Automatic correction of tool radius and tool length. Auto tone, auto contrast, auto color correction

Automatic image correction

Probably each of us would like to be able to perform image correction in one step, rather than spending a huge amount of time and effort on correcting defects. Fortunately, such a tool exists. While you obviously shouldn't rely on it for everything, it won't eliminate the need for manual image correction, but in some cases it will be enough to "correct" the image properly. Therefore, you should not completely ignore the capabilities of automatic tone correction. In any case, before you start image correction, it makes sense to first try using automatic tools.

To automatically correct an image:

1. Open an image.
2. Run the command Adjust > Auto Adjust(Setup > Autotune).

This command does not bring up any dialog boxes and has no settings. The correction occurs automatically and you immediately receive the correction result.
Filter Auto Adjust(Auto Adjust) evens out the shadows, midtones, and highlights of an image by automatically redistributing pixel values ​​within the tonal range. This adjustment is made in each color channel of the image, causing changes in the color and tone of the image. Usage example Auto settings shown in Fig. 1.

Image Tuning Lab

Corel Photo-Paint has a correction tool typical problems images inherent digital photographs, obtained using a camera or camera. IN earlier versions Photo-Paint, to correct certain defects, it was necessary to use several filters. Starting with Corel Photo-Paint X3, the program included Image Adjustment Lab(Image Correction Laboratory). The idea of ​​creating this laboratory was to combine all the filters most commonly used in correction into one tool. This allowed us to save effort, time and nerves when color and tonal correction of photographs. To access laboratory tools, run the command Adjust > Image Adjustment Lab(Setup > Image Adjustment Lab). When you first open the dialog box with resizable(Figure 2), You'll notice that it includes a preview workspace on the left, adjustment sliders on the right, and a row of buttons on the bar at the top.

If you have experience with other filter dialog boxes in Photo-Paint, using the preview elements and top-of-the-window bar buttons (Figure 3) in the Image Adjustments Lab will be familiar to you.

1. Button Rotates image 90 degrees counterclockwise(Rotate image 90 degrees counterclockwise)—rotates the image 90 degrees counterclockwise in the preview window.
2. Button Rotates image 90 degrees clockwise(Rotate image 90 degrees clockwise) – rotates the image 90 degrees counterclockwise in the preview window.
3. Button Pan tool(Panorama) – activates the Panorama tool to scroll and zoom the image in the preview window. Left-click to zoom in and right-click to zoom out. Hold down left button mouse while dragging to pan directly into the preview area.
4. Button Zoom in(Larger) – activates the Larger tool, essentially the same Scale tool. When you click with the left mouse button, the scale increases, when you click with the right button, it decreases.
5. Button Zoom out(Smaller) – activates the Smaller tool, which is the opposite of the Larger tool. When you click with the left mouse button, the scale decreases, when you click with the right button, it increases.
6. Button Displays an image to fit in the window(Display image according to window size) – scales the image according to the size of the viewing area so that it fits entirely in this area.
7. Button Displays an image at normal size(Regular Size Image Display) – Displays the image at 1:1 scale in the viewing area.
8. Button Full Preview(Full screen viewing) – “switches” the viewing area to “single-window” mode. In this mode, you can see the changes you make to the image, but you won't be able to see the original image as it was before you made the changes.
9. Button (Full-screen viewing “Before and After”) – “switches” the viewing area to the “Before and After” viewing mode, in which the viewing area is divided into two parts, as in Fig. 2. The original image is displayed on the left, the adjusted image is displayed on the right, which allows you to simultaneously see both the original image and the results of the changes.
10. Button (Split view “Before and after”) – similar to the button Before and after full preview(Full screen "Before and After" view), but allows you to resize areas Original(Original) and Working Preview(Working view). In addition, the image on the right side is, as it were, a “continuation” of the image on the left side of the viewing area.

Below the preview area you can use the buttons Reverses the last operation(Cancel last operation), Redoes the last undo operation(Restoring an operation that was previously undone) or Reset to original(Reset to initial state) to change recent changes you've made.
For quick correction, use the button Auto Adjust(Auto-tuning) in combination with tools - buttons in the form of eyedroppers, Select White Point(White point selection) and Select Black Point(Black Point Selection).

