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Grow Blocks Comparison
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Collage to compare in-camera JPG and processed RAW versions of same photo.
I wasn't being careful when cropping the closeups, the RAW (upper image) is zoomed one full level closer than the JPG (lower).
Shot with my Canon 400D - KISS Digital X, with Canon 28-135mm IS USM @ F8.0 and 1/250th and ISO 200.
All three scans side-by-side. The first is in the middle of the scanner bed. The next two, the left side of the image was flush with the edge of the scanner bed. You can see how much lighter that part of the image is than the rest of it.
These images are direct from the scanner and have not been modified in any way, other than rotation.
Comparison shot between two mobile phone-sized LCD displays. The display on the left contains a Nanosys QuantumRailTM which improves color gamut and efficiency.
Comparison of various levels of jpeg against genetic algorithm compression from www.screamingduck.com/Article.php?ArticleID=46&Show=ABCE
just a little comparison between
Neo Blythe - 1:12 dollhouse doll - Pukipuki - Petite Blythe - mini LDD
and tbh: I wondered myself that Death is smaller than my Petite!!! o.O
A pet peeve of mine has been seeing many pictures on the internet labeled “Silene nivea” which are actually Silene latifolia. So when I found these two species growing about 5 ft apart I decided to take this comparison picture. I tried to search for some that were closer so I could get a more “natural” side by side comparison, but could not find any. So I picked the non-native Silene latifolia which preferred the drier, higher topography mowed area and brought it next to the native Silene nivea which preferred the lower topography among the wet-mesic prairie vegetation.
Silene nivea (left) and Silene latifolia (right), Monroe County Wisconsin, 5 July 2019.
Comparison of Holga HL-N (Mark I) [Top] vs. Holga HL-N (Mark I) + FEL-HL Fisheye for Holga DSLR Add On Lens [Bottom]
I would say it doubles the amount of scene in the picture--The web site said 160° coverage on an APS-C DSLR with the FEL-HL adapter + HL-N Lens...
Photos for my blog post about comparison of two umberellas: tenisd.blogspot.com/2011/09/under-my-umberella-tests.html
Both images taken in my basement with minimal lighting. The image on the left is with my Nikon 50mm, and the right taken with my kit lens at about 50mm.
All settings were the same, with the exception of changing the aperture. The 50mm lens was at f/1.4, the kit lens was at f/5.6.
Here's another example of a hardtop convertible necessitating a huge rump to contain the roof. I don't think this is a very successful attempt at masking the bulk. The wheels look positively tiny in comparison.
Ely Cathedral is in the top rank of the great English cathedrals, and indeed earns its place among the best of medieval churches internationally for its unique architecture and astonishing beauty. It is a church I've visited several times over the years and never fails to impress, its form at once imposing and strikingly individual. Owing to the flatness of the surrounding countryside it is visible from afar as a major landmark, which makes approaching this tiny city all the more enticing.
The church was founded as an abbey by St Etheldreda in 672 and didn't achieve cathedral status until the foundation of the diocese in 1109. Much of the present building dates from the following years, with the nave and transepts still substantially as they were built (aside from a few altered windows and later ceilings) and a fine example of Norman / Romanesque architecture. A little later during the 1170s the soaring west tower and western transepts were added which would have created a magnificent facade when complete and of a type rarely seen in this country. The style is richer with more use of ornamentation than before, but also many of the arches (particularly the upper parts of the tower) are pointed, making it an early example of the transition to Gothic (the octagonal top storey is from two centuries later, but follows the original overall plan in form, if not detail). The north-west transept however collapsed in the late 15th century and was never rebuilt, leaving the front of the cathedral will the curiously lopsided but not unattractive west front we see today. The Galilee porch that projects from the base of the tower dates from the beginning of the 13th century, only a few decades later but now fully Gothic in style.
The Norman eastern limb had been fairly short so the next major building phases saw the great eastward extension of the presbytery built in Gothic style in 1234-50. It makes an interesting contrast with the earlier parts of the building being so rich in style, externally punctuated with pinnacles and flying buttresses and profusely ornamented withing, making the Romanesque nave and transepts seem somewhat austere by comparison. Then in 1321 an ambitious new lady chapel was begun at the north-east corner, but soon afterwards work was delayed by unforeseen events.
