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.
CROP + APPLY then a wall frame handed back the whole photo: the crop block
was skipped outright for both walls, so the artwork hung the original. The
walls' own opening still ignores the aspect chip — that is what the
exclusion was for — but the visitor's crop is theirs to keep.
Measured with a source banded red on top and blue below, cut away by a
16:9 crop: through WALL FRAME and WALL FRAME LANDSCAPE the bands used to
come back (569k and 350k red pixels); both now export clean.
Undo and redo were on the far side of the spacer, past RESET, SAVE PHOTO
and EXPORT. They belong next to what they step through: the header now
reads mark, page name, preset name, the two arrows, then the actions.
A tile's destination rectangle was placed at x0 * scale, and that scale
is rarely whole, so every 256px boundary landed on a fraction of a pixel.
The edge was drawn half covered, stayed transparent, and the JPEG export
flattened that transparency onto black: a dark line down each seam.
Snap both destination edges to whole pixels instead, so neighbouring
tiles share the exact same boundary, and make the destination context
opaque so no partly covered pixel can survive as transparency again.
Measured on a 640px source: the seam at 2K was 46 levels darker than its
neighbours (96 at 4K); it is now within one level of them.
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 histogram used to park itself in the top-right corner on the first
paint; it now starts at the top-left of the photo and is dragged from
there, the way the rest of the overlay is. Nothing else changed in it —
same drag, same clamping, same resize.
The stage also gains a CLEAR button, sitting before the picker button,
which is now OPEN PHOTO. CLEAR takes the photo off the stage, but not
before asking: SAVE PHOTO files it first and only then clears, EXPORT
IMAGE writes the JPEG and then clears, CLEAR WITHOUT SAVING drops it
there and then, and CANCEL leaves everything alone. Saving from that
modal resumes the clear once the file has really landed — a guest, a
capped account or a cancelled name prompt never loses the frame.
Clearing forgets the working photo (source, preview, GPS, ISO, and the
IndexedDB copy session.ts now deletes), while the look, the crop and the
undo history stay put, so the next photo opens on the same settings the
way replacing a photo already did.
The name table is a reference for what each sim has to look like, not a
renaming order: the ten PHOTO STYLE chips go back to PROVIPES, VELVIPES,
CLASSIC CHRIPES, CLASSIC VIVIDIPES, CLASSIC NEGIPES, ASTIPES, ETERNIPES,
ACRIPES, LC STREETLIFE CLASSIC and LC STREETLIFE VIVID. The comment above
FILM_SIMS now says so outright — label on the left, the stock's colour and tone
it must match on the right, and neither side moves the other.
The grading is untouched: a sim is still colour and tone only, its `adjustments`
stay neutral, and LC STREETLIFE VIVID keeps its +2 exposure as SIM_EXPOSURE_BIAS
in colorUtils rather than as a knob.
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.
A session followed the browser, not the account: log in, open a frame, log
out, come back as a guest — the same photo stood on the stage, because the
studio's own store (localStorage knobs + the photo in IndexedDB) outlived the
cookie with nothing to clear it.
clearSession() now drops both, and the three log-out buttons call it. The
studio's own button reloads after the delete has committed — a reload mid-
delete aborts the transaction, so the promise resolves on tx.oncomplete, not
on the request. The account's frames are untouched: they reopen from MY
PHOTOS.
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.
HUE, SAT and LUM leave the colour row: behind an IMAGE divider they are
hslHue/hslSat/hslLum, seeded into the shader's band accumulator at full
weight for every hue, while the eight band chips keep picking which colour
the panel on the photo edits. The image lightness term stays ungated so a
frame drained to grey by -SAT still answers +LUM.
FRAME loses its NO FRAME chip: pressing the frame already on the photo
takes it off.
ROTATE's quarter turns stop lighting the moment the fine angle leaves 0,
so the strip shows which of the two is steering the photo.
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.
A save cannot be beaten — the bytes are already on the machine — so the page
stops handing over the uploader's 4000px original: each photo is decoded,
redrawn at the size of the box it sits in times the screen's pixel ratio (2x at
most) and only that smaller copy reaches the tag. A visitor who saves one gets
a screen-sized file.
Right-click, drag and long-press are turned off on top of it, and the QR code
card — a link image, not a contribution — is left as it was.