Sliders allow you to change the color and tone of the image. Use sliders Temperature(Temperature), Tint(Hue) and Saturation(Saturation) for tonal and color correction. Use sliders Brightness(Brightness) and Contrast(Contrast) to achieve the desired brightness and contrast. Or, use the sliders Highlights(Light colors), Shadows(Shadows) and/or Midtones(Intermediate Tones), to adjust the brightness of certain tonal ranges. Position your mouse pointer on each slider to view information in the area Hints(Tips) located below the sliders.

When you're done experimenting with the tools, click the button Create Snapshot(Take Snapshot) to save your current settings. Numbered thumbnails of your current settings are added below the viewing area whenever you take a new photo. Click directly on the thumbnail to load the image into the viewing area and adjust the parameters applied to the image (position of the sliders). You can try many different parameter settings to evaluate the results, without having to remember them. In Fig. Figure 4 shows several images using different parameters.

During color and tone correction, noticing subtle differences in filter settings is often a difficult task that requires experience. In addition, it is often necessary to save copies of the image with various trial and error results. When working with Image Adjustment Lab(Image Correction Lab), you don't need to do this, as mentioned above, just take the pictures.

Now, let's look at an example of using the Image Correction Laboratory to improve photographs.
In Fig. Figure 5 shows a photograph of a typical rural view taken on a hot summer day.

Despite the absence of visible defects or color distortions, the photo itself leaves the impression that it has been “faded by the sun.” Colors in the image are dull, contrast and color saturation also leave much to be desired. To improve this photo, you need to do the following:

1. Open an image.
2. Run the command Adjust > Image Adjustment Lab(Setup > Image Adjustment Lab).
3. In the window Image Adjustment Lab(Image Adjustment Lab) switch to one of the viewing modes, e.g. Before and after full preview(Full screen view “Before and After”) (Fig. 6).

As can be seen in the figure, the window Image Adjustment Lab(Image Adjustment Lab) on the right side, below the sliders, has a histogram. When you first look at it, it becomes noticeable that it has a peak in the midtones, but practically no pixels in the highlights and shadows.

Please note that the viewing area is divided dotted line, which can be moved left or right to make areas larger or smaller To And After making changes. Compare also Fig. 2 and 7, where shown different modes viewing, Before and after split preview(Split View "Before and After") and Before and after full preview(Full screen "Before and After" view).

4. To give the image a more colorful and attractive look, I installed in the window Image Adjustment Lab(Image Correction Lab) the following parameter values: Tint(Shade) – 10; Saturation(Saturation) – 47; Contrast(Contrast) – 31; Highlights(Light colors) - (- 47); Midtones(Intermediate tones) – 12 (Fig. 7).

The choice of these parameters is quite obvious. Since there is a lot of greenery in the foreground, I made a small “shift” of the slider Tint(Hue) to the area of ​​​​green colors, and to obtain richer colors, increased the value Saturation(Saturation) and Contrast(Contrast). Next, based on the intermediate results obtained, I adjusted the brightness in light and dark areas. In midtones, no brightness adjustment was needed.

In Fig. 8 original image on the left and corrected on the right.

Notice the histogram in the window Image Adjustment Lab(Image Correction Lab) after making changes. It stretched out a little, peaks appeared closer to the light and dark areas. To apply changes, click in the dialog box OK.

When making any image correction, you should take into account the fact that each person performs color and tone correction in his own way. The concept of beauty is very subjective. Different people will like completely different correction results. Therefore, if you perform retouching or correction of photographs to order, you will have to take into account the tastes of the customer, which may not at all coincide with yours. I will mention this more than once in the book. Similarly, the result obtained in in this example, may seem to some not an improvement, but a deterioration of the original. It's a matter of taste. My main task is to show how to use certain features and tools of Photo-Paint.

Now let's look at an example of using two tools located in the Image Correction Laboratory - Select White Point(White point selection) and Select Black Point(Black Point Selection). These two tools are used to increase the contrast of an image. There are no settings provided for their use; these are, so to speak, “intelligent” tools that perform automatic contrast correction. For example, I took a copy of my old Soviet passport. As can be seen from Fig. 9, the passport image lacks at least some contrast. The goal of achieving 100% compliance with the original was not set in this example.

