The LIGHT rail was sliders only, so the one control that describes a tone
mapping rather than a scalar had nowhere to live. It now has a TONE CURVE chip;
pressing it puts a curve graph on the photo itself — four channels, RGB plus R,
G and B, exactly the shape Lightroom's point curve has — and dragging a point
bends the picture under it while you drag.
A recipe carries the curve as `adjustments.toneCurve`, an optional map from
channel to point list, `Partial<Record<'rgb'|'r'|'g'|'b', [number, number][]>>`.
The field is optional and the API stores the recipe JSON opaquely, so every
recipe and session written before this commit loads unchanged and simply has no
curve; nothing on the API or in the database moved.
The renderer never sees the points. `shared/utils/toneCurve.ts` turns them into
a 256-entry table per channel and the shader looks the table up in a 256x1
texture: SkSL indexes uniform arrays by constant only, so a per-pixel lookup
has to come from a texture, and a table is the cheaper shape anyway — one
`lut.eval(vec2(v * 255 + 0.5, 0.5))` per channel. The interpolation between
points is a monotone cubic (Fritsch–Carlson) rather than a natural spline,
because a spline overshoots between two close points and that overshoot is the
classic tone-curve tell, a bright halo beside a lifted shadow; a monotone cubic
through the points bends through them and never turns back on itself. The table
is built per channel and then composited through the master, the order the graph
draws it in, so an R point in the shadows survives an RGB contrast S and both
land where the lines say.
Render passes: the curve rides the existing `renderPhoto`, as pass 3e, last —
after the stock, the matrix, the mixer and the seasonal grade, so a point placed
on the graph is the last word on that pixel. Preview and export both call
`renderPhoto`, so the two agree by construction rather than by two matching
implementations. The pass wraps whatever shader the pipeline had built
(`paintShader ?? imageShaderOf()`) as a child of the curve shader, and counts
towards `graded` for the same reason the tone shader does: the curve reads the
matrix's output, so when there is a matrix it has to be in the pixels the curve
samples. Turning the curve on costs one extra render pass and nothing else; off,
`curveIsActive` is false and the pass is not built at all.
That pass is also where this spent its time being invisible. The curve data
reached the recipe and the pixels did not move: `Skia.Image.MakeImage` does not
exist in the shim, so the call threw a TypeError inside the render, the preview
effect's catch swallowed it into `setError('err.generic')`, and the chip, the
graph and the recipe all looked healthy while the canvas kept the old frame. The
fix is in `skiaShim.ts`: CanvasKit keeps that factory top-level (`Skia.MakeImage`)
and only puts the encoded and lazy ones under `Image.`, and its ImageInfo insists
on an explicit `colorSpace` where RN Skia's does not — everything this pipeline
builds is sRGB, so the shim fills it in and the call site keeps RN Skia's shape.
Reproduced in Node first (`curve-skia-lab.cjs`, scratchpad): the shim's call
throws, the translated one returns a 256x1 image.
`ToneCurvePanel.tsx` is the graph: a 224px SVG over the photo's layout box, no
zoom transform, grid plus a dashed diagonal, the composite drawn as a ghost
behind a channel line so a channel edit is still visible against the other
three. Ends are pinned to x 0 and 1, a point cannot be dragged past its
neighbours (2% of the axis is the closest they may sit) and cannot be dragged
out of the square, so the graph can never describe a curve the renderer cannot
apply. One pointerdown grabs the nearest point inside 11px or adds one on the
line under the cursor and keeps dragging, so a click is a point and a drag is a
bend. Deleting a point is the graph's own double-click, not the circle's, and it
has to be: grabbing a point takes pointer capture, so the click that follows is
delivered to the SVG rather than the circle under the cursor.
RESET clears the whole graph, all four channels, and hands back an empty object
that `App.tsx` maps to `undefined` so the recipe drops the field rather than
keeping a `toneCurve: {}` — the field's presence is what "this picture has a
curve" means, and an empty map that means the same as no map is a state two
pieces of code would eventually disagree about. One undo step per visit to the
graph, the rule the ruler and the watermark box already ride: a drag is one
edit, not one per pointer move.
