Welcome to processing!
I don't own Gimp but I'm a tiny bit aware of color tools.
My first question for you is have you tried to experiment and see what happens to the values numerically?
Most color tools in different programs are pretty much black box as far as the math operations specifically.
So you are slightly asking someone else to do the specific work for you,
and as far as editing programs I'd think those that would have done such intense color investigations (like the extensive work of Mark Shelley here on CN) are using software that had a pricetag like the industry standard Adobe Photoshop.
You may benefit from your personal experimenting.
Photoshop has a color picker and info box that allows you to hover over a color and see the RGB values in the bit depth of your choice.
I'd be surprised if Gimp didn't have such tool.
I created a set of RGB/W chips that are labeled 0-255 and cover the full range of values here:
this allows you to easily hover over and see the initial (labeled) and then test what changes have done......
You can download and practice color correction/grading on and see how your tools work.
Notice if you hover over the labeled chips they initially will have the labeled value --red 200 will be 200,0,0. White 200 will be 200,200,200, blue 200 will be 0,0,200,etc....
Note in Gimp you should have access to a whole host of color tools in an image editor where you can also isolate changes to specific channels or apply selection masks or color ranges to isolate specific bits, etc.....
In your levels adjust you may have a drop-down that your can toggle between RGB and each color channel separately, and then there may be a checkbox about mixing/preserving luminosity so all the channels are affected together.
Unfortunately only better video editing software has the benefit of waveform, RGB parade, and vectorscopes that give you precise graphical feedback of the changes without having to trust your eyes or the calibration of your display or the RGB info tool....At least the histogram you do have gives you a slight idea.....
You can easily create for yourself color chips of say an RGB value of 200,100,150 and then apply the change and then hover over and look at the value and see what happened.....
You will be better for it by experimenting.
- the blackpoint or shadows or lift moved to black: will pull more pixels down to 0 lum ('brightness'-not the best technical term)..This means you clip and lose information in the shadows. Raising this will raise the hidden visible noise in the image, but calibration frames and stacking and hotpixel removal should eliminate most of this....You might want the faint details that may live down here....
- Moving the whitepoint or highlights or brights to white will move more pixels towards 255 value (or 1023 in 16bits per color)....This means if you do max the pixels out you clip the highlights and will lose detail in the highlights and will also lose all color information in stars (since RGB all at 255=pure white).....
- Moving the midpoint or midtones or Gamma up or down will either raise some dark pixels into the midtones and/or move midtones pixels into the highlights, moved the other way it will move some highlights pixels down to midtones or move midtone pixels down to shadows.... The 3 points work off each other so the range is based on the bookend points
Note coming from linear data and stacked/processed, your image will have more data than would possibly be able to be displayed on current technology,
nor be contained in most image files in a typical color gamut (sRGB/Adobe RGB).
Your sensor captures a huge range of darks to brights. So in color correction, especially in levels adjust,
you are deciding what information should be spread out where.
You can either:
- crush pixels down to black,
- squeeze them into a more limited range of grays/mid-saturated colors,
- or push them to max out at pure white.
it's a process of trade-offs and compromises.....but can also work to the editor's advantage.
Best to crush noise to the black floor, keep some fun faint stuff off the black floor,
spread the grays as wide as possible depending on your subject, (and note you don't have to equally spread the midtones out),
and keep the highlights from clipping to pure white unless you want a particular region showing that way (without any color).....
Note there is complexity to how all this works,
since the math values are weird.
Due to the particular response curve of the human eye for the range of bright/mids/shadows, and color, it isn't a linear line.
The 'just-noticeable difference' between values in the ranges are different, although I believe the typical reported RGB numbers are after the response calibration is applied for JND....
Color science is a deep rabbit hole........
The colors on screen are based on the RGB 'brightness' value ratios. (ie 0-255)....So the levels adjust RGB and lum mix style will adjust the brightness and change colors to brighter/darker that way.
Working in separate channels will offset the individual R or G or B values separately (if lum mix is unchecked?), which will change the balance and change the RGB mix and thus change some colors as well. Some tools allow you to pull one color up/down and it will have a blackbox effect on the other two primaries....
Levels works with brightness.
HSL is hue, saturation, brightness. H-Hue is the spectrum color point adjust (is it purple or orange or yellow,etc.), Saturation is how rich the mix of the spectrum color is(dull=more grayish v. vibrant), and L is Luminance or brightness.
Say you have a green cast (nothing green in space except comets[unless doing Hubble palette w/NB), then you pull the green down in the mix while keeping reds and blues up.....Most times you can add the offset color of the primary to remove it, but there are better advance tools to do things like this as well....
Hope this helps!