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- Christa on 1/21/2017
Introducing: The Workshop by Displays2go
We make it. We make it in good quality, at affordable prices, and we ship it same day! What more could you ask for? Why would we stop?
- Michelle Driver, Production Manager
The Workshop is our bread and butter. It’s a small part of our larger inventory, but it’s unique because we make it from start to finish. Really, it’s the backbone of our company.
- Bob Black, Director Manufacturing/Facilities
Displays2go - North America's #1 Choice for In-Stock Trade Show & Custom POP Displays
Our Mission: To provide B2B & trade show solutions with an expansive online visual catalog that will supply the tools to meet any visual merchandising needs.
As a store manager, proprietor, or trade show advisor, effectively merchandising inventory or services is the quickest way to begin increasing sales. At Displays2go, we have all the fixtures and marketing tools necessary to get any business off and running. Our goal is to allow you, the customer, to be able to fully furnish a store, , or municipality at an affordable cost. We understand that managing a budget leaves no room for wasted merchandising expenses. Because of this, we offer price breaks on bulk quantities to get you what you need, when you need it.
This company aims to give customers the largest online catalog featuring
items. Let us help your business reach its full potential by excelling in the following disciplines:
Merchandising - the type of product being sold is the biggest factor influencing the number of sales, but almost just as important is the presentation of the product.
provide managers with the countertop and floor standing fixtures needed to effectively promote inventory. Our line includes , dump bins, mannequins and much more.
Bringing In Customers - The interior of any store can look incredible, but that doesn’t benefit managers and owners if no customers come into the store. Enticing customers through the door is a difficult task, especially in crowded shopping centers. Use , event displays & window signage to start drawing in more customers than you had thought possible. Outdoor advertising is a low cost solution with high revenue results.
are a valuable resource that can display a custom sign and is also portable and lightweight.
Controlling Traffic Flow - As it is with any business, there are always products or services with higher overhead than others. Use
to move customers towards the product or service that will bring the most profit. Light boxes are often used in movie theaters, malls and other areas that often use large format posters to advertise.
While Displays2go specializes in traditional store merchandising, there are many other product lines offered. From trade show graphics and prize games to restaurants and sports bars, we have the supplies you need. Standard products and solutions are available, as well as contemporary styles of product marketing. Digital products, such as restaurant menus and TVs with slideshow software, are valuable both for their electronic appeal and reusability. The diverse selection below may be just what you need to take your marketing to the next level:
iPad & TV Stands - Digital and interactive signage is constantly increasing in popularity. Kiosks, wall mounts, ceiling hanging displays and
are essential office accessories for meetings and teleconferencing. Customers are more intrigued by digital ads than a standard poster. Timed slideshows help multiple messages reach and broad audience. We offer TV screens with built in slideshow software so owners can create custom presentations.
Literature Stands & Holders - Facilities with waiting rooms can benefit from . Offer patients or customers literature to read while they wait for their appointment. Convenience & grocery stores also commonly use literature stands to increase point of sale purchases. Provide office visitors quick access to information with a business card display.
Trade Show Supplies - We specialize in getting you everything you need to run a successful trade show. Get portable counter booths to easily set up a presentation stand. Utilize our custom graphics department to have an entire booth backdrop printed, or simply print a company logo on a . Accessories like lighting, tables and chairs and utility carts help make any setup a breeze, and help fill out the booth space.
Sign Holders - Whether your need is for a wall mount frame to hang a favorite movie poster, or a floor stand pedestal to showcase sale prices and advertise specials, the various options available will meet your needs. The
can be used either residentially or commercially, and table tents or place card holders are the ideal choice for restaurant tables and bars.
School Bulletin Boards - Showcase papers, student profiles and relevant news alerts in schools and town buildings. Bulletin boards are easy to wall mount in high prominence areas and many displays feature safety locks to prevent tampering.
Displays2go has been manufacturing and selling Retail POP
since 1974.