No new i18n keys: the chip and the panel labels are literal uppercase, the same
as EXPOSURE and STRAIGHTEN beside them. Not PRO-gated — the curve is a LIGHT
control like the rest of the tab.
Verified:
tone-curve-probe.cjs (new, scratchpad) — a 256x256 greyscale ramp uploaded to
http://localhost:8090, pixels read back off the built app. 33 PASS, 0 FAIL,
no page errors. The ramp is a ramp before (9..246), a flat curve is two
points and no pass, the graph is drawn on the photo (graph 729,280 240x291
against photo 719,325 256x256), every stop of the ramp lands on the drawn
curve (worst deviation 1), black lifts to 132 while white holds 246 -> 252,
a point dragged up bends the line itself (M0.00 112.00 L3.50 110.2...), the
R tab takes the graph over while the composite stays visible behind it and R
drives red at black to 255 with G and B still on the composite (133,132
against 132), the recipe carries toneCurve, it survives a reload (254 -> 254,
chip still amber), a click adds a point and a double-click removes it again,
RESET returns the ramp to its start (worst 0) and drops the field, and close
takes the graph off the photo.
tone-curve-math.cjs (new, scratchpad) — the panel's and the table's own
arithmetic, 11/11: the ends pin and sort, a dragged point lifts where the
graph says, a steeper segment never turns back on itself, a channel curve
runs before the composite, a click lands on the line, two points cannot
share a spot, an end cannot leave the axis, and the two ends survive a
delete where a middle point does not.
Regressions against the rebuilt app, 0 fail: landing-test.cjs 172,
pro-gate-test.cjs 27, award-column-probe.cjs 18, otp-code-probe.cjs 10.
web tsc --noEmit clean.
ponytail: the graph is anchored over the photo, not draggable — it sits at the
photo's own layout box the way the crop frame and the straighten ruler do, and
the one time it would want to move it is when the photo under it is small, at
which point a token drag offset is cheaper than the second positioning system.
Parametric curves (Lightroom's shadows/highlights/darks/lights) are not here:
the point curve is the one the request asked for, and a parametric curve is a
second graph, not a second line on this one — add it as another channel row when
someone asks. The LUT is a texture rather than Skia's table colour filter
because CanvasKit 0.42 has no ColorFilter.MakeTable. The panel's graph size and
hit radius are literals, since exactly one graph exists.
The panel shared one column between the two marks, so GPS's colour, its two
switches and its hand-typed place stood open beside the custom mark's text,
colour and size whether or not either mark was on. The two are now collapses,
one per mark: the header chip is the section, and that mark's own controls sit
under it. What opens a section is the mark itself — GPS WATERMARK ON opens
GPS's controls, CUSTOM WATERMARK ON opens the custom mark's — so there is no
new state and no way for a panel to disagree with the pixels.
Both marks gain the FONT strip the phone has had (TEXT FONT for the custom
mark, FONT for GPS, whose stamp the phone also lets you set a face on). A
browser has no font service, so the list is exactly what the bundle carries:
the site's two self-hosted families, Inter and Fraunces (SIL OFL), their latin,
latin-ext and vietnamese woff2 subsets decompressed, pinned to weight 400 @
opsz 14 and merged into ONE TTF per family — drawText has no glyph fallback, so
a family mapped to only the latin subset would print a Vietnamese place name as
tofu. DEFAULT stays the bundled Cousine face, which is what every existing
session and every mark without a family prints.
Two engine bugs came out of it. CanvasKit 0.42's Font.getGlyphWidths passes its
output pointer where the wasm export wants the bounds pointer, so every glyph in
a run comes back holding one identical, rounded width — at 64px on the merged
Inter face, 'H' and 'i' both answered 42, while hmtx says 0.743em and 0.242em,
and a box measured off it was 27% too wide ("Hà Nội 09/23" 510px against a true
403px). The shim now rebinds it with the pointers in the order
_getGlyphWidthBounds reads them, and the stage's boxes measure with linear
metrics, which land on hmtx exactly (403.28px against 403.28; hinted is 407).
And CanvasKit's TypefaceFontProvider.matchFamilyStyle answers null for every
style shape this binding accepts, so a name registered with it never resolved —
the shim keeps its own registry keyed by family name instead.
