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.
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 "4.1.1.3. 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.
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]

[Display of the selected taste]

*	Partial taste is not displayed because the development parameters of the current taste can match those of two or more partial tastes at the same time. The mark of the "Partial taste" is displayed only when the dropdown list is opened.

The following will explain dropdown lists of tastes other than "All category tastes."

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:

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.

(1)	[Target parameter category]

(2)	Taste list for selection

(2)	Display of the selected taste

You can add / register a development parameter applied to a currently selected scene as a 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, "4.1.1.4. 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

(1)	Taste name

(2)	Applicable development parameter category

You can edit registered tastes.
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.

(1)	Subject data	A taste is defined for a "RAW image" or a "JPEG/TIFF image". You can select either of the two types.
(2)	Taste category	A taste is defined for each parameter category.
(3)	List of tastes	There is a list of tastes with a mark.

(4)	Upward button	The upward button moves a selected taste upward.
(5)	Downward button	The downward button moves a selected taste downward.
(6)	Hide button /Display	Selected data is hidden. Maker data cannot be deleted, but they will not be displayed on the list of tastes with this setting.
(7)	Rename	Change the name of selected tastes.
(8)	Delete button	The Delete button deletes selected tastes. Maker tastes cannot be deleted.
(9)	Export all button	All user tastes that have "Type of data" and "Type of taste" in common are recorded and saved in a file. All tastes displayed with a green background are "Tastes that can be edited."
(10)	Export button	The export button exports a single selected taste.
(11)	Import button	The import button imports a saved taste.
(12)	Parameter category to be applied	When you select the "All parameters" in the list of the taste category, you can apply any of the parameter categories to a taste. For example, you can apply "tone" and "tone curve" to a taste.

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.

*	If you selected many scenes at the same time, it may take some time for processing.

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.

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.

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.

This graphic control is based on the accurate colorspace. You can set the white balance visually by clicking a mouse directly.

[Mouse wheel operation]

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).

(a)	Move the "Color temperature" slider to the smaller (lower) side.

(b)

With the white balance target in the "White balance adjustment" sub-control, move the cursor to the opposite (blue) direction.

(a)	Move the "Color temperature" slider to the larger (higher) side.

(b)

With the white balance target in the "White balance adjustment" sub-control, move the cursor to the opposite (red) direction.

(a)	Move the "Color deflection" slider to the - side.

(b)

With the white balance target in the "White balance adjustment" sub-control, move the cursor to the opposite (green) direction.

(a)	Move the "Color deflection" slider to the + side.

(b)

With the white balance target in the "White balance adjustment" sub-control, move the cursor to the opposite (purple) direction.

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.

[Utilizing Histogram]

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."

Several tastes that have good effects are included as Maker Tastes in tastes.

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.
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.

(1)	Adding Point

(2)	Selecting a point

(3)	Moving Point

(4)	Deleting Point

(1)

Channel selection

Select a channel for processing.

(2)	"Add point" button	Switch to a mode for adding a point to the tone curve. The point clicked on the preview display adds a point to the tone curve. By clicking the point while pressing the Ctrl key, you can add a point on all tone curves of RGB, R, G, and B
(3)	Straight	Create a tone curve at the interpolation of a straight line between points.
(4)	Curve	Create a tone curve at the interpolation of a curved line between points.
(5)	Input / Output	Edit selected point coordinates.
(6)	Level correction	Edit input range of level correction.

*	The "Add point" function works only when the tone curve is monotone increase or monotone decrease.

[How to use "Add point" function]

This is the standard color creation of SILKYPIX®, which aims for true color reproduction.
This mode provides reasonably natural colors for many scenes.

True colors in photo are not always "beautiful colors."
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.

*	When decreasing the development gain to express dark images, it becomes easier to reproduce the color of object with high saturation. This is because most display screens and printers are not good at outputting high saturation and brightness simultaneously.

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.
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."

