. 10- and 12-bit code values open as U16
round(c * 65535 / (2^b - 1)) and come back exactly when written at their
depth. No colour transform: the transfer characteristic and colorimetric
specification are reported as import notes; extra image elements are
reported; the orientation is applied on import.
Write big-endian, one unencoded element, at 8, 10, 12 or 16 bits
(EncodeOptions::dpx_bits; `dpxBits` on the save commands, MCP and RPC;
`--dpx-bits` in the CLI), following the document depth by default. Gray
with alpha is written as luma. Creator, project, copyright, creation
time, transfer, colorimetric, frame position, frame rate and time code
travel as DPX:* text metadata and are written back.
Unsupported descriptors, signed or run-length-encoded data and other bit
depths return CodecError::Unsupported; malformed and truncated files
return errors.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The palette PNG encoder never wrote a pHYs chunk, so an Indexed Color
document saved as PNG reopened at 72 ppi while the RGB path kept its
resolution. encode_png_indexed now takes an optional dpi and the flat
exporter passes the document resolution under the same embed_metadata
rule as the ordinary PNG encoder. Save for Web PNG-8 is unchanged.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Add FITS read/write codec
FITS (the astronomy format) opens and saves as a flat image: the primary
HDU or first IMAGE extension; gray, or RGB when NAXIS3 = 3; BITPIX 8/16/
32/64/-32/-64 with BSCALE/BZERO/BLANK; rows follow ROWORDER (bottom-up by
default). Camera U16 data stays exact; float data is normalised to 0..1.
Header cards round-trip as text metadata (HIERARCH for long names).
Tile-compressed (fpack) files are refused as unsupported.
Wired into File > Open, Save As and the batch commands as .fits/.fit/.fts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Test FITS open and save through photocraft-io
Gray 16-bit, RGB 8-bit and RGB 32-bit float documents round-trip exactly,
and header cards travel as the document's text metadata.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* FITS: hostile-header regression test (absurd axes, bad BITPIX, no END, HDU chains, overflowing sizes)
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>
Opening a 32-bit Targa turned its alpha into layer transparency: the
colours of transparent pixels were hidden, and since #2157 only an alpha
channel becomes a Targa's alpha on save, a TGA opened and saved again
lost its alpha.
Measured on Photoshop 27.11 (scripted, files built byte by byte): a
32-bit Targa opens as an opaque Background plus an "Alpha 1" channel
holding the fourth byte, also when the descriptor declares 0 alpha bits;
the stored colours stay; a 24-bit Targa has no channel. PhotoCraft now
opens Targas the same way, so they round-trip with #2157's export.
Image sequences (video layers) still treat a TGA frame's alpha as
transparency, as footage does: load_frames moves the channel back.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* OpenEXR/HDR export: linearize grayscale documents too
Fixes#2386. The EXR/HDR branch of export_flat converted RGB images to
linear sRGB but left gray ones as stored, so an sGray #808080 was written
as 0.502 instead of 0.216. Gray images are now converted from their
profile (sGray when untagged) to linear gray. An untagged grayscale
OpenEXR opens tagged linear gray (an EXR Y channel is linear luminance),
and the open policy keeps that profile without a mismatch prompt, as it
already does for linear sRGB.
* contributors: add itsF4LCON
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Flat exports ignored the document's alpha channels, so a Targa saved
from a document with an "Alpha 1" channel had no alpha. Photoshop 25.1
(checked via scripting) writes a 32-bit Targa's alpha from the
document's alpha channel when there is exactly one (spot channels
skipped), composites layer transparency over white, writes an opaque
alpha when there are several channels, and never adds alpha to
grayscale Targas. TGA export now does the same; 16-bit documents are
written as 8-bit Targa with the channel's values.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
A flat image with transparency (alpha channel or tRNS) opens as a normal, unlocked Layer 0, as in
Photoshop; opaque images still open as the locked Background. A lone Layer 0 saves back to PNG natively.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Flat exports embed no document XMP by default; Export As gains a Metadata choice (#647)
The document's XMP packet lists the text of every type layer
(photoshop:TextLayers) and one id per placed document
(photoshop:DocumentAncestors) - data a flat web image should not carry:
14-116 KB per export on real designer PSDs, and layer text leaking into
images that show only part of the design.
- io: ExportOptions.xmp (XmpEmbed::All | None, default None) drops the
packet from flat exports before the codecs see it. Layered saves
(PSD, PSB, .pcraft) always keep everything; DPI, ICC and EXIF are
unaffected. Export As, Save a Copy, the CLI, Layers/Artboards to
Files and Batch all share this path and get the safe default.
- The Export As dialog gains a Metadata dropdown (None / All, default
None, like the source application's Export As); the file-size
estimate follows the choice.
