update docs for #17662: [GUI] Replace 'picture' by 'image' to unify t…

…erminology; keep 'picture' for system path / special folders and CLI related WebP option

content/module-reference/processing-modules/censorize.md

@@ -25,7 +25,7 @@ Aside from anonymization, this module can also be used for a wide range of creat
 
 If forensically safe anonymization is required, the only way to achieve this is to paint the surfaces with a solid color. 
 
-**The darktable team does not accept responsibility for poorly anonymized pictures leading to the identification of individuals or personal property.**
+**The darktable team does not accept responsibility for poorly anonymized images leading to the identification of individuals or personal property.**
 
 ---
 

content/module-reference/processing-modules/color-calibration.md

@@ -336,7 +336,7 @@ In order to use this feature you will need to take a test shot of a supported co
 
 If the lighting conditions are close to a standard D50 to D65 illuminant (direct natural light, no colored bounced light), the color checker shot can be used to produce a generic profile that will be suitable for any daylight illuminant with only a slight adjustment of the white balance.
 
-If the lighting conditions are peculiar and far from standard illuminants, the color checker shot will be only usable as an ad-hoc profile for pictures taken in the same lighting conditions.
+If the lighting conditions are peculiar and far from standard illuminants, the color checker shot will be only usable as an ad-hoc profile for images taken in the same lighting conditions.
 
 
 ## usage
@@ -351,7 +351,7 @@ Use the following process to create your profile preset/style:
 4. In the image preview, an overlay of the chart's patches will appear. Drag the corners of the chart so that they match the visual references (dots or crosses) around the target, to compensate for any perspective distortion,
 5. Click the _refresh_ button to compute the profile,
 6. Check the _Profile quality report_. If it is "good", you can click on the _validation_ button. If not, try changing the optimization strategy and refresh the profile again.
-7. Save the profile in a preset or style, or simply copy & paste the module settings to all of the pictures taken under the same lighting conditions, from within the lighttable view or filmstrip.
+7. Save the profile in a preset or style, or simply copy & paste the module settings to all of the images taken under the same lighting conditions, from within the lighttable view or filmstrip.
 
 ---
 
@@ -407,7 +407,7 @@ The _optimize for_ parameter allows you to define an optimization strategy that
 - _none_: Don't use an explicit strategy but rely on the implicit strategy defined by the color checker manufacturer. For example, if the color checker has mostly low-saturation patches, the profile will be more accurate for less-saturated colors.
 - _neutral colors_: Give priority to grays and less-saturated colors. This is useful for desperate cases involving cheap fluorescent and LED lightings, having low CRI. However, it may increase the error in highly-saturated colors more than not having any profile.
 - _saturated colors_: Give priority to primary colors and highly-saturated colors. This is useful in product and commercial photography, to get brand colors right.
-- _skin and soil colors_, _foliage colors_, _sky and water colors_: Give priority to the chosen hue range. This is useful if the subject of your pictures is clearly defined and has a typical color.
+- _skin and soil colors_, _foliage colors_, _sky and water colors_: Give priority to the chosen hue range. This is useful if the subject of your images is clearly defined and has a typical color.
 - _average delta E_: Attempt to make the color error uniform across the color range and minimize the average perceptual error. This is useful for generic profiles.
 - _maximum delta E_: Attempt to minimize outliers and large errors, at the expense of the average error. This can be useful to get highly saturated blues back into line.
 
@@ -431,6 +431,6 @@ Some cameras, most notably those from Olympus and Sony, have unexpected white ba
 It is possible to alleviate this issue, if you have a computer screen calibrated for a D65 illuminant, using the following process:
 
