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I've wanted to do an Equalizer background for a while, and never managed to pull it off. Finally I created a perfect one. It works well as a desktop due to its simplicity
Full sizedversion at xandesigns.com
Death is a great equalizer. I do not have great memories of everyone i've met in life but some people stood out. They stood out because they were the different ones. Some called them weird, some called them unfortunate and some called them fools. I call them victims of culture based off religious ideologies. The example i will present is a fantastic specimen.
When you live in a Brahmin community you are never short of women named "Saroja" around you. Its one of those famous brahmin names along with "Baby". Chinna Saroja (Chinna means Little in tamil) was a famous character from my childhood days. She and her husband were a unique couple. I guess i think his name was Kutti Raman (Kutti means small in tamil) but i really don't remember it that well. Her husband was the silent one like teller in the Penn and Teller show. Chinna saroja ran the show pretty much and her husband nodded, always.
Chinna Saroja and her Husband were distant relatives. They were quite rich, or rather used to be. They had it all. You can imagine them to be one of the differently rich landlord Brahmin family types. They had business, they had acres of land, farms and pretty much everything going for them in life with the exception of children. They did everything they could in this world to have children. Every doctor money could buy and every type of medication.
Of course, they did perform every pooja for all the hindu gods in the text books and off the text books. I say off the text books because a nun and a father in the lourdes church conned them and made some money claiming jesus was a hindu god and he could help with child birth. So did a gentleman from the venus mosque claim some islamic fairy to be lord ayyappans daughter and made a quick buck. My grandfather put an end to these things with the help of a few other people and of course the cops and i will reserve that incident for another very long blog post. Nevertheless, they had no children.
Saroja and her husband adopted. I really love it now to think of the fact that they were liberal enough to go to an orphanage and adopt a random child. Folks from my community / family pestered them to adopt a "Brahmin" child so that i is not subject to the thought processes of a "non brahmin" child. Many a poor family had even tried to sell them a child one could not raise due to poverty. Nevertheless, they adopted a "non brahmin" child, not one but five. The children were happy. Of course they adopted into the ways of a brahmin family system as well. They were vegetarians, spoke the brahmin accent of tamil and one could hardly recognize them if not told.
Once the children grew up they returned the favour. They drugged their parents and made them write off all the property they had to these five adopted children. With mother-loads of money in their wallet the children split and fled in different directions except one. He lived in the same house as their parents brought them up. This son was the kindest of all. He did not throw the parents on the streets like one would expect. He made them household servants instead. They did all the cooking, washing and cleaning and in return were fed 3 square meals a day, without any pay or benefits.
Saroja reminds me not because of her painful state of life but because how she made merry for everyone by making fun of herself. Every year during Golu, she would go around homes in town visiting the Golu setup. As customary as it is, she would sing. Everyone loved it, not because she was fantastic a singer but she was horrible a singer yet nothing or no one stopped her. I explicitly remember the same song she sang year after year. It went something like...
"Gundu Saroja, Baby Saroja, Kulla Saroja, Chinna Saroja"
Those were the chorus lines. It basically meant "Fatty Saroja, Childlike Saroja, Short Saroja, Small Saroja", it was a tamil song. Her own composition, apparently. You cannot forget that face because it resembled exactly like that of this Chettichi doll in this image. Unlike today's women even in their late 60's, back then women did not shave, they did not use lazer or wax their lips, skin etc., Turmeric was the only option used on the face to prevent hair growth. The yellow of turmeric made her mild mustache stand out blond and it would look so funny we kids exploded into laughter the moment we saw her. All the kids would gather around in my house from our street when she comes over for Golu.
She would take the small amount of money, the blouse bit (clothing to stitch a blouse) and the fruits and other things that were given when you visit ones house for Golu. Saroja lived her life for Golu, if you asked me. She had her moments, and it was clearly meant for those famous lines of her multi-platinum hit number sung at Golu, every year.
She passed away one fine day in sleep. Her husband was even more broke when she was no more. He came one fine day and said he was starving and his daughter in law feeds him no more. My aunt and my mother used to take pity on him and feed him lunch everyday. He would sit at the verandah and eat food out of a banana leaf. The hunger of a man 80 odd year old man who has not eaten for a whole day will show. I felt bad for him.
One fine day he came and he presented a neat "Pallanguzhi" instrument made of teak wood. It was a famous game back then before ludo and trump cards defeated old board games. He wanted to sell it and my aunt brought it for Rs. 20 from him. That was the last we saw of him. A few days later we heard he died during sleep on the pavements, right outside his house. Thaththa (Grandpa) went to the burial ground and offered his "vaaykkarisi" (dropping grains of rice on the dead persons mouth before setting on fire) before he was cremated.