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.
It is a switch, not a look: it swaps the base filter for the mono stock and
swaps right back to the one the photo was wearing — name and sim included. The
adjustments are never touched, so a knob moved while it is on survives the trip
back, and the swap rides the undo stack like any other edit.
Classic Chrome's blue row, verbatim, with the red and green rows taken from
VELVIPES: skies keep the muted teal/cyan lean while everything that is not
blue reads loud. The shadow crush rides along from FILM_TONE, since it belongs
to the stock rather than to a row. CLASSIC CHRIPES stays untouched beside it.
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.
Removing a saved frame is not like removing a note: its history goes with it,
and nothing on screen said so. A shared modal now names the photo, warns how
many looks ride along, offers the stored file as a download first, and only
then deletes — from MY PHOTOS in the studio and from the folder page alike.
Uploads still land in the community strip with consent on, by the uploader's own
tick — that default stays. What was missing is the curator's removal: the slot
select only offered the other three live placements, so "off the strip" meant
publishing the photo somewhere else or deleting the uploader's row.
`off` is a fifth slot value. The reel draws slot === 'strip' and each live slot
draws its own, so an `off` photo renders nowhere on the landing, while its owner
still has it in MY PHOTOS.
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.
LIGHT already spends its slope budget on the tone knees, so the two end
points were doing nothing a tone knob could not. On WB they act on each
channel's own distance from the end: the darker channel of a shadow and
the brighter channel of a highlight move most, which neutralises a cast
at the toe and the shoulder. Both shuffles stay cubic in the channel
value, so every channel's curve is still monotonic (>= 0.46).
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).
WHITE (whites) and BLACK (blacks) get the same slider rows as HIGHLIGHT
and SHADOW, so the tone curve's two ends are editable on the stage, not
only typed into the CREATE form.
EXPORT no longer burns the caption strip: the pixels stay the photo's own
and the look travels as metadata — ImageDescription (0x010e) for the tag,
UserComment (0x9286, ASCII header) for the recipe JSON.
SAVE PHOTO now stores the look with the frame (photos.recipe) and the
uploader's consent for the community film strip (photos.consent, PATCH
/api/photos/:id for the owner). The landing reel skips non-consented frames,
and a new MY PHOTOS tab lists the account's saves, reopens one with the
settings it was stored with, and carries the two consent switches.
The list was all one colour, so an open recipe was invisible in it. The entry
the stage is showing now reads accent (name, border and background, the same
`.chip.on` the rest of the app uses). The match is id AND name: a preset that
was merely filed under a new name shares the id but not the name, and must not
light up.
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.
Open Graph and Twitter Card meta point at a 1200x630 cover shot of the
hero, and the final CTA grows a share row: Facebook, X, LinkedIn and
Telegram each open with this origin filled in, plus a native share sheet
that falls back to copying the link. The top bar now leads with the web
studio pill next to the store CTA, with the theme, language and account
controls trailing them.
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.
Every member gets /photos — their own uploads, counted against a 12-photo
cap, each card showing the tagline and the technical line the studio would
print. The studio gains SAVE PHOTO n/12 in the top bar: it renders the full
resolution look, stores the strip (tag/title/meta) with the upload so the
landing reel frames it the same way, and refuses past the cap.
EXPORT now burns that strip into the file: the amber #TAG over the photo's
top-left plus a dark caption band below carrying the recipe name and the
ISO / grain / warmth line. The live preview stays clean, and the saved
upload stays clean too — the reel draws its own frame from the stored
labels, so a burned band would tag the tag twice.
Admins manage any photo through DELETE /api/photos/:id; members only their
own. The users table's photo counts stay in step with the folder.
- /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.
A SkPaint runs its shader BEFORE its colourFilter, so setting the exposure
matrix on the same paint as the tone shader landed the gain after the tone
pass: HIGHLIGHT -10 rolled a bright pixel back to 0.78, +EXPOSURE then
multiplied it by 1.2 and +0.15 and it clamped back to 1.0 — the HIGHLIGHT
slider looked dead the moment exposure went up.
The matrix now renders into its own image and the tone/cinema chain samples
that. Measured on the real engine (HIGHLIGHT -10 first, then EXPOSURE +10):
top end stays 0.780 (was 1.000), midtone 0.502 -> 0.722.
3dtours