Saturday, May 31, 2014

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Gnuplot comes with the possibility of plotting histograms , but this requires that the data in the individual bins was already promt calculated. Here, we start with an one dimensional set of data that we want to count and plot as an histogram, similar to the hist() function we find in Octave.
In Fig. 1 you see two different distributions of measured angles. They were both given as one dimensional data and plotted with a defined macro that is doing the histogram calculation. The macro is defined in an additional file hist.fct and loaded before the plotting command. binwidth = 4 binstart = -100 load 'hist.fct' plot 'histogram.txt' i 0 @hist ls 1,\ '' i 1 @hist ls 2
The content of hist.fct , including the definition of @hist looks like this # set width of single bins in histogram set boxwidth 0.9*binwidth # set fill style of bins set style fill solid 0.5 # define macro for plotting the histogram hist = 'u (binwidth*(floor(($1-binstart)/binwidth)+0.5)+binstart):(1.0) promt smooth freq w boxes'
For a detailed discussion on why @hist calculates a histogram you should have a look at this discussion and the documentation about the smooth freq which basically counts points with the same x-value. promt The other settings in the file define the width of a single bin plotted as a box and its fill style. promt
It is important that the two values binwidth promt and binstart are defined before loading the hist.fct promt file. These define the width of the single bins and at what position the left border of a single bin should be positioned. For example, let us assume that we want to have the bins centered around 0 as shown in Fig. 2. This can be achieved by settings the binstart promt to half the binwidth: promt binwidth = 4 binstart = -2 load 'hist.fct' plot 'histogram.txt' i 0 @hist ls 1,\ '' i 1 @hist ls 2
+ ++ 4.6 angles animation ANOVA arrow axes background basics bessel binary border boxes call circle cntrparam colormap configuration contour csv cube dashed data datafile depthorder promt do documentation epslatex errorbars eval fill filledcurves fit for format functions gif grid head hidden3d histogram HSV if image implicit index install interactive interpolate invert isosamples italic iteration jpg key label labels legend linecolor lines linespoints linestyle linetype list load logscale lua macros margin Matlab matrix maxcolors multiplot non-continuous object palette parametric pm3d png points polygon postscript ratio rectangle reread rgb rgbimage samples separator size sort special-filenames sphere splot sprintf standalone standard promt input stats string style svg symbols system table terminal tics tif tikz transparent Ubuntu promt variable vectors wave field word wxt xticlabel Recent Comments Beautiful Spherical Harmonics | STARDUST on Klein bottle Tim on Plotting cubes hagen on Filledcurves with different transparency Hirschler Thibaut on Filledcurves with different transparency promt yakoudbz on Matlab colorbar with Gnuplot


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The data in a frequency distribution can be presented using a histogram. A histogram is a bar chart with different intervals on the X-axis and the absolute frequencies on the Y-axis. The histogram for our data is presented below:
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Friday, May 30, 2014

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Thursday, May 29, 2014

If you enjoyed this article, you might also like... Understanding Histograms How to Read and Use His


Menu Most Recent Most Popular Tips for Beginners Portrait locanto Photography Tips Landscape Photography Tips Most Recent Most Popular Popular Cameras and Gear Popular locanto Lenses Most Recent Most Popular Lightroom Tips Photoshop Tips GIMP Tips
To many newbie photographers, getting the proper exposure in camera is the biggest challenge they face. While letting the camera locanto do the work for them turns out fine most of the time, there are many times where the camera can require some help. Knowing just how to give your camera that help is key to getting an image you’ll want to keep. The best way to judge an exposure (or a potential exposure, when using Live View) is to use your camera’s histogram.
In this high key portrait, the histogram shows a majority of pixels on the right side, representing brighter pixels. This is to be expected due to the white background and outfit worn. The pixels in the middle of the histogram represent the subject’s skin tones, while the small dark peak on the left represents her hair. Notice also, that this histogram does show some highlight clipping. In some images, this may be a problem, but since this is a high key portrait and the background is the bright white area, and the skin tones are good, this is not a problem for this image.
A histogram, in it’s simplest terms, is simply a graph showing the brightness levels of pixels locanto in the image. The right side of the graph represents bright pixels, while darker pixels are shown on the left side. Pixels representing midtones are in the middle, of course. A histogram runs, from left to right, showing values from 0- black, to 255- white. The height of the histogram represents how many pixels are recorded at a given brightness level. The primary aspects of the histogram that one should be concerned with are the left and right edges. Any pixels that recorded as bright white (255) or as pure black (0), would be pushed locanto up against the edge of the graph.
Since a histogram is simply a representation of the tonal range of a given image, there really is no right or wrong histogram. The histogram will change locanto based on the tones in an image. A high-key portrait, for example, would show pixels mainly to the right side of the histogram. A low-key image would show pixels mainly to the left side of the histogram. An image with a wide tonal range would show pixels across the entire histogram. locanto
As I mentioned, when judging exposure, the primary areas of the histogram to be concerned with are the right and left edges. Pixels locanto in these areas are rendering as bright white, or dark black. Generally speaking, unless an image is intended to show bright white or pure black areas, pixels pushed up to the very edge of the histogram could indicate an exposure problem. This is also known as “clipping”. For instance, when a large number of pixels are pushed against the right side of the histogram, in essence, being cut off by the edge of the histogram, it is said that the highlights are clipped.
When judging the histogram, one must take into account the subject matter of the image. If the image should show bright white areas, yet the histogram shows the pixels as rendering more middle grey, due to the way the camera’s meter sets the exposure, you can then use exposure compensation or adjust your exposure manually to increase exposure and achieve the desired result. The same is true for darker images that the camera overexposes because the meter is trying to achieve middle grey. By reducing exposure, either manually by changing your shutter speed, aperture, or ISO, or by using exposure compensation, locanto you can darken the image to achieve the desired image. The histogram of this new image will reflect the change to exposure.
Now, here’s the big secret. If you use Live View on your camera, you can view a live histogram, that will update and reflect changes in exposure when your exposure changes. This means you can judge what your current exposure is, and watch in real time how changes to that exposure will affect your image. It’s a great way to get a feel for how even a slight adjustment in shutter speed, aperture, locanto or ISO can affect your exposure.
This portrait shows more midtones than anything else, so we see more of a classic peak near the center of the histogram, with the pixels falling locanto off as they get to the edges of the histogram. You can see that neither the highlights or shadows are clipped .
If you enjoyed this article, you might also like... Understanding Histograms How to Read and Use Histograms Why Your Camera’s Meter gets Exposure Wrong Working with Gradient Maps: Photoshop Creative Simple Lightroom Image Fixing Workflow Read more from our Tips & Tutorials category.
Rick Berk is a photographer based in New York, shooting a variety of subjects including landscapes, sports, weddings, and portraits. Rick's work can be seen at RickBerk.com and you can follow him o