I don't believe in celebrating religious festivals or practices. I somehow was reminded of Chinna Saroja looking at the doll in my house Golu today. I think i will change my mind and make an exception. I will celebrate Saroja, her husband and their life history. I hope there are other people who remember them today. I really hope..
Canon EOS 400D with the Canon EF 50MM F/1.4 USM. Manual, F/11.0 at 1/500th of a Second, ISO100. Canon Speedlite 430EX fired, E-TTL with Omni Bounce diffuser.
All Rights Reserved. Owner and Usage Rights belongs to Dilip Muralidaran. Any use of this work in hard or soft copy or transfer must be done with the expressed consent of Dilip Muralidaran in written. Failing to do so will result in violation as per Section 63 of the Indian Copyrights Act, 1957 & Forgery, Fraud, Misrepresentation and Misinformation as per the Indian Penal Code Section 420 leading to severe legal consequences.
Derived from the chassis of a civilian heavy hauler, the Equalizer matches its menacing looks with a battery of bombardment weaponry. Able to linger in battle for extended periods of time due to its reinforced plating, the Equalizer delivers punishing volleys against capital ships while also remaining a competent anti-frigate platform.
Re-opening soon. A quick rundown of the history here… Old red's raided: www.mtdemocrat.com/news/board-of-equalization-chp-raid-po...
Old Red's pics: www.galenfrysinger.com/california_placerville.htm
Old Red's new ownership website: poorreds.com/
Owners arrested, employees left high and dry: www.mtdemocrat.com/news/no-7-poor-reds-owners-arrested-ic...
HOME OF THE GOLDEN CADILLAC!
This place was definitely a favorite and was home to a unique mixed drink - a lot of people don't know it, but mixed drinks and cocktails were an art celebrated across the United States 100 years ago, a scene as big and vibrant as micro-brewery beer today: blogs.sacbee.com/dining/archives/2011/10/golden-cadillac....
New owner's demolition and reconstruction web site with q&a: poorreds.com/uncategorized/democonstruction-has-begun/
LEGO Technic MOC Arctic Equalizer. Eurobricks [TC6] contest model. It’s a mix of huge bulldozer, ice-breaker and… road-roller!
Dimensions: 77cm x 38cm x 55cm. Weight: 6.9kg.
RC functions (total six motors):
- Left and right tracks, two pairs of XL-motors;
- Three-channel distribution gearbox (two-speed gearbox for tracks and one more switching additional function), one M-motor;
- Additional function, one M-motor.
Video: youtu.be/54cH94GGT6A
Seattle, WA – Ever notice that most city skylines look like a spectrum equalizer display? I just realized that while typing that sentence. Like ridges on a vinyl record, each building seems to represent a different frequency. The skyline of Seattle looks like it’s playing some sort of classical symphony, or maybe it’s just another grunge song.
I like this city; it has all kinds of oddities and funky corners filled with pastry shops and generational stories about the old future. The aging Space Needle still stands as you can hear the metal bind and twist in the wind. It moves gracefully like an elderly ballerina. This place reminds me of several different cities all smashed into one, it’s a really slow mosh-pit down there.
A prison is made of ice
It melts in the spring
A castle is made of clay
It crumbles in time
Welcome to time
The great equalizer of all things.
Yoko Ono ‘09
The Bevilacqua la Masa Foundation is proud to host the solo exhibition,
Yoko Ono’s “ANTON’S MEMORY,” by an artist who on 6th June will be presented with the Golden Lion for Career Achievement at the Venice Biennale.
Ono, known since the first half of the 1960s – a conceptual artist and one of the founders of Fluxus, as well as an avant-garde performer – has created an exhibition that sets out to provide a vast “fresco” of her artistic practices.
picture-3
The title of the show, ANTON’S MEMORY, reflects “a woman’s life we see only through her son’s eyes – his faded memory.” as Yoko Ono herself says.