Measured: tsc clean; the engine harness on the merged faces 26/26, including the
registry's advances against hmtx (Inter 6.3013em, Fraunces 6.3475em); the
deployed app under Playwright 38/38 over the two collapses and both FONT strips
— each mark's controls appear only with its own mark on, the DEFAULT/INTER/
FRAUNCES box widths match hmtx, the baked ink fills the box, the top edge
re-hangs off the new ascent (Inter 0.96875em against Cousine's 0.8325em, 3.4px
at this size) with the left edge fixed, and UNDO round-trips. Opening a section
narrows the stage by 168px with no window resize (955px -> 787px), so the stage
now re-measures its drop boxes off a ResizeObserver on the frame and the
picture rather than on the next render.
Not ported: the phone's GPS watermark still prints in the bundled face only
(no emulator here to verify a phone-side font strip), and the FONT options are
not behind the PRO gate the way the phone gates non-default families.
The row below the photo carried CLEAR, OPEN and SAVE ORIGINAL but never said how
big the picture was, so the only way to learn the resolution was to open the
export menu and read the hint there. The size now leads that row, before CLEAR:
the file's own pixels turned by the quarter turn and cut by an applied crop, so
it is the number an export at the photo's own size writes. A live crop does not
move it (nothing is cut yet), STRAIGHTEN never does (the rotated rectangle is
fitted back inside the same pixels), and the guest tier's 2048 cap is still only
announced in the export menu where the file itself is capped.
Verified end to end in photo-dims-probe.cjs: 2400x1800 opens as "2400 × 1800",
a 90 deg turn reads 1800 × 2400, an applied 1:1 crop reads 1800 × 1800, and the
export writes exactly that file.
Saving into the account's own folder has always been the account's act —
the button opened the way in and the API answers an unproven address with
a 403 — but nothing on the button said so, so it read as a button that
quietly did nothing. It now wears the same PRO marker the chips do, and
only while the folder is not the visitor's.
MY PHOTOS is that folder's listing, so the tab is only offered once an
account can hold one. A guest loses the tab entirely rather than opening
it on an empty folder that could never fill; an account that has signed
up but not proven its address keeps the tab, and the tab keeps offering
the way to prove it.
The last three PHOTO STYLE looks (B&W HIGH CONTRAST, LC STREETLIFE
CLASSIC and LC STREETLIFE VIVID) and the whole mixer now belong to the
account, the way PRO frames and the geotag already do: the chip wears
the PRO badge, a guest who picks it is shown the way in, and the look
stays off. The HSL tab keeps its place in the rail but offers the one
PRO chip while locked, so the tab itself is not a dead end; a look that
arrives without the chips — an imported .recipe, or a photo saved
before the gate — is still caught where the gate bites, at export.
STRAIGHTEN's scale turns with the wheel, one degree a notch, because
the ruler is where the angle is being judged and reaching for a slider
elsewhere loses the thread. The listener is native and stops the notch
before the stage sees it, so the photo does not zoom under the pointer.
The scale gives up its opaque card, its blur and its shadow: the frame
it is levelling has to stay readable through it, so legibility comes
from a text shadow on the heading and a drop shadow on the graduations
instead.
The card hangs on the point the eyedropper read, which is exactly where the
user wants to watch the band move — so it covers the patch it is editing. Its
body now takes a drag: the offset is a fraction of the photo, which is the
layer the card lives in, so a zoom keeps it where it was put and a fresh pick
drops it back on its own point. The knobs and the close button keep the pointer
to themselves, and the anchor cannot leave the photo, so the card is always
half in reach of a drag back.
The split used to paint the photo file beside the render, so it only lined up
while nothing had moved: a turn, a straighten, a printed frame and the halves
were two different pictures. The app now renders the same frame twice — once
through the look, once through the neutral stock — and the left of the bar is
that second copy. Rotation, straighten, crop and frame land on both halves by
construction, so the CSS that tried to map the crop onto the file goes away.
The toggle lives in the app now, which is what knows how to ask for the extra
render; it is only asked for while the split is up. The layer waits for that
copy rather than flashing the raw file, whose geometry is already wrong.
Choosing a crop ratio used to disable COMPARE outright, because the split
painted the whole original into a box that was now the crop's shape. The
original is now looked at through a window of the render's own shape: with a
crop applied the photo is scaled and slid by the crop rect so the same
rectangle lines up, and the split compares like with like.