To increase the contrast, you need to click on the button Select White Point(Select a white point) and with the pointer, which has taken the form of an eyedropper, click in the lightest place of the coat of arms. Then click on the button Select Black Point(Select Black Point) and click the pointer in the viewing area, at the darkest point of the cover, this is a small “pattern” of dark red color. As you can see, Photo-Paint has automatically adjusted the contrast of the image. The passport, even after automatic correction, began to look much better.

As I already said, you don’t need to know how these tools work, but you need to know something else - in what cases to get best results preference should be given to one or another instrument.

To make it a little easier for us to understand this issue, let's slightly repeat the theory. As you know, the entire variety of colors displayed on a computer monitor is generated by shifting the three primary colors - red, green and blue.

White color is obtained by mixing red, green and blue in equal proportions and full intensity. Black is the complete absence of all three primary colors. Yellow, for example, is made by mixing red and green. Mix red and blue to make magenta, while green and blue together make turquoise. Apply offsets of red, green and blue colors and their shades in all possible shades, and you will end up with millions and even billions of colors.

Photoshop mixes these three primary colors using color channels. One channel is for red, another is for green, and the third is for blue. We can find these color channels in the Channels panel, which, by default, is nested in the same stack as the Layers panel. Click on its tab at the top of the panel group to open it:

Open the channel panel by clicking on the corresponding tab.

In the panel we see red, green and blue channels, plus a fourth RGB channel located at the top of the panel. Don't let RGB channel to confuse you, this is actually not a channel at all. RGB stands for "red, green and blue" and is simply a combination of the red, green and blue channels working together to give us a complete color image.

If you look at the red, green and blue channel preview thumbnails, you'll notice something that might seem a little surprising - these color channels aren't actually in color at all! Instead, each one is a halftone image. In fact, if we look at them more closely, we can see that black and white image each channel is different from the other. To preview how each channel looks in the document, simply click on it. For example, I'll click on the Red channel to select it:

Selecting the red channel.

With the red channel selected, the full color version of my image in the document is temporarily replaced with a grayscale version. So what does a black and white image mean when the red channel is active? This is Photoshop's way of showing the intensity of red in a picture - the brighter the area, the more red is added to the full-color version, while darker areas have less saturated red. In areas with pure white color black and white image have red in its full intensity, while areas of black have no red at all:

Preview of the red channel. Bright areas contain more red than dark areas.

To see what the green channel looks like in the document, I'll click on it in the Channels panel.

This action will temporarily disable the display of the red and blue channels, showing me only the green channel in the document. Here we see another grayscale image, but it's slightly different from what we saw with the red channel. This happens because the intensity of green in different areas of the photo is naturally different from the intensity of red. Again, the brighter the area, the more intense the green color it is, while the darker areas have a less saturated green. Any areas of pure white have full green intensity, while areas of pure black have no green at all:

Green channel preview. Lighter areas = more intense green, darker areas = less green.

If we now look at a black and white image of the blue channel, it will be just as different from the others and work exactly the same. My photo contains a lot of blue (or any other color that uses blue as its main ingredient), so the blue channel looks overall darker than the red and green channels:

Blue channel preview. The lighter the area, the more blue participates in color mixing in a full-color version.

So far we've learned that Photoshop mixes the red, green, and blue color channels to produce all the colors we see in an image. Now, based on this, let’s try to figure out which of the three tools under consideration is best to use when. Each of the three automatic commands manipulates color channels differently, producing different results. Next, I'll briefly describe how each works, before we look at them in action.

The Auto Contrast tool is the most basic and straightforward of the three discussed in this tutorial. When we select it, Photoshop analyzes a composite of all three color channels (in other words, it treats all three as if they were one black and white image) and simply converts dark pixels to pure black, brightens light pixels to pure white, and redistributes all other tonal values ​​between them. The result is an image with improved overall contrast. It's important to note that because it treats all three color channels as one composite image, Auto Contrast does not change the colors in the image. It simply enhances overall contrast, making it a good choice for images that don't suffer from any color issues.