The exhibition has been designed especially for the rooms of Palazzetto Tito and is a series of new installations that incorporate some earlier works as points of reference. It includes films, sound compositions, sculptures, and drawings, as well as a number of interactive installations. There will also be elements to do with the corporeal and the sense of touch: for example, Ono’s sculpture “touch me III,” containing fragments of the female body, as if crammed into a simple chest of drawers. At the centre of the display, two filmed versions of her 1964 performance work “Cut Piece,” from 1965 and 2003, will be shown. In this work, the artist lets the public cut away parts of her clothing little by little. In the first version Yoko Ono is thirty-two years old, and in the second version she is seventy, giving a sense of the marks left on us by the passing of time. Military helmets from the Second World War with pieces of sky inside; the film of a woman desperately attempting to free herself from her bra (a metaphor for women’s liberation); an insistent coughing sound; tables, pens and paper for whoever wants to write their own thoughts and leave a trace of them; the book of recipes for artistic actions, “Grapefruit” (1964), left lying around like a generative element for all the rest; tables for playing all-white chess in peace and quiet, in the main chamber of a Venetian chamber between lancet windows opening onto nature or closed with coloured glass… all this and much more, along with a moving soundtrack, will complete the exhibition, punctuated also by the hand of the artist, who will write new pieces directly on the walls.
The entire exposition in the rooms of Palazzetto Tito will constitute a unitary whole evoking “ANTON’S MEMORY”; something that may be looked on as a codified memory, i.e. the story of an adult son rethinking through the existential vicissitudes of his mother through symbols and objects.
In the words of the curator of the project, Nora Halpern: “ANTON’S MEMORY reflects Yoko Ono’s ideas of universal inter-connectedness and the temporal realm that we all inhabit. Through her installation at the Palazzetto Tito, as well as related works throughout Venice, Yoko Ono seeks to evoke memories that are simultaneously overtly personal yet evocative of collective desire and a communal connection.” An artist’s book, Other Rooms, will be published on the occasion of “ANTON’S MEMORY,” serving as a lasting extension of the exhibition. There will also be a brochure with texts by the curator Nora Halpern as well as Angela Vettese, President of the Foundation.
About the artist
Born in 1933 in Tokyo, Yoko Ono was one of the pioneers of Conceptual Art, and one of the most influential artists of the 20th century. In 1952 she was among the first women in Japan to study philosophy. In the mid ‘50s she moved to New York, where she took part in the vibrant artistic scene which included the composer John Cage and artists of the likes of La Monte Young, among others. And it was with Young that in 1960 Yoko Ono set up a series of concerts and events in her loft near Canal Street, which were frequented not only by young artists and musicians like Jasper Johns, George Maciunas (who went on to found the Fluxus movement), and Robert Rauschenberg, but also icons of the art world like Marcel Duchamp, Max Ernst, Peggy Guggenheim and Isamu Noguchi. From the beginning of her career right up to the present day, the works of Yoko Ono have never stopped influencing generation after generation of artists. Her commitment to peace, which continued together with her husband John Lennon, has never ceased, not even after his death.
On the occasion of the 53rd Biennial of Visual Arts, Yoko Ono will be presented with the Golden Lion for Career Achievement.
Derived from the chassis of a civilian heavy hauler, the Equalizer matches its menacing looks with a battery of bombardment weaponry. Able to linger in battle for extended periods of time due to its reinforced plating, the Equalizer delivers punishing volleys against capital ships while also remaining a competent anti-frigate platform.
Music of the youth, magic of beats, energetic of dancing, full of colors, dynamics, joint direction and passion. The pieces of the pattern are different and similar on each other in the same time, and the entire line is reminding of an equalizer. Enjoy the energy, music is the answer!
www.redbubble.com/people/coldmonster/works/25830633-color...
Cosplayer Kat H. dressed up as Elina, a character from "Queen's Blade" anime/manga series. Her costume is from later in the series and covers a lot more skin than Elina's other outfits; A whole lot more skin as the Queen's Blade characters tend to lose their clothing during their battles.
Tech stuff: Topaz Adjust's "Equalize" on Leina to lighten her up; various layers in Photoshop to brighten/lighten Elina as she was too dark - for my tastes - in the original photo.
Two failover pairs of Coyote Point Equalizer E670LX Application load balancers and a Cisco 2900 series switch.
Guns N’ Roses @ Lincoln Financial Field, Philadelphia, PA, on Thursday, July 14, 2016.
