View allAll Photos Tagged borisfx
High above the town of Wil on the observation tower, you have a wonderful view into the distance to the mountains, but also to the city of Wil with its beautiful old town situated on a hill. So it doesn't always have to be a drone, a walk up the next hill will do.
Even though at first glance it looks a bit like the distant Eiffel Tower, it is not at all. It's just the pillar of the Passerelle du Palais de Justice in Lyon. Photographed through two pillars at the entrance to the Palais de Justice, and above it arches a wonderfully blue, but also somewhat boring sky.
Thanks for your criticism and as always, favs, likes and comments are gratefully appreciated!
Image composite.
I wanted to create a 'cyberpunk' composite with an industrial look, so here it is :-)
All the visual effects (lighting bolts, smoke, fog, color grading) are done with a software called BorisFX Optics.
Image composite, the foreground is a ship wreck I shot in Sharjah UAE a few years ago, and the background is a mix of cityscapes from Dubai, Hong Kong, Shanghai and Chongqing.
All visual effects and color grading done with BorisFX Optics.
Spectacular it is, the cathedral of Palma de Mallorca. A grandiose building that you would not necessarily expect on this island, almost next to the coast. But there it stands and shies away from the comparison with other houses of worship in any way.
And with a little luck, the Spanish sun shines high in the blue sky and sends its bright rays into the high nave, creating a unique atmosphere.
Thanks for your criticism and as always, favs, likes and comments are gratefully appreciated!
Image composite. Smoke, fog, color grading by BorisFX Optics.
I also added the puddles and reflections, as well as the rain.
No, not those numpties in the Lycra onesies. I'm talking about Patrick Macnee, Honor Blackman, Diana Rigg, and the gang.
Lit with 2 Godox AD200's. On in the back facing back towards camera, and the key light off to the left with a black card tube over it.
We couldn't run the fog machine in this location, so 4 layers of fog (mostly behind and one in front of the models) rendered using BorisFx Particle Illusion were added in post.
Models:-
Valerie
Everly Rose
The Cone Nebula, or NGC 2264, is a dark nebula located 2,500 lightyears away in the Monoceros constellation. The nebula is 7 lightyears long and is packed full of dense gas and dust - the ingredients necessary for star formation - making it a perfect stellar factory. This tempestuous deep-sky region contains scorching hot young stars that are eroding and carving out the dark nebula, also emitting blasts of powerful ultraviolet light that can be seen illuminating the edges of the dense cosmic cloud. The NGC 2264 region also contains an open star cluster known as the Christmas Tree Cluster, as it forms a sparkling triangular shape that makes it look rather like a festive fir.
Key light: Lencarta Safari-II with 90cm Octa+grid and half cut of CTO gel
Back light: AD200 with reflector dish
Edge light: V860
White balance - tungsten - turns the backlights and daylight blue. Cancels CTO on keylight to make it neutral.
Background fog: on set
Foreground fog: BorisFX Optics
Model: Kerry Walker
Outfit: Dirty/Pretty Latex
Shot at: Far Forest Studio
The Cone Nebula, or NGC 2264, is a dark nebula located 2,500 lightyears away in the Monoceros constellation. The nebula is 7 lightyears long and is packed full of dense gas and dust - the ingredients necessary for star formation - making it a perfect stellar factory. This tempestuous deep-sky region contains scorching hot young stars that are eroding and carving out the dark nebula, also emitting blasts of powerful ultraviolet light that can be seen illuminating the edges of the dense cosmic cloud. The NGC 2264 region also contains an open star cluster known as the Christmas Tree Cluster, as it forms a sparkling triangular shape that makes it look rather like a festive fir.
Image composite, all visual effects by BorisFX Optics.
Foreground is shot in Chongqing (China), the rest is from Hong Kong, Shanghai and Chongqing
There is not much green far and wide in Venice in January. Rather grey and damp and in the midst of it all, there are flowers in all bright colours for sale at this stand. A contrast for the eye and soul.
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Visit me on www.patrikseiler.com
www.artheroes.ch/de/shop-bilder/Patrik-Seiler/202120
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The Cone Nebula, or NGC 2264, is a dark nebula located 2,500 lightyears away in the Monoceros constellation. The nebula is 7 lightyears long and is packed full of dense gas and dust - the ingredients necessary for star formation - making it a perfect stellar factory. This tempestuous deep-sky region contains scorching hot young stars that are eroding and carving out the dark nebula, also emitting blasts of powerful ultraviolet light that can be seen illuminating the edges of the dense cosmic cloud. The NGC 2264 region also contains an open star cluster known as the Christmas Tree Cluster, as it forms a sparkling triangular shape that makes it look rather like a festive fir.