In 1322 the old Norman central tower collapsed, bringing down with it most of the old Romanesque choir (but not the recently built presbytery beyond). The aftermath left the cathedral with a gaping hole at its heart, but this must have inspired those charged with its recovery, and under the direction of Alan of Walsingham the crossing was rebuilt in a unique way; rather than build a new tower of a similar form the central piers that supported it were entirely cleared away along with the adjoining bay of nave, transepts and choir to create a much larger octagonal central space. This then rose to become the unique central tower that Ely is so famous for, the Octagon, a combination of a lower octagonal tower built of stone crowned by a delicate lantern built of wood and covered with lead externally. The result is an incredible, piece of architecture, and the view inside of the open space rising to the curved vaults above on which the glazed lantern appears to float is unforgettable.
After the Octagon and beautifully spacious and richly adorned Lady Chapel were completed there was no more major work at the cathedral. The transept roofs were replaced in the 15th century with the wooden hammerbeam structures we see today, adorned with large angel figures in the East Anglian tradition. The most significant late medieval additions are the two sumptuously decorated chantry chapels built within the end of each choir aisle, each a riot of later medieval ornament and Bishop West's also being remarkable for its fusion of Gothic and Renaissance detail. The cloister appears to have been rebuilt at a similar stage though sadly very little of it survives today.
Sadly the Reformation saw a wave of iconoclasm of particular ferocity unleashed here in Ely. The most telling reminder is the Lady Chapel with its richly ornamented arcading carved with hundreds of small scenes and figures, all brutally beheaded (not a single head survives). Free standing statues in niches have all gone without trace, but in the case of Bishop West's chantry chapel the topmost figures were carved in relief, so these were hammered away leaving the mutilated remains as a testament to zealotry and intolerance. Most of the stained glass appears to have also been removed around this time, so there was surprisingly little damage here during the Civil War a century later as the Puritan frenzy had already been unleashed.
A corner of the north transept collapsed in 1699 but was rebuilt almost identically, a rare early example of such an exacting approach to reconstruction. The classical form of a window and doorway below are the only reminders of the rebuilding, some say with advice from Christopher Wren whose uncle had been bishop here decades earlier (Wren knew the cathedral as a result, and the Octagon is believed to have inspired his plans for St Paul's, as the ground plans of the Octagon and his domed central space at St Paul's are remarkably similar).
The cathedral saw further changes in the 18th century when the structure was in need of repair. James Essex was called in to repair the Octagon and the wooden lantern was stabilised but its external was appearance simplified by stripping away much of its original detail. The medieval choir stalls had originally sat directly underneath the Octagon with painted walls on either side, but these were removed at this time and the stalls relocated further east to the position they are in now. Sadly the Norman pulpitum screen at the end of the nave was also removed (the earliest of its kind to survive in any cathedral).
By the mid 19th century tastes had changed again and the Victorian preference for richness over Georgian austerity saw the cathedral restored under the direction of George Gilbert Scott. He restored the Octagon lantern to something much closer to its original appearance and added new screens at the crossing and behind the altar. Stained glass gradually filled the cathedral again and it remains one of the richest collections of Victorian glass in the country. The ceiling of the nave which had been left plain for centuries was given a new richly painted finish with scenes from the Old & New Testaments, begun by Henry le Strange but finished by Thomas Gambier Parry after the former had died halfway through the project. Gambier Parry also undertook the lavish redecoration of the interior of the Octagon lantern.
The cathedral has remained little change since and is one of the rewarding in the country. There is much of beauty to enjoy here beyond the architecture, with many interesting tombs and monuments from the medieval and post-Reformation periods. There is a wealth of stained glass of unusual richness; not everyone appreciates Victorian glass (indeed Alec Clifton Taylor was quite scathing about the glass here) but while it is very mixed I find much of it is of remarkably high quality.
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
Visitors can usually take tours to ascend the Octagon and even the west tower on more select days. Tours do get booked up though so it took me many visits before I could make my ascent, but happily this time I finally managed it and it was a wonderful experience I won't forget. Frustratingly I was unable to ascend the west tower since I was at a symposium on the day when tours were held so I hope to have better luck next time.
For more historical detail and context see below:-
en.wikipedia.org/wiki/Ely_Cathedral
For entry fees and tower tours see the cathedral's website below:-
Three small records, for the purpose of demonstrating sizes:
Inner: five inches - 17rpm or 78rpm "story" disk.