Not in This Lifetime Summer 2016 Tour Setlist:
Intro:
Looney Tunes Intro
The Equalizer (Harry Gregson-Williams song)
Main Set:
It's So Easy
Mr. Brownstone
Chinese Democracy
Welcome to the Jungle
Double Talkin' Jive
Estranged
Live and Let Die (Wings cover)
Rocket Queen
You Could Be Mine
New Rose (The Damned cover)
This I Love
Civil War (with Voodoo Child outro)
Sorry
Out Ta Get Me
Coma (with band introductions)
Speak Softly Love (Love Theme From The Godfather)
Sweet Child O' Mine
Better
Slash & Fortus Guitar Duet (Wish You Were Here by Pink Floyd)
November Rain (with Layla)
Knockin' on Heaven's Door (Bob Dylan cover)
Nightrain
Encore:
Don't Cry
The Seeker (The Who cover)
Paradise City
Lucknow, where I live, was reeling under scorching max temp of approx 40 °C yesterday. Today we had sharp showers, bringing it down to almost 25°C. Reminds me of-
Mother Nature is the great equalizer. You can't get away from it.
Christopher Heyerdahl
"http://www.brainyquote.com"
A journey to reduce noise and increase bit depth…. See the end of this description for links to before and after pictures. The JPEG pictured is only 8 bit and reintroduced a bit of banding in the lower left, so it doesn't fully show what is possible.
For a while I have been enamored with the quality of color that can be had from a properly exposed large format color negative. There is something almost hyper-realistic about it. I have been thinking about why this might be the case. What is it specifically that gives it that specialness when compared to dSLR's? I have noted that pictures taken in subdued light and flat lighting tend to exhibit the greatest difference between the two. So this might be the best place to start in answering this question. Over time and looking at many photos, it seems that increase in noise and continuous tones break down in dSLR pictures more quickly, especially under suboptimal lighting conditions.
There are two kinds of general noise that can be found in pictures. One is luminance and the other is chromatic. Most would concur that humans find luminance noise less distracting and irritating compared to a similar amount of chromatic noise. For some background on what these two things are, take a look here. www.cambridgeincolour.com/tutorials/image-noise-2.htm . (I'm linking to the second page, but the pictures on this page are more useful if you aren't going to read the article.)
Let's focus on chromatic noise. It increases as the ISO speed increases for both film and digital cameras. It increases as a digital sensor gets smaller. And chromatic noise increases when a bayer pattern is used to construct a full color image as opposed to measuring a red, green, and blue value at every pixel. The vast majority of dSLR's use a bayer pattern on the CCD/CMOS. The current exceptions are Foveon based CCD cameras, such as the sigma SD1. With a given dSLR, we can't control the last two variables, but we can set our dSLR's to the lowest ISO setting. This is usually ISO 100 and sometimes ISO 50 in higher end cameras.
Although film scanners also use a bayer pattern to acquire a color image, they typically can acquire the image at a bit depth of 16 bits as opposed to 12 or 14 bits, which is a benefit. But most would agree that film is inherently more noisy than a digital sensor, which includes both chrominance and luminance noise. One would likely come to this conclusion by taking a similar picture with a film camera and a digital camera. Then scan in the film at 6,400 dpi at 16bit. Next compare both images on your monitor side by side at 100%. You might wonder why I suggested 6,400dpi. The reason why is that going much more beyond this, even with a drum scanner and perfect focus, you are probably just imaging individual silver halide crystals as opposed to picking up more real image information. It's like taking a picture of your monitor. Imaging the individual pixels on your monitor with a microscope isn't going to get you very far in bringing down noise. Or increasing resolution for that matter! :)
To my knowledge, noise is basically constant in film on a per square mm basis. The trick with bringing down the apparent noise in a film based image is to use a larger piece of film to capture an image. The bigger the square area of film used to capture the image, the less relative noise there is when viewing the image at a given size. In practical terms, compare a dSLR image sized to FIT on your monitor versus a large sheet of film that has been scanned in and downsized to fit on your monitor. The noise is going to be buried and imperceptible in the film based image taken with a large sheet of film even though it has a whole lot more noise when compared to the digital based image viewed at 100%. Because of this property and because 35mm film is so small, at this point in time I find 35mm color images to be subpar in terms of color quality compared to recent dSLR's. This has been the case for a while. But I find that 4x5 or larger sheets of film hold more opportunity for keeping noise at bay compared to current dSLR's.