 1. Display a white surface on your screen, for example by opening a blank canvas in any photo editing software you like
-2. Take a blurry (out of focus) picture of that surface with your camera, ensuring that you don't have any "parasite" light in the frame, you have no clipping, and are using an aperture between f/5.6 and f/8,
-3. Open the picture in darktable and extract the white balance by using the [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool in the _white balance_ module on the center area of the image (non-central regions might be subject to chromatic aberrations). This will generate a set of 3 RGB coefficients.
+2. Take a blurry (out of focus) image of that surface with your camera, ensuring that you don't have any "parasite" light in the frame, you have no clipping, and are using an aperture between f/5.6 and f/8,
+3. Open the image in darktable and extract the white balance by using the [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool in the _white balance_ module on the center area of the image (non-central regions might be subject to chromatic aberrations). This will generate a set of 3 RGB coefficients.
 4. [Save a preset](../../darkroom/processing-modules/presets.md#creating-and-editing-presets) for the _white balance_ module with these coefficients and auto-apply it to any color RAW image created by the same camera.

content/module-reference/processing-modules/diffuse.md

@@ -192,7 +192,7 @@ Conversely, the following optical issues may benefit from reconstruction by **un
 3. haze/fog,
 4. light diffusion (using a diffuser that is too large), leading to even lighting and lack of local contrast on the subject.
 
-While more than one of these issues can affect the same picture at the same time, it is better to try to fix them separately using multiple instances of the module. When doing so, ensure the issues are corrected from coarse scale to fine scale, and that denoising always happens first. That is, your instances should appear in the following [pipe order](../../darkroom/pixelpipe/the-pixelpipe-and-module-order.md):
+While more than one of these issues can affect the same image at the same time, it is better to try to fix them separately using multiple instances of the module. When doing so, ensure the issues are corrected from coarse scale to fine scale, and that denoising always happens first. That is, your instances should appear in the following [pipe order](../../darkroom/pixelpipe/the-pixelpipe-and-module-order.md):
 
 1. denoise,
 2. local contrast enhancement,

content/module-reference/processing-modules/filmic-rgb.md

@@ -118,7 +118,7 @@ The controls in the _scene_ tab are similar in principle to those of the [_level
 middle-gray luminance (hidden by default)
 : This setting allows you to decide what luminance in the scene should be considered the reference middle-gray (which will be remapped to 18% in display). Use the [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool to read the average luminance over the drawn area. If you have a photograph of a gray card or a color chart (IT8 chart or colorchecker) shot in the scene lighting conditions, then the gray picker tool can be used to quickly sample the luminance of the gray patch on that image. In other situations, the picker can be used to sample the average luminance of the subject.
 
-: This has an effect on the picture that is analogous to a brightness correction. Values close to 100% do not compress the highlights but fail to recover shadows. Values close to 0% greatly recover the shadows but compress the highlights more harshly and result in local-contrast losses.
+: This has an effect on the image that is analogous to a brightness correction. Values close to 100% do not compress the highlights but fail to recover shadows. Values close to 0% greatly recover the shadows but compress the highlights more harshly and result in local-contrast losses.
 
 : When modifying the middle-gray luminance, the white and black exposures are automatically adjusted accordingly, to prevent the dynamic range from clipping and to help you set the right parameter faster. If you are not happy with the auto adjustment performed by the gray slider, you can correct the white and black exposure parameters afterwards.
 
@@ -132,7 +132,7 @@ white relative exposure
 : The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display white (peak-white). This is the right bound of the scene dynamic range that will be represented on the display -- everything brighter than this value on the scene will be clipped (pure white) on the display. The [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool reads the maximum luminance in RGB space over the drawn area, assumes it is pure white, and sets the white exposure parameter to remap the maximum to 100% luminance.
 
 black relative exposure
-: The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display black (maximum density). This is the left bound of the scene dynamic range that will be represented on the display -- everything darker than this value on the scene will be clipped (pure black) on the display. The [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool reads the minimum luminance in RGB space over the drawn area, assumes it is pure black, and sets the black exposure parameter to remap the minimum to 0% luminance. The black picker measurement is very sensitive to noise, and cannot identify whether the minimum luminance is pure black (actual data) or just noise. It works better on low ISO pictures and with high quality demosaicing. When the picker puts the black exposure at --16 EV, this is a sign that the measurement has failed and you will need to adjust it manually.
+: The number of stops (EV) between the scene middle-gray luminance and the scene luminance to be remapped to display black (maximum density). This is the left bound of the scene dynamic range that will be represented on the display -- everything darker than this value on the scene will be clipped (pure black) on the display. The [picker](../../darkroom/processing-modules/module-controls.md#pickers) tool reads the minimum luminance in RGB space over the drawn area, assumes it is pure black, and sets the black exposure parameter to remap the minimum to 0% luminance. The black picker measurement is very sensitive to noise, and cannot identify whether the minimum luminance is pure black (actual data) or just noise. It works better on low ISO images and with high quality demosaicing. When the picker puts the black exposure at --16 EV, this is a sign that the measurement has failed and you will need to adjust it manually.
 