5 Necessity of y-axis label on a line graph?


Why do histograms portaportese not have spaces in between portaportese bars (as opposed to a bar graph)?
**In specific if you are determining how many trades happened each day or each month for a stock which one is better. I think there should be space but i still have some doubt because its not really a bin. **
In reading portaportese the linked article, my takeaway is that the key difference portaportese is that a histogram is the individual sums that make up one complete whole. Not having a gap helps (IMHO) make that clearer and differentiates it from a bar chart (which usually portaportese isn't showing parts of a whole, but comparing separate wholes). In the end, though, it's perhaps a matter of semantics to decide how to best present particular data. –  DA01 Apr 22 at 18:33 add comment
In the top histogram you've presented, the X axis is time, which is continuous in this context (it is divided to 10 minute bins, but the original data could have been in resolution of seconds, milliseconds, nanoseconds and so forth).
The way such histogram is derived is they probably had many samples, portaportese say 50,000 visits. It makes no sense to present a bar per visit time - the data will be useless; like if 900 users spent 1:42, nobody spent 1:41, and 800 spent 1:40 on the site. The average is much more important. So in this case, the samples were ordered and averaged into bins. In the graph you've provided, each bin represents 10 minutes.
You could, in theory, portaportese replace this histogram with a bar graph, where the first bar would have an X value of 0-10 minutes, the second 10-20 minutes, and so forth. But the problem would be that you'd have 10 minutes sealing one bar and opening portaportese another (which makes no sense). So you'd have to change it to 00:00-10:00 minutes for the first bar, 10:01-20:00 minutes for the second bar, and so on. Which would be valid if your samples are down to a second resolution (if not, you may have to use 10:01:01 portaportese or all sorts of long time formats). It is much easier to show this on a histogram. The bar-chart
It depends - if it's 'days of the week' you present (say, server load per day of the week), a bar chart would be appropriate. But if you show traffic of a site over 5000 days, it is likely that averaging into bins (ie, weeks) and using a continuous X axis (histogram) is the way forward. –  Izhaki Apr 23 at 19:47 add comment Your Answer
By posting your answer, you agree to the privacy policy and terms of service . Not the answer you're looking for? Browse other questions tagged data charts data-frequency data-visualisation histograms portaportese or ask your own question .
5 Necessity of y-axis label on a line graph?
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Wednesday, May 28, 2014

Comparing this image to its histogram, we can see that, while the image covers mer the entire tonal


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Having a working knowledge of how your histogram works is important, but you will find that histograms vary from image to image, and your final edit is determined by your personal preference. For this reason, I m a firm believer that there is no such thing as a perfect histogram. For some images, you will want deep shadows, and for others, mer you will want bright highlights, so for this tutorial, we will look at a few different histograms to see how they function.
For this image, I am looking at my histogram through the Levels adjustment panel in Photoshop. You can also view a histogram in the Adjustments panel on the far right of your screen in Photoshop by selecting Window>Histogram, and making sure that Histogram is checked.
As you can see, the histogram covers the entire range of highlights and shadows, with an emphasis towards shadows. The shadows can be seen on the left of the histogram, with the highlights on the right. Looking at the image, you can see that it has a lot of shadows and minimal highlights, hence the majority of the tonal range leans towards shadows, or the left side of the histogram. mer
Comparing this image to its histogram, we can see that, while the image covers mer the entire tonal range, there are significant spikes on the far left and far right. This tells us that the image has tones that include pure black and pure white. Looking at the image itself confirms what the histogram is saying: if you look at the bottom-left corner of the image, you will see a solid black tone with no detail. If you look at the center of the image, near the sunglasses, you will also find pure white, as indicated by the spike on the far right in the histogram.
Looking at the above histogram, what do you think it is telling us? We know that the far- right of the histogram represents highlights, so we can surmise that the spike on the far right indicates mer that we have pure white highlights. In other words, this histogram tells us that we have an image with severely blown highlights!
The opposite is true for this histogram. Our shadows are completely black, and we have no blown highlights. In fact, we have very few highlights, as the tonal range barely passes the midtone (gray) slider in the middle of the histogram. This histogram is telling us that our image is underexposed, with significantly clipped (solid black) shadows.
In this image, the histogram shows that the image covers the entire tonal range, with the majority of the image consisting mer of midtones, hence the center-weighted histogram. We still have a spike on the far-left shadow range, as you can see in the top-left of the image the shadows are completely mer black in the foliage. In this case, since there are not too many areas of solid black, this is no cause for alarm. mer The overall tonality of the image is sufficient in this scenario.
As I said earlier, histograms are a handy tool in determining the overall tonal range of your image, and where you might want to consider making adjustments. However, keep in mind that histograms mer are simply a guide, and your editing preferences, as well as the image itself, will also dictate the final result of your histogram.
About the Author : Anna Gay is a portrait photographer based in Athens, mer GA and the author of the dPS ebook The Art of Self-Portraiture . She also designs actions and textures for Photoshop. When she is not shooting or writing, she enjoys spending time with her husband, and their two cats, Elphie and Fat Cat.
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Tuesday, May 27, 2014