We've looked at chromatic noise, so what about continuous tones? Continuous tones typically break down in pictures either because of a limited bit depth or manipulations to the image. Usually limited bit depth is not a problem under normal circumstances by itself. Most dSLR's now capture images natively at 12 or 14 bits per channel, which is more than plenty. Unless your image is highly biased to one particular color, this won't inherently be a problem. However, common image manipulations can easily break continuous tones and cause posterization. One of the easiest ways to improve continuous tones from digital cameras through the editing process is to start with RAW images. JPEG's fall apart much more quickly in the editing process because they only have a bit depth of 8. RAW images give you the native bit depth of the camera, which is typically 12 or 14 bits. But recall that the typical film scanner is capable of delivering 16 bits. The extra two bits of information can represent a lot more nuances in the shades of colors. It is worth pointing out that image editing programs cannot typically edit images in 12 or 14 bits. They will typically edit RAW images at a bit depth of 16 bits. Even though the image is being edited in a bit depth of 16 bits, there is really no more bit depth than what the camera natively captured the image at. So if your camera captures images at 14bits per channel and you notice you are editing the image at a 16 bit depth in photoshop, you are not magically gaining two bits worth of real information.
In my own work, I have noticed at times that there is simply not enough information to make the kinds of manipulations that I want in color dSLR images without the image falling apart. This is even with shooting at RAW and my camera having a native bit depth of 14 bits.
In a quest to better understand what can be done about these two problems with, limited bit depth and noise, I wondered how photographers in the most extreme situations deal with these two problems with digital cameras. The most extreme conditions can be found in astrophotography. It can take HOURS to acquire sufficient light of a particular celestrial body. And even worse, that object is often strongly biased to the red or blue sensors. This means that the apparent bit depth of the image is much smaller than in normal photography. I'm probably making this "apparent bit depth" term up. But basically it is a qualitative term relating the bit depth of the individuals channels to the relative amounts that those channels are used in describing color in the overall image. To make this more clear, imagine the apparent bit depth of an object that was only illuminated with a red laser. The green and blue channels are hardly going to be used if at all. If your camera had 14bits per channel or a combined 42 bits, it would have an apparent bit depth that is much less than the combined 42 bits of the camera because the colors used are limited to being defined primarily by only one color channel.
Anyway, so what can be done to remove noise in general? One technique that can be used, is to take several exposures of the same picture. Then combine them and take the medium or average of each pixel. A second technique is to use special software to detect and remove noise from areas of low detail in the picture. For a detailed look at these two options and how they can be combined together, take a look at this page. It has some example side by side pictures. www.cambridgeincolour.com/tutorials/image-averaging-noise...
But what about limitations on bit depth? It appears that one can increase bit depth too. Craig Stark has made an analysis of this subject with some math to back up his claims on how someone can increase bit depth beyond the limitations of their hardware. See his analysis in this PDF www.stark-labs.com/craig/articles/assets/BitDepthStacking... . It comes down to combining multiple pictures taken at different exposures. This is not an attempt to create an HDR image for the sake of an HDR image per se. He suggests that adding 1 f-stop adds one bit of bit depth and adding -1 f-stop adds another bit worth of bit depth. Sadly, he does not go into great detail about how to accomplish this. The link in the PDF is dead. On the surface it seems reasonable, but I'd like to try it out.
I wanted a convenient place to try all this out and I wanted some of the worst light I could find. So I choose my bedroom at night that was only lit from the office on the other side of the hall. With low flat light and very subtle shadows, I knew from experience that this would be difficult to image technically well. All test pictures were taken on a tripod, triggered with a remote, taken at ISO 200, and captured in 14bit RAW files. I choose ISO 200 so I could get a (approximate) +1 f-stop exposure at 30 seconds. I took an initial comparison and control picture at ISO 200. As I expected, there was quite a bit of noise at 20 seconds even at ISO 200 and the graduations broke into banding when I tried to move up the contrast to an acceptable level. And the subtle shadows were not as pleasing as viewing them in person. The delicate light was not well preserved in the capture and I was hardly pleased with it.
Next I took 10 pictures at ISO 200 and averaged them together. This markedly reduced the noise present in the picture. To reduce the noise further, I used the second technique of special noise reducing software. There are a few options when it comes to specialized noise reducing software, but I choose Neat Image for testing purposes. You can find their software for demo here -- www.neatimage.com/ . (If you would like to see some example of Neat Image check here www.neatimage.com/mac/standalone/examples.html .) The two techniques combined together significantly reduced the overall noise. However, there was still some banding issues trying to bring up the contrast to an acceptable level. And my perception of the overall quality of the color wasn't anything too special. It might be worth noting that noise reduction software does not make up for a bad image with lots of noise. As someone put it, "It's like scraping the burnt parts off of a burnt pancake." Natively reducing the noise by taking the median of several pictures together is the more important technique to apply FIRST if it is an option.