This ever-expanding product line includes over 7,000 unique units such
as display racks, frames for posters, magazine displays, trade show booths,
banner stands, Lucite frames, TV wall mounts and digital poster frames all ready for immediate shipping. Displays2go specializes in literature holders, lecterns & podiums, bulletin boards, restaurant supplies, store fixtures, clothing racks,
& much more. As a leading POP display manufacturer, most orders ship within 24 hours. In-stock orders placed before 2PM EST(M-F) ship the same day. We pride ourselves on a large staff of live customer service representatives available to process orders and answer product
questions. Our on-site design team can quote and prototype custom POP and retail display concepts in days. Having a source to quickly obtain custom graphics can really help any business excel. As a POP display manufacturer, we have the resources and skills to deliver quality products and services without sacrificing affordability. Along with custom graphics, we offer an extensive line of countertop and floor standing merchandising. Some of these
jewelry cases, food covers, and literature holders, which are prevalent in most retail environments and trade show events. Also check out presentation stands designed for floor use like poster stands, TV mounts and .
to see a detailed breakdown of our vast line of quality display products.
Interested in working with us?
Recently Viewed ProductsBlazingly Fast with 60fps.
Incredible responsiveness turns your iOS or Android device into a true extra display. Great Performance you can feel.
Multi-Touch on every Platform.
Support for iOS, macOS, Android, and Windows.
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iDisplay is simple and adjusts your extra screen to its full potential. Every single pixel on your device can be used in high resolution and maximal performance.
With more space you become more productive.
Every single day, you can come up with exceptional ideas. And ideas need space to evolve. Use the extra screen space and boost your productivity.
USB + WiFi Connection
iDisplay lets you choose what works best for you - Lightning, 30-Pin, Micro USB, USB-C cable for ultimate performance, or WiFi connection for maximal flexibility.
Link many devices.
Engineered to work seamlessly with many additional devices. You can connect multiple iPads and/or Android tablets to your main computer simultaneously.
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Compatibility
Windows XP and up
Mac 10.9 and up
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Are you interested in deploying iDisplay on a large amount of devices?We love to work with companies, OEMs, and educational institutions.
And you go "Oh man! Yes!"
That's brilliant. I mean, I can think of about a billion uses for this.
Top iPad app to have.
2017 SHAPE. All rights reserved.
Select your Windows version
Windows XP | Vista | 7
iDisplay Desktop 2.4.2.16
Windows 8 and newer
iDisplay Desktop 2.5.0.14C# Windows Forms
C# programmers have made extensive use of forms to build user interfaces. Each time you create a Windows application, Visual Studio will display a default blank form, onto which you can drag the controls onto your applications main form and adjust their size and position.
The first step is to start a new project and build a form. Open your Visual Studio and select File->New Project and from the new project dialog box select Other Languages->Visual C# and select Windows Forms Application. Enter a project name at the bottom of the dialouge box and click OK button. The following picture shows how to create a new Form in Visual Studio.
Select Windows Forms Application from New Project dialog box.
After selecting Windows Forms Application , you can see a default Form (Form1) in your new C# project. The Windows Form you see in Designer view is a visual representation of the window that will open when your application is opened. You can switch between this view and Code view at any time by right-clicking the design surface or code window and then clicking View Code or View Designer. The following picture shows how is the default Form (Form1) looks like.
At the top of the form there is a title bar which displays the forms title. Form1 is the default name, and you can change the name to your convenience . The title bar also includes the control box, which holds the
minimize, maximize, and close buttons.
If you want to set any properties of the Form, you can use
Visual Studio Property window to change it. If you do not see the Properties window, on the View menu, click Properties window. This window lists the properties of the currently selected Windows Form or control, and its here that you can change the existing values.
For example , to change the forms title from Form1 to MyForm, click on Form1 and move to the right side down
Properties window, set Text property to MyForm. Then you can see the Title of the form is changed. Likewise you can set any properties of Form through Properties window.