A composite loosely inspired by the classic scifi movie Bladerunner. The street was shot in Mongkok, Hong Kong.
The background is a mix of buildings I shot in different cities (Hong Kong, Dubai, Shanghai, Bahrain, Guilin)
All the visual effects (smoke, fire, lens flare, light beams, fog, color grading) done with BorisFx Optics.
More than one hundred elements were used to create the composite. If you go to my Facebook Page (danielcheongphotography), you will be able to see the original street shot.
dracorubio
Happy Flower Friday, everyone! 🌷📷
I can't get enough of these beautiful tulips! Getting up close and personal with these delicate flowers is truly magical. I've been building a whole series of these shots, and I'm excited to share them with you all.
I'm still trying to figure out what to do with all these photos - should I print them and create a gallery wall, or make them available for sale? Let me know if you're interested in owning one of these stunning tulip shots.
The detail in these photos is absolutely incredible, and I'm thinking about experimenting with larger-than-life prints to really showcase their beauty. What do you think?Shot in HighRes mode on my OM1 camera and edited in Photoshop with BorisFX Optics for the perfect color grade.
In love with these images we made with model Indra. We shot various sets so there is little continuity in this series, but loved working on the images and make them shine. Most didn't need that much editing, which always feel off for me a bit. But sometimes images just don't need more then a bit of color correction.
“After a client shoot I often find myself alone in the studio with the setup mess I made. Procrastinating on cleaning up I tend to shoot a few selfportraits for fun and learning purposes. So here I am vibing some scifi realness, playing with the new Oniric 2.0 glow plugin and topping it off for that cinematic vibe in BorisFX Optics
“After a client shoot I often find myself alone in the studio with the setup mess I made. Procrastinating on cleaning up I tend to shoot a few selfportraits for fun and learning purposes. So here I am vibing some scifi realness, playing with the new Oniric 2.0 glow plugin and topping it off for that cinematic vibe in BorisFX Optics
Timna
Further experiments with my Kolarivision IRChrome filters on my modiefied camera. Shooting people in nature is now a breeze and I can really freeze motion. Plus I get this awesome palette to work with, straight out of camera. I love these bright reds, but also enjoy the muted reds for a more autumn and solemn feel.
model: Timna
Styling: Yvette Leur
As the sun sets over the desert, a stunning tapestry of warm colors unfolds. The iconic Joshua trees stand silhouetted against the radiant sky, creating a serene and captivating scene. This tranquil moment captures the essence of nature's beauty at twilight.
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Visit me on www.patrikseiler.com
www.artheroes.ch/de/shop-bilder/Patrik-Seiler/202120
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Composite starting from a Hong Kong view, to which I added multiple industrial elements and buildings. The gritty look and mood comes from BorisFX Optics.
Really enjoyed using the Lament Configuration in new images. Thank you Gabriel for modelling for me.
Excited about the continuation of the Hellraiser franchise, and just loving the new puzzle box en Pinhead
My cyberpunk vision of Chongqing (China) in 2049.
Image composite, foreground is Chongqing, the skyline is composed of buildings from Hong Kong, Shanghai, Shenyang, Dubai, Bahrain, Guilin. The background moutains are from Hong Kong, the snowy mountain is Mount Hood in Oregon.
All visual effects done with BorisFX Optics.
My cyberpunk vision of Bangkok, created from over 15 different photos I took in Bangkok, Hong Kong, Shanghai, Chongqing, Shenyang, Bahrain, Dubai
Image composite starting with a street shot I took in Hong Kong. Visual effects (smoke, fog, flare, color grading) using BorisFX Optics.
Gotta say this gold satin backdrop was a mistake. It was wrinkled. I thought I could get away with a sort of shabby chic boho look, but it just looked lazy.
So I removed all of the texture and replaced it with a new texture - a massive chunk of quartz. Kept the shadow shape from the original backdrop though and re-applied that to the new backdrop. The colours are also kept, so it ends up look quite natural. Some sun flare sprinkled on in BorisFX Optics.
Model: Quinn Wild (can you believe this was the first ten minutes of her first ever photoshoot?!? )
Collaboration piece with the beautiful Patrick Sabel
I just love this energy Patrick gave me in this set. I was playing in Photoshop to edit this without losing the original photo and struggled a bit to find the right balance and story. But when I added the curious bird, everything fell into place. There is a story unfolding here, and I’ll let you imagine it for yourself.