*	In order to reproduce pleasing skin colors, appropriate white balance adjustments may be required. In cases other than photographs under fixed light sources, adjusting these will inevitably involve some trouble. Use these color modes according to your preference.

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.

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".

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.

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.
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.

4.7.3.3.1. 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.

4.7.3.3.2. 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.

You can specifically set the input colorspace for a JPEG/TIFF image by this control.
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.

*1

SILKYPIX ® performs color management using the OS functions. Please note that if an ICC profile incompatible with the OS color management system is attached, accurate color reproduction may not be possible. Please refer to "Determining color space (input color space) for images for processing" for details.

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.

*

When selecting Adobe RGB, the preview is displayed based on Adobe RGB colorspace. Therefore, when the color management of monitor is not used, colors are displayed inaccurately. When selecting Adobe RGB, set the color management of monitor to a valid profile so that the correct colors are displayed. Please refer to '9.2.1 Color Management'.

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.

Chroma/Luminance controls the priority of chroma or luminance to create colors in the highlight area.

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.

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.

This function allows you to compress the highlight gradation.

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.

*	When using FUJIFILM FinePix S3/S5 Pro, gradation to somewhere over 2.0EV is recorded if you photograph in RAW at a setting of dynamic range mode = wide.
*	Compared to conventional 12 bit devices, Nikon and Canon 14 bit devices record gradation to somewhere over 0.5EV ~ 1.0EV.
*	When RAW photographs are taken with a Canon 14 bit device in a mode that gives priority to high brightness and gradation, gradation is recorded at somewhere over 1.0EV above conventional photography mode.
(*1)	This depends on the S/N ratio (ratio of image signal to noise) of the photographed image. This assumes it was photographed at low sensitivity with a digital single-lens reflex camera. If using a small digital camera with an image sensor and taken at high sensitivity, sensitization may be severe.

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.

(1)	If the sky turns purple under the influence of white balance adjustments so that the person's skin color is a favorable pink, adjust so that the sky turns into a favorable sky-blue.
=>	This technique is for adjusting only colors that seem strange such as when a sense of incongruity is born out of the entire photograph due to over emphasizing the main subject by not using the right amount of white balance.
(2)	After appropriately adjusting the white balance, adjust the orange and red so that the person's skin color will be flattering, and then further adjust so that the blue sky will also be a good color.
=>	This is a technique for true adjustments of basic correct white balance and adjusting so that the colors you want to emphasize are favored.
(3)	Adjust so that the red flowers become pink.
=>	There may be cases when you do not want to emphasize colors or adjust to a memory color, but rather make adjustments with the effect of changing colors to something different than reality.
(4)	If red flowers are two bright and there is a whiteout effect, control the whiteout by lowering the red chroma.
=>	Adjustments with the highlight controller to exposure and saturation will influence not just specific colors, but the entire photograph. This is an effective method for adjusting only specific colors. Please see "10.1.5 Mitigating Whiteout" for details.

Input the diagonal angle of view of the lens at photographing. Calculate and correct shading on lens design theory from this angle.

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 '4.11.1.3 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.
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.

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.

Determine which one should take priority when adjusting distortion, center or edge.
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.

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.

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.

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]

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.

(A)	Upper left coordinates (x,y)
(B)	Size (width x height)
(C)	One coordinates (x,y) for the area
(D)	The other coordinates (x,y) for the area

(a)	When image files with parameters edited in earlier products are read
(b)	When development parameters edited in earlier products are read
(c)	When development parameters in "Compatible Mode" are copied and pasted
(d)	When development parameters are adjusted in "Compatible Mode" status

(a)	When development parameters are initialized
(b)	Manual (Taste applied) is displayed when the development parameters of the current taste match those of a certain "partial taste".
(c)	When development parameters in SILKYPIX® Developer Studio 4.0 are copied and pasted
(d)	When development parameters in SILKYPIX® Developer Studio 4.0 are read

"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."

(a)	When registering "Compatible Mode" development parameters to a taste
(b)	When importing "Taste" of earlier products