You can also set the properties of the Form1 through coding. For coding, you should right-click the design surface or code window and then clicking View Code.
When you right click on Form then you will get code behind window, there you can write your code
For example , if you want to change the back color of the form to Brown , you can code in the Form1_Load event like the following.
private void Form1_Load(object sender, EventArgs e)
this.BackColor = Color.B
Likewise you can change other properties of Form1 through coding.
How to Pass Data Between Forms
In C# , there are many situations the new programmers face the same problem about how to pass data and values from one form to another. The following link will guide you ....
Form on Top of All Other Windows
You can bring a Form on top of C# application by simply setting the Form.topmost form property to true will force the form to the top layer of the screen. More about....
A C# Multiple Document Interface (MDI) programs can display multiple child windows inside them. This is in contrast to single document interface (SDI) applications, which can manipulate only one document at a time. More about....
The following C# source code shows how to change the Title, BackColor, Size, Location and MaximizeBox properties of Form1. Copy and paste the following C# source code to
source code editor of your Visual Studio.
using S
using System.D
using System.Windows.F
namespace WindowsFormsApplication1
{
public partial class Form1 : Form
public Form1()
InitializeComponent();
private void Form1_Load(object sender, EventArgs e)
this.Text = "Change Prperties Through Coding";
this.BackColor = Color.B
this.Size = new Size(350, 125);
this.Location = new Point(300, 300);
this.MaximizeBox =
When you execute (press F5 key) the program the form is look like the following image.
The Windows based programs you create using C# run in the context of a form. When you close the form, the application also ends.
Mail to :&&&&&&
&& Founded by
All Rights Reserved. All other trademarks are property of their respective owners.High Dynamic Range (HDR) Photography in Photoshop
HIGH DYNAMIC RANGE PHOTOGRAPHY
High dynamic range (HDR) images enable photographers to record a greater range of tonal detail than a camera could capture in a single photo. This opens up a whole new set of lighting possibilities which one might have previously avoided — for purely technical reasons. The new "merge to HDR" feature of Photoshop accomplishes this by combining a series of bracketed exposures into a single image, which encompasses the tonal detail of the entire series.
Image above courtesy of
(albeit in a heavily modified form).
There is n trying to broaden the tonal range will inevitably come at the expense of decreased contrast in some tones. Learning to use HDR software can help you make the most of your
under tricky lighting — while still balancing this trade-off with contrast.
MOTIVATION: THE DYNAMIC RANGE DILEMMA
As digital sensors attain progressively higher resolutions, and thereby successively smaller pixel sizes, the one quality of an image which does not benefit is its dynamic range. This is particularly apparent in modern compact cameras with 8 or more megapixels, as these are more susceptible than ever to blown highlights or noisy shadow detail. Furthermore, some scenes simply contain a greater brightness range than can be captured by current digital cameras — of any type.
The "bright side" is that nearly any camera can actually capture a vast dynamic range — just not in a single photo. By varying the shutter speed alone, most digital cameras can change how much light they let in by a factor of 50,000 or more. High dynamic range imaging utilizes this characteristic by creating images composed of multiple exposures.
WHEN TO USE HDR IMAGES
Only use HDR when the scene's brightness distribution cannot be easily blended using a . This is because GND filters extend dynamic range while still maintaining local contrast. Scenes which are ideally suited for GND filters are those with simple lighting geometries, such as the linear blend from darker land to a brighter sky in landscape photography:
GND Filter
Final Result
In contrast, a scene whose brightness distribution is no longer easily blended using a GND filter is the doorway scene shown below.
Note that the above scene contains roughly three tonal regions with abrupt transitions at their edges — therefore requiring a custom-made GND filter. If we were to look at this in person, we would be able to discern detail both inside and outside the doorway, because our eyes would adjust to changing brightness. This tutorial focuses on using HDR to better approximate what we would see with our own eyes.