The window needs the image free to overflow it, so the inline style lifts the
box clamp that .canvas-wrap img puts on every preview.
The server still never sees a photo, so the model has to run in the page.
Real-ESRGAN x4v3 ships as a 4.9MB ONNX in public/models and is loaded
lazily on the first export that actually needs it; the wasm runtime is
copied next to CanvasKit at build time and stays lazily fetched, cached
for 30 days. Vite is told onnxruntime-web is external-wasm so no 28MB
asset lands in the bundle.
UNCHANGED keeps the old path and the tier cap; 2K/4K/custom upscale only
when the request is larger than the photo being edited, otherwise they
resize down. Guests keep UNCHANGED and 2K. Tiling is 256px with an 8px
overlap, so memory follows the target size rather than four times it.
The ten PHOTO STYLE sims now carry nothing but their stock's own grade, and
each is named for the stock it stands for: PROVIA, VELVIA, CLASSIC CHROME,
CLASSIC VIVID (Velvia spliced with Classic Chrome at the blue row), CLASSIC
NEGATIVE, ASTIA, ETERNA, ACROS, LC STREETLIFE CLASSIC, LC STREETLIFE VIVID.
Grain, clarity, saturation and light moves were dropped from their
`adjustments`, so a sim is a clean starting point and the general knobs read
their defaults while the look still lands on the pixels.
LC STREETLIFE VIVID keeps the one brightness step its stock needs, but as
SIM_EXPOSURE_BIAS in colorUtils rather than as an adjustment: it is folded in
where the Exposure slider applies, so the picture gets the lift and the
parameter stays at 0.
Also in this checkpoint: the watermark/GPS boxes and their colour pickers, the
WATERMARK chip column, the real admin stats, and the fix that stopped presets
from doubling and a frame from refusing to come off when a photo was reopened
(/file is the finished render, /base the editable pixels).
A signed-in account is served exactly like a guest until it opens the
verification link: watermarked 2048px export, no saving, no PRO frames,
GPS stamp or HDF. SMTP is declared in .env; with SMTP_HOST unset the link
goes to the container log. Allowlisted admins count as verified.
Tapping a tab on a phone opened a 148px column with the chips stacked one per
line, so the strip read as a ladder down the side of the photo. Android's own
panel runs its chips as a row — see src/components/AdjustmentPanel.tsx — and
that is what the phone now gets: the columns stack into one vertical scroll
and each chip row runs sideways again, wrapping inside the full width.
Desktop and tablet keep the columns and the stacked chips; the change lives in
the <=860px block.
On a phone the studio's tabs are now the row the Android app draws: text
pills in uppercase mono, rounded full, amber and a step larger when open, no
glyph, scrolling sideways when the ten tabs outrun the screen.
Desktop keeps its icon-over-label column — the change lives in the <=860px
block, so nothing above that breakpoint moves.
Both columns now have the shape the curator asked for: a narrow shelf of
albums down the left — one per account on the uploads side, one per landing
section on the other — the frame that is up in the middle, and the open
album's thumbnails as a strip across the bottom.
The frame keeps its labels, the four section boxes, the look's QR code and
the delete button under the picture, where before they sat beside it. Each
column previews its own frame; both obey the same name, sort and rating
filters.
The pane is two columns of the same thing: the uploads on the left, one
album per account, and the landing on the right, one album per section —
Film strip, Live preset tester, Custom recipe creator. QR is no longer a
shelf of its own: the code belongs to the frame.
Both columns list their albums the same way and draw the open album's
frames as cards, each with its labels, the four section boxes, its QR
code and the delete button under the picture. Ticking a box files the
frame into that album on the other side straight away.
The landing strip now carries a score: each look and each contributed
frame shows an average, five stars the visitor can press, and how many
votes it has. Votes are keyed photo:<id> or look:<TAG> and one visitor
has one vote per key, so pressing a second star moves a score instead of
stacking one. The API is public and rate-limited; look: scores survive a
cleared pool, photo: scores are pruned with their photo.