For a third test, I wanted to combine averaging pictures together and software noise reduction. But I also wanted to attempt to use some form of HDR to improve the actual or apparent bit depth without any real change in local contrast. I was a little hesitant that this would help considering the image was fairly constrained already in terms of the histogram; meaning that there was not a huge inherent dynamic range. I took 30 images all together. 10 images were -1 f-stop. 10 images were at the metered exposure. And 10 images were +1 f-stop. I averaged the first 10 images together and exported the resultant image as a 16bit TIFF. I repeated this twice more for the other two sets. Then I used Photoshop's HDR Pro to merged the three images together and chose a mode of 32 bits. Equalize Histogram was selected in the algorithm field and was greyed out. I now believe that this grayed out option isn't being used during the conversion. No options are given but sitting the White Point Preview when selecting the 32 bit mode. It appears, but I haven't been able to confirm that selecting the 32bit option does little more than create an extended histogram as if you had taken a single picture with a super high dynamic camera. This resultant image is very flat. After working with the image CS5 allows you to convert to a bit depth of 16bits without going through the HDR Pro dialog.
I altered the contrast and corrected the overall color cast caused by light reflecting off colored objects and illuminating the room. Then I converted the image to 16bits, applied a bit of unsharpened mask, and saved the image back out as a 16bit TIFF file. Finally I used Neat Image to reduce the noise in low detail areas. This is the picture that you are looking at above! I might note that the demo version of Neat Image only allows you to save the resultant image as a 8bit high quality JPEG. This is part of the reason that I made it last in the process, but it seems that it should be last in the process anyway.
Applying all three techniques together has yielded a picture that even LESS noise, especially luminance noise. The subjective color quality is markedly better. The graduations in the shadows have improved significantly. They are great, but not perfect. The overall image is far more pleasing and it has seemingly captured the subtle colors and shadows of the original scene. It subjectively seems to be much closer to what I would expect from a large format color negative. As a combined technique, this is a lot of work. But on the other hand, so is working with large format. There are minutes worth of computer time doing all of this processing. The bigger problem is that many scenes and subjects would not tolerate the length of time necessary to take so many pictures without movement. But it is something that I may have to experiment with outside during an evening with little wind. I have an idea or two. :)
If I have made some technical mistake in describing something, please let me know and I'll correct it. I don't claim to be an oracle of knowledge on this subject. I do feel that after some research and this experiment, I have a better understanding of why I like large format color negatives and how I can come closer to it with my digital camera when the opportunity is right.
As an aside, I have a large format camera, but I don't tend to take many color images. I find that my hit rate with color is far less than with black and white. It's a different subject as to why, but I think it comes down to the fact that black and white images can be pushed much further in post processing than color images. Color images in general tend to fall apart much faster.
If you found this interesting and helpful about this adventure, let me know. Thanks! :)
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I have repeated this process again with the same images, but with a goal of creating a before and after picture that are as close to each other as possible. This way you can flip back and forth between the two images and see the differences in noise and apparent bit depth and not other changes.
The only processing I did on the original reference image was to increase the contrast by 13% in CS5. In the picture shown on Flickr above, I did further modifications which were somewhat hard to duplicate across two images.
You can download the source reference image here … ORIGINAL . The final processed comparison image can be found here … PROCESSED . Both images are 16 bit TIFF files, so there will be no issues with the images being degraded, which was a problem in the uploaded image to Flickr. You will most likely want to save these to your hard drive as opposed to viewing them in your browser. They are huge.
The evaluation should be done at or near 100% because virtually all of the noise and bit depth differences that are under scrutiny will be evident for evaluation. These two pictures shouldn't be compared to the posted Flickr image. A significant amount of post processing was done on the posted picture to Flickr that was not done in the two linked pictures.
my identifier: hdr_filtered_plus
Went into "enemy territory" yesterday to shoot HJK play against Ilves to test out a few software related things during the whole process of shooting a match. Everything went well and managed to get few decent pics in the process as well. Here's HJK's Mikael Forssell heading in the 1-1 equalizer for HJK and his first of two for the evening.
Following the NewArea51 around to the photo spots outside Nellis worked out really well. Great job on the intel Franz!
Oliver Hill, Va. counsel for the NAACP (left) and Edwin C. Brown, regional counsel for the NAACP arrive at the Post Office building in Alexandria September 18, 1957 for a hearing on a motion by the county of Arlington to delay desegregation of its school system scheduled for the following week.
Judge Albert V. Bryan issued the stay of his own order to desegregate four Arlington schools, meaning that the system would continue to be segregated. Hill and Brown opposed the stay.