Auto Tone is similar to Auto Contrast in that it also darkens dark pixels to pure black, brightens light pixels to pure white, and redistributes all other tonal values ​​between them, but it has one major difference. It does this not based on three channels mixed into one, but based on each channel separately, which means that the red, green and blue channels will also be adjusted individually. We know that Photoshop uses the brightness values ​​in each individual color channel to determine how much of each color to mix in the full color version, so by changing the color channels independently of each other, we will change the colors in the full color photo because... The brightness values ​​in the channels have been changed. This means that, unlike Auto Contrast, which does nothing more than increase overall contrast, Auto Tone changes the colors in the image at the same time it increases contrast. If an image has an unwanted color cast, Auto Tone may be able to correct it.

Auto Color is similar to Auto Tone. It also darkens dark pixels to black and brightens light pixels to white on a channel-by-channel basis, so that the red, green, and blue channels will be adjusted separately and independently of each other. But Auto Color goes one step further. Instead of simply redistributing all the tonal values ​​between them, it attempts to correct any unwanted color cast by neutralizing the midtones in the image. This is usually (but not always) done by Auto Color best choice to automatically correct contrast and solve color problems at the same time.

In the next article I will tell you how to use the tools correctly and effectively automatic settings images.

Automatic Color Correction Options automatically select tone and color settings using Levels and Curves adjustments. They also control the Auto Tone, Auto Contrast, and Auto Color Correction commands.

Automatic Color Correction Options automatically select tone and color settings using Levels and Curves adjustments. They also control the Auto Tone, Auto Contrast, and Auto Color Correction commands. Here you can specify the clipping percentage for shadows and highlights and assign color values ​​to shadows, midtones, and highlights.

These settings can be applied once in Levels or Curves adjustments, or saved as defaults for the Auto Tone, Auto Contrast, Auto Color Correction commands, and Auto button in the Levels and Curves dialog boxes "

Automatic Color Correction Options Dialog Box

1. Click the Levels or Curves icon in the Adjustments panel.
2. Alt-click (Windows) or Option-click (Mac OS) the Auto button in the Adjustments panel.
3. Specify which algorithm should be used to adjust the overall tonal range of the image. Enhancing monochromatic contrast Cuts off values ​​in all channels equally. Maintains the overall relationship between colors, but makes highlights lighter and shadows darker. This algorithm is used by the Auto Contrast command. Enhancing Contrast in Channels Maximizes the tonal range in each channel for deeper correction. Because all channels are adjusted individually, the Enhance Contrast by Channel algorithm can remove or create new color casts. This algorithm is used by the Autotone command. Finding dark and light colors Finds those with average values ​​among the lightest and darkest pixels in an image and uses them to maximize contrast while minimizing clipping. This algorithm is used by the Automatic Color Correction command.
4. Turn on the Snap to Neutral Midtones option to have the command search for the middle neutral color in the image and adjust the gamma (midtone) value to make that color a neutral. This algorithm is used by the Automatic Color Correction command.
5. To specify how much black and white pixels should be clipped, enter percentage values ​​in text fields"Truncation". It is recommended to use values ​​between 0.0% and 1%.

   Default Photoshop commands clip white and black pixels at 0.1%, that is, they ignore 0.1% from each end of the range when identifying the lightest and darkest pixels in the image. Since the image quality provided by modern scanners and digital cameras, very high, these default cutoff values ​​may be too high.

6. To determine (target) color values ​​for the darkest, neutral, and lightest areas of the image, click a color swatch.
7. Do one of the following.

   To use the Levels or Curves open adjustment settings, click OK. If you then click the Auto button, the same settings will be applied to the image again.

   To save your settings as defaults, click the Save as Defaults button, and then click OK. The next time you open Levels or Curves in the Adjustments panel, the same settings can be applied by clicking the Auto button. The Auto Tone, Auto Contrast, and Auto Color Correction commands use the default clipping percentage.

   Note. When saving settings automatic adjustment The default colors for the Auto Color Correction, Auto Tone, and Auto Contrast commands do not matter which algorithm you selected in Step 2. These three Auto Correct commands use only the values ​​set for target colors and clipping. The only exception is the Auto Color Correction command, which also uses the Snap to Neutral Midtones option.

A new functionality of LERS ACCOUNTING is being prepared for release. Now, when polling, you can automatically adjust the device time if it does not match the server time. Naturally, some restrictions are imposed on time correction. Let's consider what restrictions may be imposed by the devices themselves.