INNER WORKINGS OF AN HDR FILE
Photoshop creates an HDR file by using the EXIF information from each of your bracketed images to determine their shutter speed, aperture and ISO settings. This tells Photoshop how much light actually came from each image region. Since this light may vary greatly in its intensity, Photoshop creates the HDR file using 32-bits to describe each color channel (as opposed to the usual 16 or 8- see "").
HDR files use these extra bits to create a relatively open-ended brightness scale, which can adjust to fit the needs of your image. However, the key benefit is that these extra bits are also used more efficiently than typical 8 or 16-bit images (which we'll refer to as "low dynamic range" or LDR images from here on out).
The 32-bit HDR file format is able to record a greater dynamic range because it uses its bits to specify floating point numbers, also referred to as exponential notation. A floating point number is composed of a decimal number between 1 and 10 multiplied by some power of 10, such as 5.467x103, as opposed to the usual integers of 0-255 (for 8-bit) or 0-65535 (for 16-bit). This way, an image file can specify a brightness of 4,300,000,000 simply as 4.3x109, which would be too large even with 32-bit integers.
OK, the floating point notation certainly looks more concise, but how does this help a computer? Why not just keep adding more bits to specify successively larger numbers, and therefore a larger dynamic range? It's a problem of diminishing returns. As more bits are added to ordinary LDR files, an exponentially greater fraction are just used to specify color more precisely — not to extend dynamic range. This results in far more bits being used to describe the darker tones than the lighter ones:
Actual Brightness* →
LDR Bits Become Progressively More Sparsely Spaced →
*As measured by a digital camera. See the
for more on this topic. Above representation is qualitative. The more closely spaced bits for darker values is a result of gamma-encoding. This is of great benefit with ordinary images and can even help increase dynamic range, but becomes progressively more inefficient as the bit depth increases.
HDR files get around this LDR dilemma by using tonal values which are proportional to the actual brightness of the subject matter. This causes bits to be equally spaced throughout the dynamic range — allowing for greater bit efficiency. Floating point numbers also ensure that all tones are recorded with the same relative precision, since numbers such as 2.576x103 and 8.924x109 each have the same number of significant figures (four), even though the second number is more than a million times larger.
Note: just as how using high
images don't necessarily mean your image contains more color, an HDR file does not guarantee greater dynamic range unless this is also present in the actual subject matter.
All of these extra bits provided by the HDR format are great, and effectively allow for a nearly infinite brightness range to be recorded. However, your computer display and prints can only show a fixed, narrowrange. This tutorial therefore not only focuses on creating 32-bit HDR files, but also on converting these into images which can be displayed on your computer, or will look great as a photographic print. This conversion step is commonly referred to as "tonal mapping."
IN-FIELD PREPARATION
Since creating an HDR image requires capturing a series of identically-positioned exposures, a sturdy tripod is essential. Photoshop has a feature which attempts to align the images when the camera may have moved between shots, however best results are achieved when this is not relied upon.
Make sure to take at least three exposures, although five or more is recommended for optimum accuracy. More exposures allow the HDR algorithm to better approximate how your camera translates light into digital values (a.k.a. the digital sensor's response curve) — creating a more even tonal distribution. The doorway example is best-suited with several intermediate exposures, in addition to the two shown previously.
It is essential that the darkest of these exposures includes no blown highlights in areas where you want to capture detail. The brightest exposure should show the darkest regions of the image with enough brightness that they are relatively noise-free and clearly visible. Each exposure should be separated by one to two stops, and these are ideally set by varying the shutter speed (as opposed to aperture or ISO speed). Recall that each "stop" refers to a doubling (+1 stop) or halving (-1 stop) of the captured light.
We also note another disadvantage of HDR images: they require relatively static subject matter, due to the necessity of several separate exposures. Our previous ocean sunset example would therefore not be well-suited for the HDR technique, as the waves would have moved significantly between each exposure.