- Tests: new xmp_export.rs covers the default (png/jpg/webp/tif carry
no packet), the All opt-in and the layered always-keep;
metadata_roundtrip_png and the stale-orientation test document the
new contract (with All, an embedded stale orientation is still
rewritten upright).
* Export As alone starts at Metadata: None; Save As and conversions keep the XMP
ExportSettings::default() and ExportOptions::default() also serve File > Save As, file.saveAs,
the CLI and automation, which keep the document's metadata (as Photoshop's Save As does).
Only the Export As dialog defaults to None. A layered TIFF honours the choice too.
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>
Decoders now report what the decoded image doesn't show in a new
`Image::warnings` (`photocraft_codecs::DecodeWarning`), and `image_to_document`
turns them into import warnings, so they reach `photocraft-cli info` /
`convert` stderr, `doc.open` over MCP and serve, and the app's open notice
through the existing import-warnings path.
* #523: APNG (acTL frames, plus a default image outside the animation),
animated GIF (image descriptors counted by walking the blocks), animated
WebP and multi-page TIFF (IFDs walked without decoding; reduced-resolution
copies and transparency masks are not pages) say "only the first of N
frames/pages was imported". Single images stay quiet; the kept frame's
pixels are unchanged.
* #518: a JPEG whose data runs out before its end-of-image marker (marker
segments skipped by length, scan data by byte stuffing) still decodes
leniently but warns "JPEG data ends early (the file is truncated or
damaged); part of the image is missing". A JPEG that ends before any scan
data is an error.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: reject a header with zero width or height (#519)
A 0xN header opened as an empty document and saved back as another
zero-sized PSD or .pcraft. Header::validate now requires at least 1x1
(the spec range starts at 1), and PSD export validates the header so a
zero-sized canvas is never written.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* .pcraft: documents with deeply nested groups load again (#517)
serde_json's 128-level recursion limit made bundles with 40 or more
nested groups unreadable after a successful save. The manifest is now
parsed with that limit disabled behind a linear JSON depth check, layers
are decoded and converted one level at a time with small stack frames,
and groups may nest up to MAX_GROUP_DEPTH (100) levels, which load and
save within a few hundred KiB of stack. Saving a deeper document fails
instead of writing a bundle that can't be opened.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Export: convert non-sRGB RGB to sRGB for formats without a profile (#522)
GIF, BMP, QOI, TGA, ICO and Netpbm can't embed ICC, so a linear-light
or Display P3 document was written with values that only meant something
under the dropped profile (a linear EXR came out dark). export_flat now
converts such RGB to sRGB through photocraft-cms (perceptual, as Quick
Export does) for every photocraft_io::export route. The EXR/HDR linear
conversion shares the same banded helper.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Export: composite transparency over white for formats without alpha (#521)
The CLI, MCP, Save As, Layers to Files and Layer > Export As dropped the
alpha channel when writing JPEG (or Radiance HDR), exposing the colours
stored under transparent pixels, while Export As and Quick Export
composite over white. export_flat now flattens over white too (no ink
for CMYK) and says so in its warnings.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK documents display and export through their embedded CMYK profile
A thread-local CmykSpace (photocraft_color::convert::with_cmyk_space) replaces the built-in
coated CMYK while the CPU compositor, the GPU compositor's uploads and the PSD merged
composite convert a document's CMYK pixels; GPU residents track the profile they were
converted with.
Refs #46
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* EXR/HDR are linear: tag imports linear sRGB, linearise exports
Refs #46
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Colour-managed canvas: document profile -> monitor profile on GPU and CPU paths
* engine display_color: CanvasDisplay per (document profile, mode, monitor), identity fast
path when they match (sRGB on sRGB costs nothing); linear composites are stored
sRGB-encoded in the 8-bit texture. canvas_lut now always carries the CM transform, with
Proof Colors / Gamut Warning / 32-bit preview on top.
* GPU canvas applies the display LUT whenever the transform isn't the identity (also for
filter/proxy previews); the CPU canvas and Navigator transform the 8-bit composite.
* Edit > Color Settings > Monitor Profile (auto|built-in|.icc). macOS 'auto' reads the main
display's ICC profile at launch via osascript/AppKit (no unsafe); elsewhere sRGB.
* Tests: P3 (hand-computed), Adobe RGB, ProPhoto, Gray Gamma 2.2, synthetic CMYK, linear,
monitor setting; GPU+CPU canvas test via kittest (skips without Rgba32Float).
Fixes#46
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* io: tag EXR/HDR linear in import_flat (adapt to the shared image_to_document)
#65 moved flat decoding into image_to_document(name, img) so camera raws can reuse it; the
linear-EXR tagging needs the file bytes for format detection, so it now runs in import_flat.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Rust 1.99's clippy adds chunks_exact_to_as_chunks and some_filter, which
broke the Clippy step on every CI runner (it uses the latest stable). All
sites are mechanical: as_chunks drops the remainder exactly like
chunks_exact.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Korg1ch