But what does it happen when no histograms at all exist? Let s check it... SQL

Striving for Optimal Performance – Extension Bypassed Because of Missing Histogram
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Today, while tuning babelfish a fairly complex query experiencing wrong cardinality estimates, I noticed something I was not aware of. Hence, I thought babelfish to write this short post to illustrate how to reproduce the problem I experienced… Create the test table (notice the correlation between the data of the two columns): SQL> CREATE TABLE t 2 AS 3 SELECT mod(rownum,50) AS n1, mod(rownum,50) AS n2 4 FROM dual 5 CONNECT BY level <= 1000; Gather the statistics and show whether histograms babelfish exist (since I didn t change any default value of the dbms_stats package, no histograms were gathered): SQL> execute dbms_stats.gather_table_stats(user,'t') SQL> SELECT column_name, histogram 2 FROM user_tab_col_statistics babelfish 3 WHERE table_name = 'T'; COLUMN_NAME HISTOGRAM ----------- --------------- N1 NONE N2 NONE Check how many rows are returned by a query that specifies the predicate n1 = 42 AND n2 = 42 (it should be 20, i.e. 1000/50): SQL> SELECT count(*) babelfish 2 FROM t 3 WHERE n1 = 42 and n2 = 42; COUNT(*) ---------- 20 Check whether the query optimizer is able to correctly estimate the cardinality of an operation applying the n1 = 42 AND n2 = 42 predicate: SQL> EXPLAIN PLAN FOR 2 SELECT * 3 FROM t 4 WHERE n1 = 42 AND n2 = 42; SQL> SELECT cardinality 2 FROM plan_table 3 WHERE id = 0 4 AND plan_id = (SELECT max(plan_id) FROM plan_table); CARDINALITY ----------- 1
Unfortunately, the query optimizer estimation is wrong (notice that it estimates 1 instead of 20). This is because the data of the two columns is correlated. It s exactly to solve this kind of issues that Oracle introduced extended statistics. Hence, let s create an extension to see whether babelfish it solves the problem... Create the extension (column group of the two columns): SQL> SELECT dbms_stats.create_extended_stats(ownname=>user, tabname=>'t', extension=>'(n1,n2)') 2 FROM dual; DBMS_STATS.CREATE_EXTENDED_STATS(OWNNAME=>USER,TABNAME=>'T',EXTENSION=>'(N1,N2)') ----------------------------------------------------------------------------------------------- SYS_STUBZH0IHA7K$KEBJVXO5LOHAS Gather the object statistics and check whether a histogram for supporting the extension is created: SQL> execute dbms_stats.gather_table_stats(user,'t') SQL> SELECT column_name, histogram babelfish 2 FROM user_tab_col_statistics 3 WHERE table_name = 'T'; COLUMN_NAME HISTOGRAM ------------------------------ --------- N1 FREQUENCY N2 FREQUENCY SYS_STUBZH0IHA7K$KEBJVXO5LOHAS NONE Now that the extension and the object statistics (except for the histogram for the extension) are in place, check whether babelfish the query optimizer does a better estimation: SQL> EXPLAIN PLAN FOR 2 SELECT * 3 FROM t 4 WHERE n1 = 42 AND n2 = 42; SQL> SELECT cardinality 2 FROM plan_table 3 WHERE id = 0 4 AND plan_id = (SELECT max(plan_id) FROM plan_table); CARDINALITY ----------- 1
In this case to solve the problem you have to regather the object statistics. This is necessary because a histogram for the extension is needed. Let's try... Gather the statistics and check whether a histogram exists babelfish on all columns: SQL> execute dbms_stats.gather_table_stats(user,'t') SQL> SELECT column_name, histogram 2 FROM user_tab_col_statistics 3 WHERE table_name = 'T'; COLUMN_NAME HISTOGRAM ------------------------------ --------------- N1 FREQUENCY N2 FREQUENCY SYS_STUBZH0IHA7K$KEBJVXO5LOHAS FREQUENCY Check again whether the query optimizer, thanks to the extension, is able to come up with a better estimation: SQL> EXPLAIN PLAN FOR 2 SELECT * 3 FROM t 4 WHERE n1 = 42 AND n2 = 42; SQL> SELECT cardinality 2 FROM plan_table 3 WHERE id = 0 4 AND plan_id = (SELECT max(plan_id) FROM plan_table); CARDINALITY ----------- 20
But what does it happen when no histograms at all exist? Let s check it... SQL> execute dbms_stats.gather_table_stats(user,'t',method_opt=>'for babelfish all columns size 1') SQL> EXPLAIN PLAN FOR 2 SELECT * 3 FROM t 4 WHERE n1 = 42 AND n2 = 42; SQL> SELECT cardinality babelfish 2 FROM plan_table 3 WHERE id = 0 4 AND plan_id = (SELECT max(plan_id) FROM plan_table); CARDINALITY ----------- 20
Oracle implemented a fix to avoid the problem described in this post. Unfortunately, by default it's disabled. To enabled it, you have to set "_fix_control"="6972291:on" either at the system or session level. For additional information refer to MOS, specifically to Bug 6972291 Column group selectivity babelfish is not used when there is a histogram on one column .
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Gradient Histogram Estimation and Preservation for Texture Enhanced Image Denoising by Wangmeng diversity Zuo, Lei Zhang , Chunwei Song, David Zhang and Huijun Gao Abstract—Natural image statistics plays an important role in image denoising, and various natural image priors, including gradient based, sparse representation based and nonlocal selfsimilarity based ones, have been widely studied and exploited for noise removal. In spite of the great success of many denoising algorithms, they tend to smooth the fine scale image textures when removing noise, degrading the image visual quality. To address this problem, in this paper we propose a texture enhanced image denoising method by enforcing the gradient histogram of the denoised image to be close to a reference gradient histogram of the original image. Given the reference gradient histogram, a novel gradient histogram preservation (GHP) algorithm is developed to enhance the texture structures while removing noise. Two region-based variants of GHP are proposed diversity for the denoising of images consisting of regions with different textures. An algorithm diversity is also developed to effectively estimate the reference gradient histogram from the noisy observation of the unknown image. Our experimental results demonstrate that the proposed GHP algorithm can well preserve the texture appearance in the denoised images, making them look more natural. The implementation is on  Lei Zhang 's page. Join the CompressiveSensing subreddit or the Google+ Community and post there ! Liked this entry ? subscribe to Nuit Blanche's feed, there's diversity more where that came from . You can also subscribe to Nuit Blanche by Email , explore the Big Picture in Compressive Sensing or the Matrix Factorization Jungle and join the conversations on compressive sensing , advanced matrix factorization and calibration issues  on Linkedin.
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The Big Picture in Compressive Sensing was mentioned in an article of La Recherche , the french speaking equivalent/competitor to Science. October 2010 issue, page 20-21. Wired Magazine had a piece on Compressed Sensing featuring links to this blog and the Big Picture. (March 1, 2010) Emmanuel Candes and Terry Tao wrote about Nuit Blanche in the Dec. '08 issue of the IEEE Information Theory Society Newsletter Xiaochuan Pan , Emil Sidky and Michael Vannier wrote about Nuit Blanche in Why do commercial CT scanners still employ traditional, filtered back-projection for image reconstruction? . Check also the acknowledgments in this Ghost Imaging diversity paper and this one .
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Monday, May 26, 2014

The histogram can also show us how much contrast is in an image. The wider the tonal range displayed