CREATING A 32-BIT HDR FILE IN PHOTOSHOP
Here we use Adobe Photoshop to convert the sequence of exposures into a single image, which uses tonal mapping to approximate what we would see with our eye. First, we need to combine all exposures into a single 32-bit HDR file:
Open the HDR tool (File>Automate>Merge to HDR...), and load all photographs in t for this example it would be the four images shown in the previous section. If your images were not taken on a stable tripod, this step may require checking "Attempt to Automatically Align Source Images" (which greatly increases processing time). After pressing OK, you will soon see a "Computing Camera Response Curves" message.
Once your computer has stopped processing, it will show a window with their combined histogram. Photoshop has estimated the white point, but this value often clips the highlights. You may wish to move the white point slider to the rightmost edge of the histogram peaks in order to see all highlight detail. This value is for preview purposes only and will require setting more precisely later. After pressing OK, this leaves you with a 32-bit HDR image, which can now be saved if required. Note how the image may sti only once it has been converted into a 16 or 8-bit image (using tonal mapping) will it begin to look more like the desired result.
At this stage, very few image processing functions can be applied to a 32-bit HDR file, so it is of little use other than for archival purposes. One function which is available is exposure adjustment (Image>Adjustments>Exposure). You may want to try adjusting the exposure to have this reveal any hidden highlight or shadow detail.
USING HDR TONAL MAPPING IN PHOTOSHOP
Here we use Adobe Photoshop to convert the 32-bit HDR image into a 16 or 8-bit LDR file using tonal mapping. This requires interpretive decisions about the type of tonal mapping, depending on the subject matter and brightness distribution within the photograph.
Convert into a regular 16-bit image (Image>Mode>16 Bits/Channel...) and you will see the HDR Conversion tool. The tonal mapping method use one of four methods:
Exposure and Gamma
This method lets you manually adjust the exposure and gamma, which serve as the equivalent to brightness and contrast adjustment, respectively.
Highlight Compression
This method has no options and applies a custom , which greatly reduces highlight contrast in order to brighten and restore contrast in the rest of the image.
Equalize Histogram
This method attempts to redistribute the HDR histogram into the contrast range of a normal 16 or 8-bit image. This uses a custom
which spreads out histogram peaks so that the histogram becomes more homogenous. It generally works best for image histograms which have several relatively narrow peaks with no pixels in between.
Local Adaptation
This is the most flexible method and probably the one which is of most use to photographers. Unlike the other three methods, this one changes how much it brightens or darkens regions on a per-pixel basis (similar to ). This has the effect of tricking the eye into thinking that the image has more contrast, which is often critical in contrast-deprived HDR images. This method also allows changing the tonal curve to better suit the image.
Before using any of the above methods, one may first wish to set the black and white points on the image histogram sliders (see "" for a background on this concept). Click on the double arrow next to "Toning Curve and Histogram" to show the image histogram and sliders.
The remainder of this tutorial focuses on settings related to the "local adaptation" method, as this is likely the most-used, and provides the greatest degree of flexibility.
CONCEPT: TONAL HIERARCHY & IMAGE CONTRAST
In contrast to the other three conversion methods, the local adaptation method does not necessarily retain the overall hierarchy of tones. It translates pixel intensities not just with a single tonal curve, but instead also based on the surrounding pixel values. This means that unlike using a tonal curve, tones on the histogram are not just stretched and compressed, but may instead cross positions. Visually, this would mean that some part of the subject matter which was initially darker than some other part could later acquire the same brightness or become lighter than that other part — if even by a small amount.
In the above example, even though the foreground sea foam and rock reflections are actually darker than the distant ocean surface, the final image renders the distant ocean as being darker. The key concept here is that over larger image regions our eyes adjust to changing brightness (such as looking up at a bright sky), while over smaller distances our eyes do not. Mimicking this characteristic of vision can be thought of as a goal of the local adaptive method — particularly for brightness distributions which are more complex than the simple vertical blend in the ocean sunset above.