Devices and auto-correction

1. The device may not support correction at all, or correction is carried out by undocumented commands. In this case, unfortunately, nothing can be done. If the exchange protocol does not describe or there are no commands that change system time device, this useful feature is not available to us. The time can only be adjusted manually from the instrument panel or through specialized software.

2. It is possible to change the system time via the exchange protocol, but to do this you need to set a hardware switch on the device itself. It is also difficult to do anything here. Usually, in addition to setting the date and time, this key allows other interesting actions. For example, setting pulse weights, correction factors, etc. It is clear that no one will turn the key forever to the “anything is possible for everyone” position. Switching the hardware key using software is also difficult. Therefore, in this case, the auto-correction of time is also inapplicable.

3. The device allows you to set any time, but records this in the archive of events or errors. Such devices include, for example, KM-5 from TBN. There are no problems here, auto-correction can be easily implemented. There are still some nuances regarding KM-5. For example, setting the time is supported only by devices with software version 2.28 and higher.

4. The device supports correction, but with reservations. For example, correction can be performed 2-3 times a day, each time for no more than 30 seconds. In this case, auto-correction will be performed, but if the device time lags behind more than the maximum possible correction value per day, to install correct date may take several days. At the same time, such devices usually have a hardware key that allows you to select an arbitrary time. But everything about the hardware switch has already been written in paragraph 2.

5. The device can support time correction if a password is set when working with it. In this case, you will have to decide for yourself whether you need auto-correction, since if you still need it, you will need to set a password in the device parameters of the level that allows changing the system time. And any user of the system who has the right to view the list of devices will be able to find out this password. You will have to check the list of users and remove the right to view the list of devices from unwanted users.

Time zones

Let's consider this situation. Your property is located in a region with a different time zone. The clock, of course, runs according to local time. You start polling the device by turning on auto-correction. After the current time is requested from the device, it will be compared with the time of the system that is conducting the survey. And if the device and the polling service are in different time zones, LERS ACCOUNTING will consider that the device time does not coincide with the local one and make a correction. Now we have a device that in its region has begun to rush or lag for several hours.

Or another scenario that could be happening right now. If the device is located in a different time zone and its time, for example, is one hour less, and the system parameters set the maximum time difference between the device and server clocks to be 30 minutes, then after reading the date and time, the device poll will stop with the error “Time difference” between the system and the device is greater than the permissible limit specified in the system settings."

To eradicate the second problem and prevent the occurrence of the first, the accounting object settings in LERS ACCOUNTING are additional parameter- time zone.

If the object is located in a different time zone, you need to specify it in the settings. Now the current time of the object will be compared with the system time, taking into account this time zone. The same offset is used for automatic time correction.

Automatic time correction settings

Auto-correction is turned on in the system parameters on the "Poll" tab.

The "Adjust the time on the device clock" checkbox enables or disables the automatic correction function. Now this action is global for all devices that support time correction.
In the "Minimum time discrepancy to apply correction" parameter, you must specify how much the clock must fall behind or advance from the system time in order for the device to be given a command to correct the clock.

Please note that the clock rate correction is performed at the end of the survey, but only if the discrepancy between the system and the device does not exceed the maximum permissible value, which is set in the parameter " Maximum difference in time between the system and the device." If the discrepancy exceeds this value, the survey will immediately fail with an error.

List of devices for which automatic time correction is implemented

TBN KM-5, RM-5
Correction is supported only by devices with software version 2.28 and higher. There are no restrictions on the number of corrections per day and on the amount of correction.

About a third of all road accidents occur. And imperfections or malfunctions of optics play an important role in this. After all, if you use only low beam headlights, the visibility distance is very small, and high beams blind oncoming drivers. To solve this problem, various devices and devices were used, with the help of which relay and electronic control of lamps was carried out, their smooth start, headlight washers were used, then headlight range correctors appeared. An automatic headlight leveler has appeared - a more advanced system for coordinating the position of the cut-off line.

Video about headlights NOT on at night

What is headlight range control?

For safe movement at night it is not enough correct setting headlights After all, as soon as the height of any car suspension changes (due to passengers or cargo transported in the trunk), the trajectory of the light beam changes. Oncoming drivers will be dazzled or the level of road illumination will decrease. In order not to manually adjust the headlight angle every time the vehicle load changed, a special automatic system was invented.