Middle: six inches(!!) - 78rpm "Pollyanna" disk.
Outer: seven inches - 45rpm standard single.
2012, Feb. 29
Killeen, Texas
A few days ago, I shot this same direction from the same spot with a different lens for a silly comparison. This time I had the Canon EF 85mm f/1.8 USM paired with a Kenko 2x Teleconverter for focal length of 170mm, equivalent to 272mm on a 35mm film camera.
Copyright © 2012 by Wil C. Fry. All Rights Reserved.
Please do not post group icons, "awards" or unrelated image files.
Please do not use/repost this image without my permission.
This is a multi shot composition that shows the highlights that increasing the colour saturation can bring out in an image.
It turns out that all of the digital color models in wide use are often bad for figuring out which of any two colors are "nearest," according to humans.
Sometime in my web meanderings, I stumbled on information about the CIECAM02 color model (and space), including a Python library that uses it and a (gee-wow astonishing at what it can do with color) free Photoshop-compatible plugin that manipulates images in that space. If you do color adjustments on images using an application that's compatible with Photoshop plugins (a lot of programs are), go get and install that plugin now!
I wrote a Python script that uses that library to sort any list of RGB colors (expressed in hex) so that every color has the colors most similar to it next to it. (Figuring out an algorithm that does this broke my brain–I guess in a good way.) (I also wrote a bash script that runs it against all .hexplt files (a palette file format which is one RGB hex color per line) in a directory.)
The results are better than any other color sorting I've found, possibly better than what very perceptive humans could accomplish with complicated arrays of color.
Here's an image of Prismacolor marker colors, in the order that results from sorting by this script (the order is left to right, top to bottom) :
Prismacolor marker colors, sorted by nearest perceptual
For before/after comparison, here is an image from the same palette, but randomly sorted; the script can turn this ordering of the palette into the above much more contiguous-appearing:
Prismacolor marker set colors, random order
(It's astonishing, but it seems like any color in that palette looks good with any other color in it, despite that the palette comprises every basic hue, and many grays and some browns. They know what they are doing at Prismacolor. I got this palette from my cousin Daniel Bartholomew, who uses those colors in his art, which you may see over here and here.)
Some other palettes which I updated by sorting them with this script are on display in my GitHub repo with procedural art recipes.
Here is another before and after comparison of 250 randomly generated RGB colors sorted by this script. You might correctly guess from this that random color generation in the RGB space often produces horrible, garish arrays. This is where computer ways of doing things don't line up with human senses.
250 randomly generated RGB colors
250 randomly generated RGB colors, sorted in CIECAM02 color space
See how it has impressive runs of colors very near each other, including by tint or shade, and good compromises when colors aren't near, with colors that are perceptually further from everything at the end. Also notice that darker and lighter shades of the same hue tend to go in separate lighter/darker runs–with colors that well interpolate into those runs in between!–instead of having lights and darks in the same run, where the higher difference of tint/shade would introduce a discontiguous aspect.
Tangent: in RGB space, I tested a theory that a collection of colors which add (or subtract!) to gray will generally be a pleasing combination of colors–and found this to be often true. I would like to test this theory in the CIECAM02 color space. I'd also like to test the theory that colors randomly generated in the CIECAM02 space will generally be more pleasing alone and together (regardless of whether they were conceived as combining to form gray).
I really can't have those as the last images in this post. Here is a favorite palette.
Syndicated from: earthbound.io/blog/superior-color-sort-with-ciecam02-python/ -- URL to original image: earthbound.io/blog/wp-content/uploads/PrismacolorMarkers_...
On the left is the original, where I got the design (with permission), and in the middle ungrouted and on the right the finished grouted piece.
Now we've gone into the next realm, I don't have any idea what I'm doing. What can I expect from this part?
"a comparison of the remote monitoring rens and the image took by the still image camera" "a Pentax Optio 550"
Took a comparison photo of the no-bangs Abbeys I have. It was for someone specific, but I figured I could post it here in case it’s helpful.
(The one cut off on the very left was a skull shores duplicate, so I cropped her out)
Noticed that her blue skin color varies a bit too. The older Skull Shores version is a much lighter blue.