At the time, the state of Virginia required the closure of any school system that admitted Black students to white schools
Initial desegregation occurred a year-and-a-half later on February 2, 1959 when four Black students were admitted to Stratford Junior High School in Arlington, Va. to become the first Black children to enter formerly all-white public schools in the city.
The initial integration of Arlington schools took five years following the U.S. Supreme Court decision of Brown v. Board of Education. The state of Virginia engaged in “massive resistance” to integration with some school systems closing and the state providing aid to all-white private schools.
The state removed the elected Arlington school board at one point when they adopted a modest integration plan in the wake of a court decision.
The court suit that brought about the integration of Arlington schools was initially filed in 1957. Despite the four children entering Stratford in 1959, it would take another 20 years for all Arlington schools to be integrated.
Oliver Hill biography:
Oliver Hill was born in 1907 and spent most of his boyhood in Roanoke, Va. His mother moved to Washington, D.C. while he was a teen where he completed high school.
He worked as a waiter and a porter in order to have enough money to attend Howard University. He ultimately enrolled in the Howard University Law School headed by pioneering civil rights leader Charles Hamilton Houston where he received a law degree in 1933, graduating second in his class. Thurgood Marshall graduated first.
Hill moved back to Roanoke, Va. where his law practice failed during the Great Depression. He then waited tables in Washington, D.C. until he had enough money to open a practice in Richmond.
Hill won his first civil rights case in 1940 gaining equal pay for black teachers in Norfolk, Va.
Hill took on a number of anti-discrimination cases including voting rights, jury selection and worker protections.
He was the. Initial attorney in the Irene Morgan case, a Black woman from Baltimore, Maryland, who was arrested in Middlesex County, Virginia, in 1944 under a state law imposing racial segregation in public facilities and transportation. She was traveling on an interstate bus that operated under federal law and regulations. She refused to give up her seat in what the driver said was the "white section."
The case went to the U.S. Supreme Court in 1946, which outlawed segregation on interstate buses, though the state of Virginia refused to comply—with the exception of some bus companies in Northern Virginia that provided service into the District of Columbia.
He also knew the bitterness of defeat, including the state of Virginia’s 1951 execution of seven young black men in the Martinsville 7 rape case. Every execution for rape in Virginia was a black man convicted of raping a white woman, but his argument on discriminatory sentencing was lost at the time.
However it was also in 1951 that he, along with Spottswood Robinson, took on the case of black high school students in Farmville, Va. in what would become his most famous case.
In April 1951, 16-year-old Barbara Rose Johns “organized a student strike protesting deplorable conditions at segregated all-Black Moton High School in Farmville, Va.,” according to Marian Wright Edelman.
“The school had no gymnasium, cafeteria, infirmary or teachers restrooms. Because of the overcrowded conditions, some students had to be taught in a school bus and in three buildings covered with tarpaper.”
“During the two week protest, involving 450 students, Johns requested legal assistance from the NAACP branch office in Richmond.”
“In May 1951, Oliver Hill and Spottswood Robinson, another member of the Marshall legal team, filed a lawsuit on behalf of 117 students calling for Virginia’s school segregation laws to be struck down.”
“A three-judge federal district court panel unanimously rejected the suit, upholding Virginia’s ‘separate but equal’ policy while ordering the state to ‘equalize’ conditions at the school. The Supreme Court overturned the decision as part of its Brown [v. Board of Education, 1954] ruling.”
However, the story didn’t end there.
Public schools were closed in Prince Edward County in 1959 in order to forestall integration, as part of the state’s “massive resistance” to integration. Private all-white schools were set up with state aid while black students languished.
African American students were left without any public education for four years. Some attended makeshift schools in the county, some attended schools in other parts of the country, while others missed large portions of their education during those years.
Nonetheless, not until 1964, when the U.S. Supreme Court outlawed Virginia's tuition grants to private education, did Prince Edward County reopen its schools, on an integrated basis. This event marked the end of Massive Resistance, but not the end of resistance to integration.
Hill practiced civil rights law through the period in which the state of Virginia sought to outlaw NAACP legal representation as part of its “massive resistance” to desegregation. In 1956 the General Assembly passed a law that broadened the definition of “no solicitation” by attorneys to include NAACP representation of civil rights suits. The law also required the organization to reveal the names of contributors who funded the suits. The contributions section was voided by state courts, but it took until 1963 for the U.S. Supreme Court to rule in favor of the NAACP in the NAACP v. Button case.
He continued his legal career in the face of threats to him and his family and a cross burning on his lawn. By one account the city of Richmond sent emergency equipment, with sirens blaring, every 15 minutes to his house in an attempt to intimidate him.