A device designed to maintain a given position of the headlight axis in one vertical plane relative to the angle formed between the axes of the suspension and the floor (and not the road surface) is called a headlight leveler. Regulation occurs based on data from floor level sensors located on the suspensions and the underbody.

There are the following types of headlight correctors:

• Quasi-static;
• Dynamic.

Let's look at each of them in more detail.

Quasi-static headlight range control

Quasi-static correctors have a simpler operating principle. Automation reacts to changes in body tilt due to load or at significant speeds due to air resistance forces. Such changes occur infrequently, so this system is not required high speed response.

Quasi-static headlight range control device:

• Two body position sensors connected to the car axles using special levers;
• Actuators;
• Electronic control unit;
• Duplicate manual light control on the dashboard

Based on position and speed data obtained respectively from floor level sensors and ABS (anti-lock braking system) sensors, the required tilt is set and the headlights are adjusted. The adjustment is carried out by an actuator based on commands from the electronic control unit.

Dynamic headlight range control

After light beams with greater energy of the light beam and therefore more dangerous for oncoming drivers began to become more widespread, more modern and expensive ones began to be introduced dynamic systems. They differ from quasi-static ones in the speed of response to changes in body tilt. With the help of these systems, the light flux adjusts its direction and is kept at the same level in a fraction of a second. This is very important when driving, braking, accelerating, etc.

The luminous flux is always directed towards the road surface and provides perfect review for safe movement. The driver does not even notice the correction; the system instantly reacts to any body sway and corrects the position of the headlights.

As a rule, automatic headlight leveling is standard system, but you can install it yourself. There is a wide selection on the market from various manufacturers. On cars with active suspension there is no need to install automatic headlight leveling. The auto-correcting cut-off system can be installed on any type and make of car. The automatic system is duplicated by a conventional electromechanical corrector, and you can adjust the required angle directly from the cabin using the control panel.

In order to make automatic headlight levelers more reliable and increase their service life, non-contact sensors for changes in body position are being developed, which will be installed to replace the currently common potentiometers. Changing potentiometers is required by the ever-increasing demands when driving in extreme conditions- weather or road conditions.

Headlight range control in practice

Correct headlight adjustment

Precise adjustment of headlights has a huge impact on driving safety at night, because... The traffic flow on modern roads is quite large. Every car enthusiast should know the basic principles of this process.

The adjustment is made as follows. A screen is installed perpendicular to the floor plane, with special markings, on which the main reference point is the broken line for adjusting the light of car headlights.

Certain requirements must be met in order for the final result to be correct, we list them below:

• All cars must be the same. The pressure should also be checked and adjusted if necessary. At the final stage, the load on the driver’s seat should be taken into account so that it corresponds to its weight category.
• The manual range controls should be in the zero position corresponding to an unloaded vehicle.
• The car should be placed in such a way that the axis of the rear wheels is parallel to the screen, in other words, the axis of symmetry of the car should coincide with the plane bisecting the distance between the headlights. The accuracy and correctness of the adjustment will directly depend on how the car is installed.

In general, with the help of lighting angle correctors, the convenience and safety of driving at night is significantly increased. This wonderful device has already saved thousands of human lives, and will prove its benefits more than once.

Video about headlight adjusters

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Celebrity cars must match their star status. It is simply impossible for them to arrive in something modest and publicly available. Their vehicle must match their popularity. How more popular person, the more refined the car should be. Stars popular on a global scale Let's start this review with...

Fast cars are an example of how automakers are constantly improving the systems of their cars and periodically conducting developments to create the perfect and fastest vehicle on the road. Many technologies that are developed to create a super-fast car later go into mass production...

HOW to choose the color of the car, choose the color of the car.

How to choose the color of a car It’s no secret that the color of a car primarily affects safety traffic. Moreover, its practicality also depends on the color of the car. Cars are produced in all colors of the rainbow and dozens of its shades, but how to choose “your” color? ...

A family car should be safe, roomy and comfortable. In addition, family cars should be easy to use. Types of family cars As a rule, most people associate the concept of “family car” with a 6-7-seater model. Station wagon. This model has 5 doors and 3...

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