Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
How a histogram was made? This is the most common question that is asked. Now, photographers now are confronted with so much technology that they have never planned to use. Photography was simple. Before, you put a film in the camera, now who dials button and many use in a back of a camera.
Histogram is made—it is a pile up of the pixels according to their density. If an image is taken with little squares and you will an illustration of this as we speak. There is a 20 pixel image right there and all of the pixel would be classified on the graph from the darkest to the lightest. So if each pixel comes and it is placed according to its density, this is a histogram. And histogram is no magic. It is just placing an orderly fashion all the pixels from an inch.
You here the word histogram as soon as you talks about exposure because you need to refer to the histogram to avoid any overexposure or underexposure. And the histogram will tell you, we are over exposing. For example, when we reach extreme right side of the histogram, we know that pixels that are there contains no information, no color information. They are pure white with nothing in there. So, if it is impossible to recuperate from that mistake, if that happens, so you need to refer to your histogram. Not the view finder in the back of the camera, if you go on the LCD, the information that is there may tell everything is wash out or everything is dark, but the histogram will give you the real history because it is account of each colored pixel and where they are within the range.
The histogram will tell you about safe exposure by not touching the edges. If your image going in bump power the right edge or the left edge, tells you, you have lost information. You have lost definition. So this is how the histogram will be tell you about the safe exposure. Just imagine all the information on your histogram being in the center of the fork of the two walls, it is like having all the stones in front of a shovel. If they are all in front of the shovel, you will be able to pick them up. This is the same way that the camera will pick up all the information in the images. If they are outside of the shovel, they will—they left there and bring no information to your image.
The histogram itself has nothing to do with color balancing. The histogram is only in an indication of the exposure value and the level of information available in your image. So if you change your exposure by setting over exposing or under exposing, you will move the histogram in there, but the color balance itself has not made to the histogram.
The color balance is so efficient communicating with the histogram by the presents of four different zones on the target and these different values on the target will be paling up in certain region of the histogram. So if you see the histogram, you have the illustration right now, the black pixels that here, all pile up on the left side. The great information, the great pixel, the great little blocks will come and pile up in the center and the reflective white will go at extreme right, and the translucent or dull white would be just beside. And you need to see a difference. You have a visual difference now between these two values. So they need to visible on the histogram.
So when you take a picture of the center of the color balance code disk, you will have only pix on your histogram and this is what will tell you that your exposure will be perfect.