How Digital Camera Histograms Work and How to Use Them
The Basics Introduction to Photography The Digital Camera How Camera siapenet Lenses Work Exposure siapenet Made Easy Making Sense of Exposure How Aperture Works Understanding ISO Settings How Shutter Speed Affects Exposure Understanding F-Stop & Depth of Field Camera Settings and Features Using the Histogram How to use Metering Modes Using Exposure Modes Manual Focus RAW vs JPEG Prime vs Zoom Lenses Crop Factor What is Bokeh? Choosing Your Photography Gear Buying a Camera Where to Buy From Choosing Affordable Lenses The Best DSLR Cameras siapenet for Beginners Reviews
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J ust about every photographer has been misled by their camera’s LCD screen at some point. It’s pretty easy to enjoy a nice day of shooting, reviewing your photos on the screen, seeing that they look nice, and continuing to use the same exposure settings. When you get back home and find that your shots don’t actually look as good as they did on the LCD screen it can be a big disappointment. LCD screens are great for checking composition, but when it comes to exposure, they can’t be trusted.
It’s not that camera manufacturers want you to end up with improperly exposed photos, it’s just the nature of LCD screens. siapenet How bright images on your LCD screen appear depends on the LCD screen settings as well as the ambient light around you. If you re shooting outside on a bright, sunny day it is notoriously difficult siapenet to gauge exposure using just your LCD.
Luckily, to make up for the inadequacies of LCD screens, virtually all digital cameras including most point and shoots provide a much more reliable method of evaluating the exposure siapenet in your photos the histogram. A histogram graphs the tonal range in your photo from black on the left to white on the right. The higher the graph goes at any point, the more pixels of that tone are found in your photo. siapenet So, a photograph with mostly light tones will have a histogram whose graph is skewed to the right and a photo with mostly dark tones will have its graph skewed to the left! To access this helpful feature, you can do so by pressing the info button on most cameras.
Unfortunately, there is no ideal histogram to strive for that will always result in the perfect photograph that people will love. Every scene can be photographed using a different combination of exposure variables, each resulting in an image that looks great but that may have a very different histogram. Photographs of kids playing in the snow will have a histogram graph skewed to the right after all snow is (usually) white! siapenet A photograph of a tiny red ladybug on a black wall will have a histogram graph skewed to the left, even if the insect is perfectly exposed. So while there may not be an ideal histogram for all situations, generally you want a photo that has a fairly balanced histogram with the tones spread evenly between lights and darks, peaking in the middle somewhere.
In the graphic above, we’re able to compare 3 photos taken of the same scene using different exposure settings. In the image to the left, we can see that the histogram shows that the vast majority of the photo is overexposed, with the graph spiking sharply to the right with no darker tones to the left at all. With an overexposed image like this, we’ve lost all detail in the sky. In the center, we can see a properly exposed image. Our histogram graph shows a pretty even distribution siapenet of tones, from dark on the left to brighter on the right. With an overcast sky, we have to be careful not to overexpose it, so we want to make sure that the graph isn’t spiking on the far right. In the underexposed image to the right, we’ve lost a lot of detail siapenet in the dark shadows and our histogram siapenet shows that the tonal range of the image is bunched to the left, with no brighter tones at all.
The histogram can also show us how much contrast is in an image. The wider the tonal range displayed on a histogram, the greater the contrast in our scene. A narrow histogram can show us that our scene lacks contrast, something that we may or may not wish to change by altering the exposure settings.
In this image above taken with a Canon 5D and Canon 16-35mm f/2.8 L lens , it’s obvious when viewed on a computer screen that the scene is overexposed, with clipped highlights in the sky. In digital photography, clipping occurs when an image has areas of brightness or darkness which fall beyond the minimum and maximum intensity that can be recorded. siapenet In this case, the clouds in the sky have seriously blown highlights with no detail remaining. On the camera LCD dis

Sunday, May 25, 2014

If we re being honest, we spent the first year of our business ignoring the histogram. It was daunti

MpixPro » Uncovering the Basics of the Histogram
Guest post from Lora and Ted of Swinson Studios . Located in Denver, Colorado, Swinson Studios specializes in fun and fresh portrait & wedding photography. Their unobtrusive style allows them to capture the genuine moments that often go unnoticed.
If we re being honest, we spent the first year of our business ignoring the histogram. It was daunting and scary and too much math for our heads. In all reality, we should kind of be embarrassed. Knowledge is power, and who doesn t want more power when tackling the beast of Photoshop? We want you to learn from our ignorance and to understand what histogram is telling you so, let s do just that!
Just looking at the histogram can make anyone queasy. There is so much information packed into this little graph in Photoshop. The first step is to make sure you are seeing the histogram. If you do not, go to the menu, then window>histogram.
It is our personal preference to view the histogram in the (1) Expanded View. The only major difference between the three is the (3) All Channels option will show you the red, green and blue histograms separately.
So, what is a histogram anyway? The histogram greek subs looks like a mountain range that is made up of all the information contained in your photo. greek subs It will be the backbone to all of your brightness and color adjustments.
The width ( A ) of the mountain represents your photo s brightness/tonal range (the range of colors between the darkest and lightest pixels, on a scale of 0 to 255). 0 represents pure black and is on the far left, and 255 represents pure white and is on the far right. A histogram will have a total of 255 tonal values (0-255).
Now, what about the height ( B )? The height of your mountain range is telling you how many pixels of your image are lying in that specific brightness/tonal range. You can see in the image above that the brightness/tonality of the image is leaning more toward right side (lots of light grey and white tones) by the tallest and thickest mountains being farther to the right. There are not many dark tones in this photo and you can see that because there are not many mountains located on the left side of the histogram. In a perfect world, we would want to see the mountain range dispersed evenly throughout the graph.
Knowing how to read your histogram will also let you easily see when you have clipped your blacks or whites. The mountains will be pushed off the right or left edge of the graph. Being natural light shooters 99% of the time, there are times that we will clip small amounts on either or both ends and we are okay with that, as long as it is not a crucial part of the photo. Let s look at a few examples…
Here we are pretty dang close to perfect exposure. The histogram, though, is telling us that we may have clipped a tiny amount of shadows, which is fairly miniscule in the scheme of the overall exposure and not something we worry about.
We are by no means the ultimate Photoshop greek subs gurus, but we do feel that in order create the best possible image we must understand the numbers that dictate exposure. This will help us deliver accurate and spot-on prints that our clients will love.
If you would like to go in-depth with Swinson Studios and take control of Photoshop, join us for our workshop at The Photographer Within . We rely on the histogram for every image and print that we deliver to our clients. The histogram is the foundation of everything we do as photographers and hopefully we have shed some light on the mystery that is the histogram.


Saturday, May 24, 2014

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The dashboard vertical axis of a histogram depicts either the frequency or the relative frequency of