PICTURES was four destination rows; it is now an album per uploader with
a search box, a recipe/rating/newest sort, a minimum-star filter, a big
preview and a filmstrip of thumbnails. Deleting and slot picking still
live in the big box.
A photo's landing section can now be the QR card, and that section is the
only one that hands something out: the server writes the photo's own stored
look back as the app's .recipe file, at
GET /api/photos/:id/preset.recipe, for any row the curator ticked into the
qr slot. Nothing new is stored — the file is built from the recipe the
upload already carried, so it works for a photo uploaded by the phone too.
The admin pane grows a fourth checkbox and a fourth row (QR card); the
row draws the download link as a scannable code, and the box is dead for a
photo with no stored look. The landing's QR card now encodes the curated
photo's own link instead of a mock address. The listing exposes
hasPreset, never the recipe itself.
The picker was one dropdown, so a photo lived in exactly one place. The three
destinations are now independent checkboxes on the card, and the column holds
the set as a comma list — the landing page draws a photo in every section it
was ticked into, each still picking one of its own at random per visit.
Ticking nothing is what `off` used to be: the row is kept and the landing page
stops drawing it, which is what the old "not on the landing page" option did.
The pictures pane now reads as a pool of every upload on the left, three
destination rows on the right. Each photo carries one button per
destination; picking the one it already sits in takes it off the landing
page without deleting the row (slot off), which is what the old select's
"not on the landing page" option did.
Four things the studio owed the visitor:
- UNDO/REDO in the header, so a look can be taken back and put back without
reloading the photo; a fresh edit clears the redo trail.
- Opening a saved frame, or picking a look out of its history, now drops the
stale preview buffer instead of leaving the previous render on the stage.
- The picked history look is marked in the accent, so it is plain which look
the photo is wearing.
- The histogram is re-clamped against the photo box on resize, so opening a
chip column no longer pushes the overlay past the edge of the canvas.
The 'NEW SAVES: FILM STRIP' chip goes: a save already lands in the strip.
Two saves that never had a name of their own now ask for one, through a single
modal (ui/NameModal, shared by both flows).
The first filing of an upload asks what the folder keeps it as, and that name
rides along as the frame's title. A re-save keeps the name it already has, so
it never asks twice.
SAVE RECENT leaves CREATE RECIPES and becomes its own rail tab: it files the
look standing on the stage — sim, WB, light, FX and the frame — as a recipe of
this account's own, refusing a name the account has already spent. The frame
travels in the recipe's JSON, so applying the entry puts the whole look back.
The tab lists those files and is the one place they can be deleted from; the
API already scopes both by user. They also show up in PRESETS/RECIPES, deduped
against anything CREATE filed under the same name in this session.
Opening one of the folder's own photos and hitting SAVE PHOTO used to
make a second copy of it. Now it replaces that row — same id, same place
— and the look the row carried steps into its history, newest first and
capped at three, because the pixels it described are gone. The frame's
own column in MY PHOTOS lists those looks (click one to put its settings
back on the stage) and carries the landing-page consent as a plain tick,
which answers the click at once. A file from the disk clears the open
id, so a fresh frame still adds one.
The panel in Lightroom is a running read of the render, so this one reads
the preview blob itself: one downscaled 320px canvas pass bins 256
values per channel, and four SVG paths draw them — the grey luma fill
with the three channel curves screened over it, from absolute black to
absolute white. Dragged by its header, clamped inside the photo, parked
top-right on first paint, and dismissed either from its own frame or from
the toolbar button. It steps aside while the crop frame is up.
installTracking() beacons one view per page load and one click per control that
carries a data-key, so every existing button is already counted. The new STATS
pane reads it back: a 7/30/90-day range, the three totals, an SVG timeline and
eight proportional bar lists (pages, clicked features, country, region, city,
browser, system, device).
The CREATE RECIPES form had grown into one long scroll. The six categorical
groups (SIMULATION, DYNAMIC RANGE, GRAIN EFFECT, COLOR CHROME EFFECT, COLOR
CHROME EFFECT BLUE, WHITE BALANCE) are now native <details> folds — the browser
keeps the open flag, so no state and no library.