Lungs🌿🌳
Forests are often called the lungs of the planet because they play a crucial role in absorbing carbon dioxide and releasing oxygen through the process of photosynthesis. They regulate the Earth's climate, support biodiversity, and provide essential resources and habitats for countless species, including humans. Rainforests in particular, like the Amazon, act as massive carbon sinks, helping to stabilize global temperatures and air quality.
Yet despite their importance, forests are being destroyed at an alarming rate. Deforestation, driven by logging, agriculture, mining, and urban expansion, is stripping the Earth of its natural ability to breathe. Every year, millions of acres of forest vanish, releasing stored carbon into the atmosphere and accelerating climate change. As we lose these green lungs, we not only endanger wildlife and indigenous communities, but also threaten the planet’s ability to sustain life for future generations.
I took this photo during my trip to Ukraine last year. I photographed it in the photo studio in Kyiv @roslynka_photostudio. This particular concept was one of the main reasons I chose to book the studio, it perfectly matched the vision I had in mind. To bring the idea to life, I collaborated with a VFX makeup artist @hecates_art who designed the lungs and veins using real moss and liquid silicone to sculpt and mold these textures. I used the studio real plants set up to create a rainforest environment. For the lighting, I put an LED behind the model to create a soft backlight that I later transformed into a glowing wildfire in Photoshop to symbolize the destruction of the forest.
Studio @roslynka_photostudio
VFX @hecates_art
Model @khobta_top
As always shot on @nikonusa Z7, edited with @photoshop @lightroom @benqnorthamerica @wacom and @borisfx_optics @boris_fx for special effects
In this case, I added the fire in BorisFX Optics :)
One overhead light with teal gel, and two edge lights with orange gels,
The black outfit gives great contrast on the edges due to its shine - more matt fabric would just become a black block and blend into the black background.
Model: Liv Wild www.instagram.com/_liv_wild__/
dracorubio
Happy Flower Friday, everyone! 🌷📷
I can't get enough of these beautiful tulips! Getting up close and personal with these delicate flowers is truly magical. I've been building a whole series of these shots, and I'm excited to share them with you all.
I'm still trying to figure out what to do with all these photos - should I print them and create a gallery wall, or make them available for sale? Let me know if you're interested in owning one of these stunning tulip shots.
The detail in these photos is absolutely incredible, and I'm thinking about experimenting with larger-than-life prints to really showcase their beauty. What do you think?Shot in HighRes mode on my OM1 camera and edited in Photoshop with BorisFX Optics for the perfect color grade.
BTS and Post-production video:-
Another frame from a tutorial session a couple of weeks back.
Key light up above: small beauty dish with grid and blue gel, and a 120x27cm strip softbox with grid and blue gel front and left to provide a continuation of the key light lower down.
Edge lights in the back are 7" reflectors, with grids and reddish/orange gels
The backlight behind the models faces back towards camera through the fog: 7" reflector and yellow gel.
Stars and flares sprinkled on using BorisFX Optics
Models:
Everly Rose
Rose Magdalene Child
This is from a fundraising event I organised about a week ago in aid of a model who needs life-saving surgery for a very rare brain condition called "Arnold Chiari Syndrome" in which the brain is pulled into the spinal canal. That's not her in the image - but one of 6 models who donated their time to the event. I thought I'd post this one as it reminded me of something one of the photographers who attended kept complaining about: he kept saying "the light is harsh" and by that I think he meant it was hard - and I love a hard light in these classic indoor settings - reminiscent of the 1930's Hollywood lighting styles. "Yes I said - you just need to pay more attention to where the light is coming from when it's hard". "Have you got a softbox?" he'd say. "No" I replied. "That isn't the look I'm going for - and providing for you". "But there's a shadow". "Yes!"
I'm using 2 AD200's here with the speedlight type heads and some black card tubes to make zoomable snoots. One on the key to camera right and one up on the landing above aimed back through the railings. I dialled in a slow shutter to steal some of the ambient light in the room for fill. (was on the clock and didn't have time to rig a flash-driven fill light)
The flare is added in post using the BorisFX flare engine as not even my shonky old Sigma 24-70 f/2.8 lens will make flares like this.
Image composite. From a street of Hong Kong to a cinematic cyberpunk street shot. All the visual effects by BorisFX Optics.