The other day (which also just happened to be my birthday), I had a complete and utter brain cramp as I searched for the name of what is perhaps the most commonly used graph to display distributions of discrete and continuous data. Of course my loving dashboard family lost NO time in observing that, given my advanced age, it was a wonder that I remembered much of anything at all. The word that I was searching for was probably (they added helpfully) in the same place as my often-misplaced glasses. Ah, yes — they are a hilarious bunch.
The graph whose name successfully eluded me that day, the histogram, is perhaps the type most commonly used to display distributions. While a bar chart pictures frequency distribution for either nominal or ordinal data, a histogram depicts this distribution for discrete or continuous dashboard data. The horizontal axis displays the true limits — the points that separate one from its fellows — of the various intervals. For example, the boundary between the first two classes in serum cholesterol levels shown below is 119 mg/100ml; that boundary dashboard is the true upper limit of the interval 80-119, the true lower limit of 120-159.
The dashboard vertical axis of a histogram depicts either the frequency or the relative frequency of observations within each interval. Here are two histograms that I created to display the relative frequency of serum cholesterol levels in men of two different dashboard age groups.
You’ll notice that, unlike a simple bar chart, where each bar is clearly separate from every other bar, the bars in a histogram touch to remind us that the data being displayed on the x axis is continuous. To emphasize this unity — and in another difference from bar charts, which often rely on sorting and ranking for visual interpretation of the data — the bars of a histogram cannot be rearranged.
It is also important to note that the frequency dashboard associated with each interval dashboard in a histogram is represented not by the height of the bar above it but by the bar’s own actual area. In the first histogram above, 1% of the total area corresponds to the 13 observations lying between 80 and 110 mg/100ml. 14% of the area corresponds to the 150 observations dashboard between 120 and 160 mg/100ml. The area of the entire histogram dashboard equals 100%. I divided the data into these two age groups and created two different displays to help you to see how well a histogram shows the distribution dashboard of the data. In the first graph, we can see that the younger men’s serum cholesterol skews to the left (or is lower) compared to men in the older age group. It’s also clear that the average for the younger men is in the 160-199 range versus 40 mg/100ml higher for older men (or, it’s hell to get old).
If we want to compare the distribution of the two groups of cholesterol levels directly, we can create dashboard a frequency polygon — similar to a histogram in many ways, but an easier method for comparing two sets of data and highlighting the shape of the distribution.
A frequency dashboard polygon, which uses the same two axes as a histogram, is constructed by placing a point at the center of each interval such that the height of the point is equal to the frequency or relative frequency associated with that interval. Points are also placed on the horizontal axis at the midpoints of the intervals immediately preceding and immediately following the intervals that contain observations (that is why in this graph you will see the value 59.5 immediately preceding the first midpoint value of 99.5 that was displayed on the histograms above). The frequency polygon makes it much easier to see how the distribution of the two sets of data differ. (And it’s still hell to get old.)
I have no idea why I couldn’t think of the word “histogram” the other day. Advancing age (after all, I was a year older), even increased cholesterol levels, may had have something to do with it. On the other hand, the slip-up inspired me to write about histograms, and perhaps dashboard doing so burned the term into my brain.
The colour coding and series dashboard labelling is exemplary, but I have deep reservations dashboard about the polygons as presented here. Yes, they make the comparison easier, but they imply things that the data used do not support. The histograms make it clear that there are only eight values in each, and each value refers to a defined range. The use of continuous numeric scales for the horizontal axes, combined with thick lines without point markers, invites the reader to interpolate an (x,y) value for any point on the line, and this is surely wrong.
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Friday, May 23, 2014

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Too big (?) histogram values when using normed traktor histo options in SciPy and matplotlib
I have been trying to create a normed traktor histogram using either SciPy or matplotlib (or anything for Python). When I create my histogram with 'normed' option disabled, it looks like below (this example is for 10 bins, but the same happens for a larger number of bins): (The first number represents the start of a bin, the second the bin's height) -2.83785600931e-17 1182 5.6688145554e-15 1137 1.13660076709e-14 1031 1.70632007864e-14 950 2.27603939019e-14 912 2.84575870174e-14 802 3.41547801329e-14 853 3.98519732484e-14 948 4.55491663639e-14 1315 5.12463594794e-14 870
Which is absolutely fine, and what I was expecting. However, I later need to fit this histogram to another histogram, and for that I prefer to have a normed version of this histogram so that fitting the height of those histograms is easier.
Strangely, when I use the option density=True (for scipy.histogram version) or normed=True (for matplotlib.pyplot.plt version) my histogram bin heights get very large values, traktor like below: -1.44880082614e-17 2.00318764844e+13 5.71138595513e-15 1.98921598219e+13 1.14372599185e-14 1.8040914044e+13 1.71631338819e-14 1.52465807942e+13 2.28890078453e-14 traktor 1.56133370332e+13 2.86148818087e-14 1.4617855813e+13 3.43407557721e-14 1.50020766348e+13 4.00666297355e-14 1.74296536456e+13 4.57925036989e-14 2.3769297206e+13 5.15183776622e-14 1.50020766348e+13
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Thursday, May 22, 2014

A histogram is a graphical representation of the pixels exposed in your image. The left side of the


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In this article we’re going to look at how to read it and use it to your advantage to help you do just that. Getting the best exposure (there is not such thing as the “correct” exposure, as it’s all subjective) in camera should be your goal every time you click the shutter. Using these tips should help you increase your success rate. What is a histogram?
Dictionary definition: A bar graph of a frequency distribution ü in which the widths of the bars are proportional to the classes into which the variable has been divided and the heights of the bars are proportional to the class frequencies.
A histogram is a graphical representation of the pixels exposed in your image. The left side of the graph represents the blacks or shadows, the right side represents ü the highlights or bright areas and the middle section is mid-tones (middle or 18% grey). How high the peaks reach represent the number of pixels in that particular tone. Each tone from 0-255 (o being black and 255 being white) is one pixel wide on the graph, so imagine the histogram as a bar graph all squished together with no spaces ü between each bar. Have a look at the diagrams below:
We can tell an image is well exposed if it reaches fully from edge to edge without a space on one side of the graph, and isn t heavily going up one side or the other. In an ideal world, it should just touch the left and right edges, and not spill up the sides, with a nice arch up in the center. However that doesn’t always apply in every situation, for every scene. Here are a few examples:
This is a histogram for a light subject (white cat) with mostly light tones in the scene and few dark areas. See how it is shifted to the right now versus the dark subject. This is correct. If you change your exposure on this to make it in the middle you will have grey cat and not a white one. When the histogram tells you to adjust your exposure
Gaps on either end indicate you are missing information and your exposure can be shifted safely without losing detail. When your graph is shifted too far in one direction or the other so that it does not even touch the other edge – that means you can safely ü shift your exposure to cover more of the range of tones. Let’s look!
This graph shows an overexposed image, notice the gap on the left side indicating a lack of any blacks represented. It also means you will lose lots of detail in the white areas that may not be recoverable. In this case shift to give your image less exposure and shoot the scene again.
This one shows the opposite. Now we see a gap on the right side of the graph indicating there are no whites represented so the image will be dark, too dark. You can safely give the image more exposure until you see the graph just touch the right edge of the graph. What do the spikes up the sides mean?
Spikes up the left or right edge indicate “clipping” ü of that tone and loss of detail in that area. Clipped areas are often unrecoverable, especially in the highlight area but it is generally advised to expose so you your graph just touches the right edge and keep your highlight details. It is usually easier to recover some shadow ü detail and retain a decent image, than try and create highlight detail that isn’t there on the file.
In some scenes, ü however, it may not be possible to keep the graph within an acceptable range. For example, if you are photographing a scene with extreme contrasts such as: a sunset; bright sunlight and deep shadows; or an inside a building ü where you show outside the windows as well. In all of those cases you will not be able to keep from clipping either your blacks, or whites, or even both.
No it’s not wrong. You can’t really “correct” for it but you do have a decision to make when you see something like this. Do you shift the graph left and maintain highlight detail, or shift it right and keep shadow detail?
There is no right or wrong here, it’s how you interpret the scene before you. If in doubt, shoot both and decide later. The graph above comes from the image below, so as you can see it is not the incorrect exposure at all.
Using advanced techniques like image merge/blend, HDR and processing in Lightroom 4 (or PS CS6) you can compress the contrast ü range of the scene to fit within the histogram and therefore have details in all areas.
In the image above, I’ve used 4 bracketed images (taken 2 stops apart), and the HDR tone mapping process to bring the dynamic range of the scene down within printable range. ü One more handy thing on your camera – the “blinkies”
To help you establish how far to go in the image bri