The two tone-curve ENDS join the numeric grid: EXPOSURE (the matrix gain the IQ
tab already drives), EV (the old EXPOSURE COMP. row, renamed to the phone's
word), WHITE and BLACK. WHITE/BLACK are new ColorAdjustments fields, applied in
TONE_SKSL as cubic end-weights rather than another smoothstep knee — the HL/SH
knees already spend the slope budget, and the cubic keeps the curve monotonic
for every combination (derivative >= 0.46), so a brighter input can still never
come out darker. Both are optional, so stored recipes keep working.
- the brand "Cam", the avatar and the signed-in name follow the theme accent
- double-click a slider track resets that parameter; double-click the photo
toggles 1:1 and the whole photo on the stage
- `*`, or a recipe chip dragged onto the star, files the look under FAVORITED
- RESET under CREATE clears the draft form, and the button now sits under a
rule at the foot of the column
The six section links leave the top bar for a thin shelf under it, each a
bordered pill at the page's normal text size, so the bar itself stays a
row of actions and the jumps still read as buttons.
The Theme menu gains the workspace's colour groups — the landing palette
now takes its hue from the accent tokens — an Auto mode that follows the
OS scheme live, and a dropdown in place of the three font chips.
The users table grows a checkbox column with a select-all box in its head,
and three controls above it: SELECT ALL, SELECT NONE and DELETE SELECTED
naming the count. An admin account is the API's own privilege source, so it
gets no box and select-all skips it; the picks clear once the deletes land.
The landing top bar gains a RecipesCam web studio button between the account
slot and Download RecipesCam. It hides with the rest of the wide row under
1160px, where the burger sheet already offers the studio.
- /admin User account rows gain BLOCK/UNBLOCK, REMOVE/RESTORE and DELETE.
Blocked = cannot sign in (sessions swept), removed = hidden from the strip
and cannot sign in, both reversible; DELETE drops the account with its
photos and recipes and unlinks the files. An allowlisted account is never
a target, so an admin cannot moderate or delete itself.
- Photo uploads move from a 3MB API cap / 4m nginx cap to 12MB / 16m, and
the browser shrinks an oversized still before sending it (2048px JPEG,
avatars 512px) so the declared type still matches the sniffed bytes.
- The studio SAVE leaves the top bar and sits under the CREATE RECIPES tab,
labelled SAVE RECIPES.
The landing, /admin and /profile all show the icon + RecipesCam wordmark
with the page name beside it; the studio still showed a bare "RecipesCam
web" text. Same pair now, so the phone header says where the visitor is.
- an account can carry a picture: POST /api/auth/avatar (raw bytes,
sniffed, replaces and unlinks the old file) and the public
GET /api/users/:id/avatar. It rides wherever the account is named —
the landing chip, the studio TopBar, the profile form.
- new /profile page for members, sharing one Profile form (picture,
email, password) with the admin drawer.
- /admin is now one bordered frame whose left column is
Profile / User account / Pictures / Close. Pictures lists every
photo in the system with the slot that shows it; User account lists
each account's name, email, picture and contribution count.
- account control opens a menu: Admin page + Log out for an admin,
Profile + Log out for a member.
Layout
- the panel is a cascade of columns: the rail's tabs, the tab's chips, the
open chip's sub-chips, then the ruler. A child column no longer hides the
column it came from (TEMP -> COLOR TEMP keeps TEMP visible); chips stack one
per row instead of wrapping
- FRAME's WATERMARK opens its own column, so the frame chips stay put
- CREATE RECIPES gets the wide column its two-up form needs
WB colour swatches
- the ruler draws a colour box under the slider that follows the value:
COLOR TEMP is the Kelvin colour (Tanner Helland), TINT runs green -10 ->
neutral 0 -> magenta +10
HDF EFFECT
- knee 0.55..0.85 -> 0.45..0.75, blur 0.004+0.015n -> 0.006+0.024n of the
width, screen alpha 0.15+0.35n -> 0.28+0.52n: a wide halo on the highlights
instead of a hairline glow. Web copy of toneShader only — the phone keeps
its own tuning.