Hill lost a close election in 1947 in attempting to win a delegate seat to the General Assembly, but the following year won an election to the Richmond City Council, the first Black person since the Reconstruction era to do so.
He was one of the organizers of the Virginia State NAACP and the Old Dominion Bar Association for Black lawyers when the state bar refused to admit African American attorneys.
His civil rights legal career spanned seven decades and he only retired in 1998 because he developed blindness.
Hill received the NAACP Spingarn medal and a Presidential Medal of Freedom after retirement and died at age 100 in 2007 in Richmond, Va.
Edwin C. Brown Sr.:
Edwin C. Brown Sr. was an NAACP regional counsel based in Alexandria and was often the lead on school desegregation cases in Alexandria and Arlington from 1956-58. He also handled other civil rights cases in Northern Virginia.
His career was derailed when he was convicted of income tax evasion, sentenced to prison in 1958 and disbarred after his release in 1959.
For more information and related images, see flic.kr/s/aHskWK3q68
Photo by Jack Horan. The image is courtesy of the D.C. Public Library Washington Star Collection © Washington Post.
Taken several blocks away from Independence Hall in Old City Philadelphia, this man claims that it is he that keeps America free. Very interesting arguments and just generally a nice man. It was mid-day when I stumbled upon this gentlemen and unfortunately the light was harsh.
Shot with:
Leica M9
Noctilux 50mm f1 E58 @ f1.4
Processed in Aperture
A modular computer with an A/V equalizer? Only Japan, only Sony, only the early 1990s!
« source: www.flickr.com/photos/26934921@N03/6852705056/ »
Steamtown Museum display of old Rutland Railroad heavyweight baggage car # 129 at Scranton, Pennsylvania, October 1996. This car needs more than just a sandblasting job, primer and new paint. It need some of its side plate steel replaced, along with door and roof rebuilding to make a nice display piece. This is a shorter style baggage car that rides on drop equalized four wheel trucks and contains a double door and a single door on each side.
Time to get dressy in this great mesh duster coat! Defined stitching with a distinct collar and buttons, this leather duster will make you stand out in the crowd.
Colors: Dark Black, Light Black, Dark Brown, Light Brown
Back textures: Plain (none), City Skylines Beat, Heart Beat, Equalizer
I have some pens and pencils.
A moleskine.
And a head full of quotes, lyrics and the like.
Come and see them at quoteskine.tumblr.com
Luminance HDR 2.3.0 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.73
Saturation Factor: 2
Detail Factor: 17.7
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PreGamma: 1
These photos are from a 2013 county fair. The fair layout was much smaller than the stadium layouts on TV. It was great to see them up close outdoors and fun to take photos from a low angle with a clear view.
This photo is from a backflip Equalizer executed. He completed the backflip OK but landed on his front wheels a little short. He bounced backwards and landed on the roof.
Impressions of Estate Elswoud near Overveen, county Bloemendaal, Netherlands.
In 1634 the Haarlem merchant Carel Molijn bought this partly equalized 85 hectare large dune area to have an estate created there. He had it further equalized selling the sand to be used for building new quarters in Haarlem. In 1780 the estate got once again new owners, the Borski family, who during three generations changed the estates' outlooks drastically. The large house was put down and they started to have a new large house built. Through the sudden death of Mr Borski III in 1884 the work was stopped. Not only the house but also the gardens and the park were greatly influenced by the changes in ownership. Nevertheless there are still beech trees left from the very beginning; they have meanwhile reached a respectable age of more than 250 years... Nowadays the house, the other buildings and the gardens are protected as cultural historical monuments. And ... the large house is under (re)construction in accordance with the original plans.
This is my latest machine, just finished yesterday.
I am calling it The Piano Player. It was made for my father's 75th birthday party which is tomorrow. He taught himself to play piano when I was a kid, and I remember him sitting with his earphones on playing away with no music to hear. I thought it would be fitting for me to make this for him since I am a self taught woodworker.
When the handle is turned, the keys that the fingers rest on move up and down and the corresponding equalizer bars in the back move with them. It is made from Cherry (frame), Maple (keys and mechanical parts), walnut (black keys and finishing dowels), Padauk (equalizer bars), and Yellowheart (hands). The final machine took close to 60 hours to finish, including having to make a custom box to transport it in. That does not include the concept and study models I started with. Dimensions are approx. 22"x16"x10"
I hope to have video edited and ready for upload sometime this coming week, along with a bunch more pictures