 : The black relative exposure allows you to choose how far you want to recover lowlights.
 

content/module-reference/processing-modules/haze-removal.md

@@ -9,7 +9,7 @@ view: darkroom
 masking: true
 ---
 
-Automatically reduce the effect of dust and haze in the atmosphere. This module may also be employed more generally to give pictures a color boost specifically in low-contrast regions of the image.
+Automatically reduce the effect of dust and haze in the atmosphere. This module may also be employed more generally to give images a color boost specifically in low-contrast regions of the image.
 
 Haze absorbs light from objects in the scene but it is also a source of diffuse background light. The haze removal module first estimates, for each image region, the amount of haze in the scene. It then removes the diffuse background light according to its local strength and recovers the original object light.
 

content/module-reference/processing-modules/negadoctor.md

@@ -19,7 +19,7 @@ If the image of the negative was obtained using a digital camera, then in order
 
 - When taking the photograph, adjust the exposure to fully utilise the entire dynamic range of your camera sensor -- i.e. "expose-to-the-right", so that the histogram in your camera touches the right hand side without clipping the image.
 
-- Ensure the white balance is correctly set up to compensate for the light source used to illuminate the negative. You can take a profiling picture of the light source with no film negative in front of it, and then use the "from image area" feature in the [_white balance_](./white-balance.md) module to obtain a reference white-balance setting. This reference white balance setting can then be made into a style or simply pasted onto the images taken from your film negatives.
+- Ensure the white balance is correctly set up to compensate for the light source used to illuminate the negative. You can take a profiling image of the light source with no film negative in front of it, and then use the "from image area" feature in the [_white balance_](./white-balance.md) module to obtain a reference white-balance setting. This reference white balance setting can then be made into a style or simply pasted onto the images taken from your film negatives.
 
 - Apply the standard or enhanced camera matrix in the [_input color profile_](./input-color-profile.md) module.
 

content/module-reference/processing-modules/sigmoid.md

@@ -81,6 +81,6 @@ red/green/blue rotation
 : Rotate the primaries where the per-channel curves are applied. This affects the hue paths when approaching white in the high end. These controls should not normally need large adjustments from the starting values given in the "smooth" preset.
 
 recover purity
-: Recover some of the original purity. A value of 100 causes all of the attenuations to be restored after the per-channel process is done. This lands the middle range values near their original purities. A value of 0 doesn’t restore the purity at all, so the more you apply attenuation, the less purity there is in the final picture. The rotations are always restored regardless of the value of this slider. When this slider is at 0, the output of the module is guaranteed to remain within the gamut footprint of the chosen base primaries.
+: Recover some of the original purity. A value of 100 causes all of the attenuations to be restored after the per-channel process is done. This lands the middle range values near their original purities. A value of 0 doesn’t restore the purity at all, so the more you apply attenuation, the less purity there is in the final image. The rotations are always restored regardless of the value of this slider. When this slider is at 0, the output of the module is guaranteed to remain within the gamut footprint of the chosen base primaries.
 
 Bear in mind that unlike the [_rgb primaries_](./rgb-primaries.md) module, this is not a tool for creative color grading but rather a set of controls to provide a reasonable starting point for further edits. The effect of these adjustments is not the same as the rgb primaries module even though the interface looks similar.

content/module-reference/utility-modules/lighttable/import.md

@@ -103,7 +103,7 @@ ignore JPEG images
 
 The "add to library" button allows you to add one or more existing images to the darktable library from the local filesystem. This process does not copy or move images but merely adds their details to the library database and creates XMP sidecar files for them.
 