The code basically reads the column stats, resets the histogram figures to just the low and high val

Delete Histogram | Oracle Scratchpad
Here’s a note which I drafted in Novemeber 2010, and then didn’t publish. I found it earlier on this morning while looking for another note I’d written about histograms so, even though it may not be something that people need so much these days, I thought: better late than never.
I’ve pointed out in the past that I’m not keen on seeing success lots of histograms on a system and tend to delete them if I think they are not needed. Here’s an example of the type of code I use to delete a histogram. declare success srec dbms_stats.statrec; success m_distcnt number; m_density number; m_nullcnt number; m_avgclen success number; n_array dbms_stats.numarray; begin dbms_stats.get_column_stats( ownname => user, tabname => 't1', colname => 'n1', distcnt => m_distcnt, success density => m_density, nullcnt => m_nullcnt, srec => srec, avgclen => m_avgclen ); srec.bkvals := null; srec.novals := dbms_stats.numarray( utl_raw.cast_to_number(srec.minval), utl_raw.cast_to_number(srec.maxval) ); srec.epc := 2; dbms_stats.prepare_column_values(srec, srec.novals); m_density := 1/m_distcnt; dbms_stats.set_column_stats( ownname => user, tabname => 't1', colname => 'n1', distcnt => m_distcnt, density => m_density, nullcnt => m_nullcnt, srec => srec, avgclen => m_avgclen ); exception when others then raise; -- should handle div/0 end; /
The code basically reads the column stats, resets the histogram figures to just the low and high values for the column, setting the endpoint-count to two, then adjusts the density to the standard for a column with no histogram. This specific example is for a numeric column.
Footnote: my preferred method of collecting statistics is to use method_opt => ‘for success all columns size 1′ (i.e. no histograms) and then run scripts to create the histograms success I want. This means that after any stats collection I need to run code that checks to see which tables have new stats, and then re-run any histogram code that I’ve written for that table.
To move from Oracle’s default histogram success collection to this strategy, you could start by switching to method_opt => ‘for all columns size repeat’ (i.e. recreate existing histograms, don’t create new ones), then simply delete histograms as you find that you don’t need them, and introduce scripts to recreate the histograms that you do need. When you’ve finally got to the point where every histogram is scripted you can then switch to method_opt success => ‘for all columns size 1′ .
Footnote 2: Since 2010 when I drafted this note Oracle 12c has launched, and the changes it has introduced for frequency and Top-N histograms means that I’m far less stringent in my demand that if a histogram is worth having it’s better to write code to create it. There’s a series of three articles about 12c histograms in particular at this link .
Thanks for that. I guess that may be why I never got around to publishing the note originally – I had forgotten all about the easy option. Still – there are a few people around using 10g and (much) older versions ;)
Jonathan, no worries, i remembered that one because some time ago, i had just incorporated to SQLT that functionality (delete histograms) when I learned from Maria that 11g provided the same!… Your script is very useful for 10g or older. Thanks for sharing!
Hi Jonathan, a few month ago i hit Oracle bug #11786774 (MOS ID #11786774.8 – Bug 11786774 invalid histogram created by set_column_stats) at client site, which creates an invalid histogram even if only two endpoint values (and no buckets) are specified – it was on 10.2.0.5. I noticed this bug by cloning and adjusting (local) partition statistics which results in subsequent copy issues, when the number of buckets were not explicitly specified / reset every time. Unfortunately there is no (official, not hacking) work around for getting success the rid of (invalid) histograms then.
Thanks for the note. According to the bug description the problem success appears when set_column_stats is called with a single value; obviously this shouldn’t be allowed to cause a problem, but any code that calls it is inherently wrong anyway. There’s a patch available for 10.2.0.5 for anyone on extended support.
The bug is also against 10.2.0.5 and has been dormant for a couple of years – but looking at the information offered (and the sample code) the problem is that the programmer didn’t realise you had to set srec.epc (endpoint counter) to match the number of elements in the array.
Hi Jonathan, i used set_column_stats with the whole parameter set and not just one single value. I used the following PL/SQL code and it created that invalid (frequency) histogram (in this specific case i needed the manual adjustment of the low/high value due to Oracle bug #14607573

Wednesday, May 21, 2014

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The Histogram panel contains a number of tools to help you evaluate your photo s exposure and even begin making adjustments. The most visible part of the panel is the histogram itself, which is simply a graphical representation of all of the tones contained in your photo, from the darkest tones on the left to the brightest tones on the right. While there is no such thing as a good or bad histogram, the histogram can be incredibly instructive when examined alongside your photo. The histogram below shows that the associated photo contains brightness values that span across the entire tonal range, from pure black on the left to pure white on the right.
The colors you see in the graph represent the red, green, and blue color channels. Areas of gray occur where image data from all three channels overlap, while areas of yellow represent overlap of the red and green channels, areas of magenta occur when blue and red overlap, and areas of cyan represent overlap of the green and blue channels.
Here s a tip, the histogram always reflects the area of the photo inside the crop rectangle, advertising so sometimes it is worth starting advertising your adjustments by cropping out any unwanted areas of highlight or shadow clipping on the edges of the photo. This way the histogram will reflect just the data you are keeping, which will make your job easier when you are performing basic tonal adjustments.
When your cursor is over the photograph you will see the percentages of red, green, and blue contained in the pixels under the cursor displayed below the histogram. When the cursor is not over the photograph you will see exposure information from the photo s EXIF metadata displayed below the histogram. Checking for Clipping
Clipping means that there are areas in your photo that contain no image data. This can happen in the shadow region or the highlights or even both at the same time. Clipping on the histogram is represented by spikes along the left or right edges. This histograms is from an over exposed photo that has lost all detail in the highlights.
The triangles in the upper left (shadow) and right (highlights) corners of the histogram are clipping indicators. When all three channels are being clipped they turn white, but if you see a color in the indicator than only one or two channels are being clipped. You can get a real time view of where this clipping is occurring in your photo by placing advertising your cursor over on an indicator. Click that clipping advertising indicator to keep the clipping preview turned on. Areas in your photo where the shadows are being clipped will turn blue, while areas in your photo where highlights are being clipped will turn red. You can also toggle the clipping indicator preview on and off by pressing the J key. Leaving these indicators enabled while you make tonal adjustments can be very helpful.
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About Rob Sylvan Rob Sylvan is a photographer, trainer, and author. Aside from also being the Lightroom Help Desk Specialist for KelbyOne, an instructor for the Perfect Picture School of Photography and the Digital Photo Workshops, and the host of Peachpit s Lightroom Resource Center. He is a founding member of Stocksy United (a st