An example of a more complex brightness distribution is shown below for three statue images. We refer to contrast over larger image distances as global contrast, whereas contrast changes over smaller image distances are termed local contrast. The local adaptation method attempts to maintain local contrast, while decreasing global contrast (similar to that performed with the ocean sunset example).
Original Image
High Global ContrastLow Local Contrast
Low Global ContrastHigh Local Contrast
The above example illustrates visually how local and global contrast impact an image. Note how the large-scale (global) patches of light and dark are exaggerated for the case of high global contrast. Conversely, for the case of low global contrast the front of the statue's face is virtually the same brightness as it's side.
The original image looks fine since all tonal regions are clearly visible, and shown with sufficient contrast to give it a three-dimensional appearance. Now imagine that we started with the middle image, which would be an ideal candidate for HDR conversion. Tonal mapping using local adaptation would likely produce an image similar to the far right image (although perhaps not as exaggerated), since it retains local contrast while still decreasing global contrast (thereby retaining texture in the darkest and lightest regions).
HDR CONVERSION USING LOCAL ADAPTATION
The distance which distinguishes between local and global contrast is set using the radius value. Radius and threshold are similar to the settings for an
used for . A high threshold improves local contrast, but also risks inducing halo artifacts, whereas too low of a radius can make the image appear washed out. For any given image, it is recommended to adjust each of these to see their effect, since their ideal combination varies depending on image content.
In addition to the radius and threshold values, images almost always require adjustments to the tonal curve. This technique is identical to that described in the , where small and gradual changes in the curve's slope are nearly always ideal. This curve is shown for our doorway example below, yielding the final result.
Photoshop CS2+ Tool
Final ResultUsing Local Adaptation Method
HDR images which have been converted into 8 or 16-bit often require touching up in order to improve their color accuracy. Subtle use of levels and saturation can drastically improve problem areas in the image. In general, regions which have increased in contrast (a large slope in the tonal curve) will exhibit an increase in color saturation, whereas the opposite occurs for a decrease in contrast. Changes in saturation may sometimes be desirable when brightening shadows, but in most other instances this should be avoided.
The main problem with the local adaptation method is that it cannot distinguish between incident and reflected light. As a result, it may unnecessarily darken naturally white textures and brighten darker ones. Be aware of this when choosing the radius and threshold settings so that this effect can be minimized.
TIP: USING HDR TO REDUCE SHADOW NOISE
Even if your scene does not require more dynamic range, your final photo may still improve from a side benefit: decreased shadow noise. Ever noticed how digital images always have more noise in the shadows than in brighter tones? This is because the
is higher where the image has collected more of a light signal. You can take advantage of this by combining a properly exposed image an overexposed one. Photoshop always uses the most exposed image to represent a given tone — thereby collecting more light in the shadow detail (but without overexposing).
RECOMMENDATIONS
Keep in mind that HDR images are very new — particularly in the field of digital photography. Existing tools are therefore likely to i there is not currently an automated process which converts all HDR images into those which look pleasing on screen, or in a print. Good HDR conversions therefore require significant work and experimentation in order to achieve realistic and pleasing final final images.
Additionally, incorrectly converted or difficult HDR images may appear washed out after conversion. While re-investigating the conversion settings is recommended as the first corrective step, touch-up with
may improve results.
As with all new tools, be careful not to overdo their use. Use care when violating the image's orig do not expect deep shadows to become nearly as light as a bright sky. In our doorway example, the sunlit building and sky are the brightest objects, and they stayed that way in our final image. Overdoing the HDR effect can easily cause the image to lose its sense of realism. Furthermore, HDR should only be best results can always be achieved by having good lighting to begin with.
Want to learn more? Discuss this and other articles in our .
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