-select only new pictures
+select only new images
 : Tick this box to restrict the _initial_ selection (when the dialog is loaded) to only those images that have not already been loaded into the darktable library. If you attempt to reload existing images into the darktable library, data for those images will be reloaded from the XMP sidecar files. A button is also available at the bottom of the dialog to select only "new" images for the currently-selected folder.
 
 ---

content/module-reference/utility-modules/print/print-settings.md

@@ -19,7 +19,7 @@ media
 : The type of media loaded on the printer (Plain Paper, Luster Photo Paper, etc.).
 
 profile
-: The printer's ICC profile for the loaded paper. This is the profile specific to the printer and paper. This profile is the last color space transformation applied to the picture whose goal is to create a high quality print.
+: The printer's ICC profile for the loaded paper. This is the profile specific to the printer and paper. This profile is the last color space transformation applied to the image whose goal is to create a high quality print.
 
 intent
 : The print rendering intent (“perceptual”, “relative colorimetric”, “saturation” or “absolute colorimetric”). See [rendering intent](../../../special-topics/color-management/rendering-intent.md) for more details.

content/preferences-settings/miscellaneous.md

@@ -70,5 +70,5 @@ pretty print the image location
 
 # slideshow view
 
-waiting time before each picture in slideshow
+waiting time before each image in slideshow
 : The number of seconds before displaying the next image (default 5) in the [slideshow view](../slideshow/_index.md).

content/special-topics/color-pipeline.md

@@ -28,7 +28,7 @@ Starting in darktable 3.2, users could choose between two workflows that defined
 
 In darktable 3.4, a full scene-referred masking and blending option was introduced, allowing masks to be defined for pixel values above 100% and using only unbounded blending operators.
 
-Switching to _scene-referred_ is a cognitive leap for most experienced users, who are used thinking in display-referred ways. In a display-referred workflow, it is customary to anchor the white value and let tone adjustments revolve around that point, trying to maximize brightness while avoiding clipping. In a scene-referred workflow, white and black values are fluid and adapted to the output medium. It is advised that users anchor middle-gray (which will be preserved as-is for any output medium) and let the view transform (_filmic_) dilate or contract the dynamic range around that point. Because 10 bit HDR white is 4 times as bright as 8 bit SDR white, any rigid definition of "white" becomes irrelevant. But anchoring for middle-gray is actually more convenient, since it keeps the average brightness of the picture unchanged through the view transform.
+Switching to _scene-referred_ is a cognitive leap for most experienced users, who are used thinking in display-referred ways. In a display-referred workflow, it is customary to anchor the white value and let tone adjustments revolve around that point, trying to maximize brightness while avoiding clipping. In a scene-referred workflow, white and black values are fluid and adapted to the output medium. It is advised that users anchor middle-gray (which will be preserved as-is for any output medium) and let the view transform (_filmic_) dilate or contract the dynamic range around that point. Because 10 bit HDR white is 4 times as bright as 8 bit SDR white, any rigid definition of "white" becomes irrelevant. But anchoring for middle-gray is actually more convenient, since it keeps the average brightness of the image unchanged through the view transform.
 
 Some modules (_levels_, _rgb levels_, _tone curve_, _rgb curve_) are inherently incompatible with a scene-referred workflow, because their graphical interface implicitly suggests RGB values that are bounded within the 0-100% range. While the pixel operations they perform can be used in either scene-referred or display-referred workflows because they are unbounded internally, their controlling interface does not allow pixels to be selected outside of the 0-100% range.
 

content/special-topics/program-invocation/darktable-cli.md

@@ -236,7 +236,7 @@ No options provided.
 :  - `0`: default
 :  - `1`: picture: digital picture, like portrait, inner shot
 :  - `2`: photo: outdoor photograph, with natural lighting
-:  - `3`: graphic: discrete tone image (graph, map-tile etc)
+:  - `3`: graphic: discrete tone image (graph, map-tile, etc.)
 
 ### copy