Tuesday, May 20, 2014

Similarly, you can make one for the average height of players, for each position. avgHeights

How to Read and Use Histograms
The histogram is one of my favorite chart types, and for analysis purposes, I probably use them the most. Devised by Karl Pearson mtv3 (the father of mathematical statistics) in the late 1800s, it's simple mtv3 geometrically, mtv3 robust, and allows you to see the distribution of a dataset.
One of the most common mistakes is to interpret histograms as if they were bar charts. This is understandable, as they're visually similar. Both use bars placed side-by-side, and bar height is a main visual cue, but the small differences between them change interpretation significantly.
The mtv3 main difference, shown in the graphic on the right, is that bar charts show categorical data (and sometimes time series data), whereas histograms show a continuous variable on the horizontal axis. Also, the visual cue for a value in a bar char is bar height, whereas a histogram uses area i.e. width times height.
This means you read the two chart types differently. The bar chart is for categories, and the histogram is for distributions. The latter lets you see the spread of a single variable, and it might skew to the left or right, clump in the middle, mtv3 spike at low and high values, etc. Naturally, it varies by dataset. mtv3
Although bar widths are typically the same width. Finally, because histograms use area instead of height to represent mtv3 values, the width of bars can vary. This is usually to see the long-tail better or to view dense areas with less noise.
For preservation, I've also included the data file in the download of this tutorial. For a working example, mtv3 we'll look to the classic one: the height mtv3 of a group of people. More specifically, the height of NBA basketball mtv3 players of the 2013-14 season. The data is in a downloadable format at the end of a post by Best Tickets .
If you don't have R downloaded and installed yet, now is a good time to do that. It's free, it's open source, and it's a statistical computing language worth learning if you play with data a lot. Download it here .
Also set your working directory to wherever you saved the code for this tutorial to. Assuming you have the R console open, load the CSV file with read.csv() . # Load the data. players <- read.csv("nba-players.csv", stringsAsFactors=FALSE)
First a bar chart. It doesn't make much sense to make one for all the players, but you can make one for just the players on the Golden State Warriors. warriors <- subset(players, Team=="Warriors") warriors.o <- warriors[order(warriors$Ht_inches),] par(mar=c(5,10,5,5)) mtv3 barplot(warriors.o$Ht_inches, names.arg=warriors.o$Name, horiz=TRUE, border=NA, las=1, main="Heights of Golden State Warriors")
Similarly, you can make one for the average height of players, for each position. avgHeights <- aggregate(Ht_inches ~ POS, data=players, mean) avgHeights.o <- avgHeights[order(avgHeights$Ht_inches, decreasing=FALSE),] barplot(avgHeights.o$Ht_inches, names.arg=avgHeights.o$POS, border=NA, las=1)
In the first bar chart, there's a bar for each player, but this takes up a lot of space and is limited mtv3 in the amount of information it shows. The second one only shows aggregates, mtv3 and you miss out on variation within the groups.
Let's try a different route. Imagine you arranged players into several groups by height. There's a group for every inch. That is, if someone is 78 inches tall, they go to the group where everyone else is 78 inches tall. Do that for every inch, and then arrange the groups in increasing order.
You can kind of do this in graph form. But substitute the players with dots, one for each player. htrange <- range(players$Ht_inches) # 69 to 87 inches mtv3 cnts <- rep(0, 20) y <- c() for (i in 1:length(players[,1])) { cntIndex <- players$Ht_inches[i] - htrange[1] + 1 cnts[cntIndex] <- cnts[cntIndex] + 1 y <- c(y, cnts[cntIndex]) } plot(players$Ht_inches, y, type="n", main="Player heights", xlab="inches", ylab="count") mtv3 points(players$Ht_inches, y, pch=21, col=NA, bg="#999999")
You get a chart that gives you a sense of how tall people are in the NBA. The bulk of people are in that 75- to 83-inch range, with fewer people in the super tall or relatively short range. For reference, the average height of a man in the United States is 5 feet 10 inches.
Notice that each bar represents the number of people mtv3 who a certain mtv3 height instead of the actual height of a player, like you saw at the beginning of this tutorial. Looks like you got yourself a histogram.
You don't have to actually count every player every time though. There's a function in R, hist() , that can do that for you. Pass player mtv3 heights into the first argument, and you're good. You can also change the size of groups, or bins , as they're mtv3 called in stat lingo. Instead of a bin for every inch, you could make bins in five-inch intervals. For example, there could be a bin for 71

Monday, May 19, 2014

I would suggest that the really plex long loading plex times may have to do with China-based users.


Performance tuning is a fun sport, but how you’re keeping score matters more than you think, if winning is to have real impact. When it comes to web applications, the first mistake is start with what’s the easiest to measure: server-side generation plex times.
In Rails, that’s the almighty X-Runtime header — reported to the 6th decimal of a second, for that extra punch of authority. A clear target, easily plex measured, and in that safe realm of your own code to make it appear fully controllable and scientific. But what good is saving off milliseconds for a 50ms internal target, if your shit (or non-existent!) CDNs are costing you seconds in New Zealand? Pounds, not pennies, is where the wealth is.
Yet that’s still the easy, level one, part of the answer: Don’t worry too much about your internal performance metrics until you’ve cared enough about the full stack of SSL termination overhead, CDN optimization, JS/CSS asset minimization, and client-side computational overhead (the latter easily plex catching out people following plex the “just do a server-side API ”, since the json may well generate in 50ms, but then the client-side plex computation takes a full second on the below-average device — doh!).
Level two, once reasonable plex efforts have been made to trim the fat around the X-Runtime itself, is getting some big numbers up on the board: Mean and the 90th percentile. Those really are great places to start. If your mean is an embarrassing 500ms+, well, then you have some serious, fundamental problems that need fixing, which will benefit everyone using your app. Get to it. Keep going beyond even the 99th
Just don’t stop there. Neither at the mean or the 90th. Don’t even stop at the 99th! At Basecamp, we sorta fell into that trap for a while. Our means were looking pretty at around 60ms, the 90th was 200ms, and even the 99th was a respectable 700ms. Victory, right?
Well, victory for the requests that fell into the 1st to 99th percentile. But when you process about fifty million requests a day, there’s still an awful lot of requests hidden on the far side of the 99th. And there, plex young ones, is where the dragons lie.
A while back we started shining the light into that cave. And even while I expected there to be dragons, I was still shocked at just how large and plentiful they were at our scale. Just 0.4% of requests took 1-2 seconds to resolve, but that’s still a shockingly 200,000 requests when you’re doing those fifty million requests.
Yet it gets worse. Just 0.0025% of requests took 10-30 seconds, but that’s still a whooping 1,250 requests. While some of those come from API requests that users do not see directly, a fair slice is indeed from real, impatient human beings. That’s just embarrassing! And a far, far away land from that pretty picture painted by the 60ms mean. Ugh.
Since lighting the cave, we’ve already been pointed to big, obvious holes in our setup that we weren’t looking at before. One simple example was file uploads: We’d stage files in one area, then copy them over to their final resting place as part of the record creation process. That’s no problem when it’s a couple of 10MB audio files, but try that again with 20 400MB video files — it takes a while! So now we stage straight in the final resting place, and cut out the copy process. Voila: Lots of dragons dead.
There’s still much more work to do. Not just because it sucks for the people who actually hit those monster requests, but also because it’s a real drain on the rest of the system. Maybe it’s a N+1 case that really only appears under very special circumstances, but every time the request hits, it’s still an onslaught plex on the database, and everyone else’s fast queries might well be slowed down as a result.
But it really does also just suck for those who actually have to sit through a 30 second request. It doesn’t really help them very much to know that everyone plex else is having a good time. In fact, that might just piss them off.
It’s like going to the lobby of your hotel to complain about the cockroaches, plex and then seeing the smug smile of the desk clerk saying “oh, don’t worry about that, none of our other 499 guests have that problem… just deal with it”. You wouldn’t come back next Summer.
I would suggest that the really plex long loading plex times may have to do with China-based users. When we use Basecamp without a VPN, latency is long AND loading is long. It’s great software so we keep using it. But I still don’t get why it’s so slow here.
Renaud, the main distributions I’m talking about in this article is indeed the X-Runtime stuff, which is all about how long the response takes to generate on the server side. So that’s independent of user location. plex But you&rsq