Tabs
- rail order is PRESETS, FAVORITED, WB, LIGHT, FX, FRAME, CREATE RECIPES
Backend
- photos table + upload storage under DATA_DIR/uploads (magic-byte sniffing,
no multipart dep, SVG rejected, wx exclusive writes)
- POST/GET /api/photos, GET /api/photos/:id/file with nosniff + sandboxed CSP
- admin routes (ADMIN_EMAILS allowlist): list, delete one, clear all
- identity-keyed rate limits (login 20/15m, signup 5/h, upload 60/h)
- cookie gains Secure when the request is https (via trustProxy)
- /api/auth/me now 200 {user:null} instead of 401 when signed out
Frontend
- landing strip section: signed-in users upload straight from the reel,
guests get a /app?auth=1 link
- /admin page: grid of uploads with delete + clear all
- nginx: nosniff / X-Frame-Options / Referrer-Policy, forward
X-Forwarded-Proto so the API can mark cookies Secure behind TLS
Tests: docker/backend test/security.mjs (45 checks)
Cursor over the image: the wheel zooms about the pointer, and a drag pans,
both clamped to the contain-fit of the loaded bitmap so the photo can never
be lost off-screen. Cursor over an open parameter ruler: the wheel moves that
parameter by one step, clamped to its min/max. While the crop frame is being
dragged the wheel keeps resizing the crop instead, and APPLY puts the view
back on the fit.
The phone's RecipeCreateModal becomes a rail tab with the same rows, seeding
from the look on screen and clamping the same way. SAVE RECIPE applies the new
look, lists it under RECIPES and, when signed in, stores it on the account; a
guest's copy stays in memory and goes away with the page. Signed-in users can
also export the recipe as the app's encrypted .recipe file (shared/utils
/recipeShare.ts vendored byte-identical from the RN project).
Ten dark cinematic sections: fixed glass nav with a hamburger sheet, hero
with the badge/dual CTA/stats bar, a pausable 35mm film-strip marquee, the
live preset tester (5 stocks, HUD, spec bars), the three-knob custom recipe
simulator, the 6-card feature grid, the QR sharing showcase, free-vs-Pro
pricing, reviews + FAQ accordion and the final CTA/footer.
The page owns its palette and its .lp-* styles, so it renders the same in
either workspace theme, and it pulls no CDN: Syne is bundled and the six
sample negatives are vendored (see docker/README.md). Store buttons raise a
toast instead of the old alert(). The now-dead landing CSS and the unused
land.* dictionary keys are gone.
The chips column was a stack of labelled sections; the phone opens one row at
a time. Port that shape: tapping a tool tab shows the tab's chips, tapping a
param chip opens its ruler above them, tapping a group chip opens its options
strip, and either closes the other. RESET leads the row (amber while dirty)
and PHOTO STYLE / RECIPES / WATERMARK are strips instead of inline chips.
The header wraps under 860px, so a menu-wrap can land at the start of a row.
`.popover` is right-anchored to its button, so the theme/language/account menu
rendered at x=-280 of a 390px screen — half of it off the left edge and its
buttons unclickable. Anchor the popover to the full-width header on narrow
screens instead.
Measured at 390x844 before/after: popover x=-280 → x=56, w=326, fully inside.
`docker/` now holds the whole web build — frontend (Vite + React + CanvasKit),
backend (Fastify + SQLite) and the compose file — so the folder can be moved to
another machine and run without the React Native project:
cd docker && cp .env.example .env && docker compose up -d --build
Only `${WEB_PORT:-8090}` is published; nginx serves the SPA and proxies /api to
the `api` container over Docker's DNS. Photos never reach the server.
The shared render code is vendored into `docker/frontend/shared/` and aliased to
a CanvasKit shim, so the app's own frameUtils/toneShader/jpegDpi run unchanged.
Fix the all-black render on GPU surfaces: `MakeWebGLCanvasSurface` creates a
separate WebGL context per call, and a texture from one context cannot be
sampled by a surface on another — so any pass that drew a snapshot onto a second
surface (output sharpen, screen sharpen, polaroid/wallframe cards) came out
solid black, while the raster fallback was correct. Use one shared
GrDirectContext + MakeRenderTarget instead.
Verified in headless Chromium against the running stack: 12MP JPEG in, preview
mean=120.5 sd=60.5, export 2048x1536 mean=107.2 sd=62.1, JFIF density 300/300,
EXIF present, no console errors; health/signup/login/me/recipes all 2xx through
the nginx proxy.
3dtours