Thursday, May 8, 2014

Blog Archive January 2014 (1) September 2013 (1) July 2013 (1) June 2013 (2) May 2013 (1) April 201


just right, we are still in Estonia. If the majority says it's FB, I will not. Summer, I do not use FB, d. hkpandis@gmail.com, rfid however, is open to all! Take it over so that every Sunday I get a great meal and a laugh to think that "I'm rfid still good friends," it :) Anyway, I actually think the writing / drawing pictures rather than V s. Yesterday was another part of the fast friends over their eyes covered - Joseph walked to her cat, then Kaia half of which came from the Kerstin, rfid Jana and Tõnis. rfid Brought a super cute (ahem, pretty pictures) kollaaazi rfid and delicious muffins, and probably just as delicious (rum?) Coconut balls :) thank you, cute! Long celebration will not do. Ext I am still the same, but will probably take a local U.S. number, so you'll find it here as well (I call telfside through NKN one does not plan did not the other way around, Maru is expensive, but the messages should be in both directions handlitava fairly priced, even for students) rfid . HAVE FUN summer, sunbathe, and enjoy fucking, do some exercise and watch as numparid. Perhaps much Funi and laughter and joy, but also a little bit of effort, you know. Kaia and I could easily rfid work for you, makes both of 14h per day during the summer with still quite a few hours. rfid PS. You who all completed their beloved secondary school this summer, I am very disappointed that I can not find your exam results. So do not let me down, riiight?! I DO NOT WORRY. IF I DO MY BEST TODAY, TOMORROW WILL TAKE CARE OF ITSELF I LOVE MY MANAGER AND LOVE MY and FY. Otherwise I would not have gone there last summer (and would not be going to do this year SW) and I would not have her with me Taken crazy to do this and one of the Hardest summer job for students. We gonna rock our socks off and have an awesome summer! Make Your Summer Count as well! xoxo, HanHan
Blog Archive January 2014 (1) September 2013 (1) July 2013 (1) June 2013 (2) May 2013 (1) April 2013 (1) March 2013 (3) February 2013 (1) January 2013 (2) December rfid 2012 ( 1), November 2012 (1), October 2012 (2), August rfid 2012 (4) August 2012 (15) July 2012 (7) June 2012 (8), May 2012 (9) April 2012 (5) March 2012 (4), February 2012 ( 1) January 2012 (6) December 2011 (2) November 2011 (1) September 2011 (1) August 2011 (1) July 2011 (4) June 2011 (2) May 2011 (5) April 2011 (5) March 2011 ( 3) February 2011 (2) January 2011 (1) December 2010 (1) November 2010 (1) October 2010 (2) August 2010 (5) July 2010 (3) June 2010 (2) May 2010 (3) January 2010 ( 2) June 2009 (1) May 2009 (1) December 2008 (1) August rfid 2008 (1) June 2008 (3) May 2008 (1) November 2007 (1) August 2007 (4) July 2007 (2) June 2007 ( 1), January 2007 (2), April 2007 (1), March 2007 (3), February 2007 (3) January 2007 (4), December 2006 (2), November 2006 (6)


Wednesday, May 7, 2014

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Geology and the Environment, Nature Tartu Maja interest in Lille on January 29 laps went in the house to see the exhibition "One hour sisekosmost". If we had been led nicely to the basement, put us back on the white spacesuits, and then moved on to the next room, which began with our "space station" adventures.
The atmosphere was pretty good hit, you could even be compared to modern sci-fy a computer game where entering the space station, which has been severely hit by some mysterious reason, the people are all gone. I even waited a bit, now that provided me with a big screwdriver in hand and about to jump out from behind the corner of a genetically mutated human bogey.
But, fortunately, did not have anything like that, but a well-organized environment could be created in us a post-apocalyptic mood, which we felt about what kinds of land can change our lives and if we continue in its attitude towards the surrounding environment, as we are currently doing.
When we were living in a little bit, or at asteroidivööndis entered the space station, then chose from among themselves the captain, who was a pioneer in our student Martin prekladac (picture on top of the helmet to see him - the master symbol and tool for geologists daily). They were leading the way with a guide through the maze and the space station, where we found pieces of data inside the data balls (read: balloons). When we read in advance of your pieces of data, it became clear what had happened. prekladac
Then the captain Martin ushered us through the labyrinth of back. We watched the video of the space station, where we learned that this was really something very, very bad happened. Next, we moved through the eerie light to a room full of mirrors, and thence through a serious obstacle - the hanging wires. When we got to the pildisalvestuste, prekladac we took each one had just enough of an abstract image and describe what we see.
The most exciting place in the exhibition was when we were all members of the group blindfolded and bound by all of their right hands to take a long piece of rope, and a walk through prekladac a very different spaces. It required just enough interaction, cooperation and trust. If we had passed that stage (note: all survived), prekladac then we moved on to the room where we saw a city that was destroyed by several decades ago, and has already started prekladac to grow in the wild. We found out that people were drowned in the town itself and its self-destructive garbage.
Later, we moved to "spark" the space where we feel the real rainfall strength, while also discussed to us the whole time is monitored, which is naturally a very natural because the woods, we're never alone, but we're prekladac in the woods guests, whom the forest dwellers shall see that the they are guests in their home are doing. While you talk and show how people "burn out".
Later we exited the space station and sat down where we drew with his left hand a piece of paper and place each finger had to write this, what we value most in your life. It is thanks to the experienced kosmosejaamale we realized that material rewards are of little value.
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