Model: Kerry Walker
Ghost imprint effect made on-set with a long exposure and constant edge lights. The rest of the effects rendered with BorisFX Optics.
Image composite starting from a Hong Kong street shot. All the visual effects (smoke, flare, color grading) created by BorisFX Optics.
In love with these images we made with model Indra. We shot various sets so there is little continuity in this series, but loved working on the images and make them shine. Most didn't need that much editing, which always feel off for me a bit. But sometimes images just don't need more then a bit of color correction.
Softbox above, with grid to hold the white paper background to a light grey. Another softbox below for fill, creating a clam-shell style light. Edge lights left and right in the back.
On the wall behind Kerry, I projected a vaguely art-deco looking pattern using Spiffy Gear's LightBlaster with an AD200 in the back, and a Yongnuo 50mm f/1.8 lens on the front. Before the optics in the Lightblaster is a Rosco GoBO. The Lightblaster is down on the floor and angled up to fan out the pattern.
Lots of sparkles, glow and clouds added in BorisFX Optics, plus text in Photoshop.
Stacey Lynn Crowe - promo shots.
Overhead small round softbox. Strip box with grid up front for fill on lower body/legs. Two edge lights in the back also illuminating dense fog.
Sparkles courtesy of BorisFX - 4 point star.
So this is something I've been meaning to move into for a while: combining 3D rendered objects with photography.
Kerry and I shot an image a while ago using a cheap and fairly naff looking set of wings which were too small, and looked well, like pieces of board with feathers stuck to them. I did contemplate buying or renting a more impressive pair of wings, however - like so many things in creative photography, the answer often lies in movie production techniques. Movies have been using CGI for a while now, for buildings, vehicles, objects and entire scenes. Of course you need a massive render farm to make something like that, but for one still image? My 7 year old i7 gen 3 desktop with a modest nVidia 1050 GPU rendered these wings in Daz Studio in about 2 hours (at 8000x6000 pixels)
You need to shoot with this technique in mind, and I shot Kerry in a small studio sitting on a stool that is under a grey backdrop cloth which also sweeps up behind her. I've used chilled fog to create the foreground cloud, on-set. (No kapok here, and no teddy bears were harmed in the making of this shot :P )
I added and posed the wings in Daz Studio and then lit them from the same direction as the light I used in the studio.
Comping the whole thing together in Photoshop, the aim is to make the three elements (figure, wings, sky) match in terms of contrast, colour, grain and focus. I mainly use curves in Photoshop to adjust colour balance these days, but I did also add a couple of LUTs over the whole thing to tie it together.
I then added some rays, and a halo, before sending the whole thing to BorisFX to add the sun flare.
Finally, back in Lightroom, I tweaked the colour some more bending it to the green end a bit, and adding some blue to the shadows and a tiny amount of yellow to the highlights using the Color Grading panel. Bit of a vignette, and some local adjustments here and there and it's done.
Model: Kerry Walker
Shot at : Studio De Lumiere, UK
Model: Kerry Walker
Layered light. Starting with broad, lower intensity and cooler light, we add warmer, brighter and more localised light ending with a yellow highlight from a projection attachment. The background is not separately lit in these - I just put the model and all the lights fairly close to the white wall and let all of the lights spill everywhere. Mostly, the broader, blue light ends up on the wall.
Motivated light on the right, and starfield added in post, using BorisFX Optics.
When you see something shimmer in the corner of your eyes you just need to go all out and make it shine!
Another fantastic outfit created and worn by Martin Okereafor.
Shot at : Studio De Lumiere
Fog technician: Kerry Walker
Flares: BorisFX Optics
Double or composite key light made up of a small silver beauty dish with a grid, plus a 27x120cm strip softbox also with a grid. Both have blue gels.
Meanwhile, in the back we have 2 orange edge lights using standard 7" reflectors plus 30 degree grids and barn doors. Right behind Phoenix, we have another 7" reflector pointing back at camera through the dense fog. The cloud in the foreground is made by running the fog through a metre-long conduit filled with freezer blocks to chill it. This makes the fog stay on the floor and vastly increases the density.
Night sky sprinkled on using @borisfx_optics
Model: @phoenixquow
Shot at: @studio_de_1
Double or composite key light made up of a small silver beauty dish with a grid, plus a 27x120cm strip softbox also with a grid. Both have blue gels.
Meanwhile, in the back we have 2 orange edge lights using standard 7" reflectors plus 30 degree grids and barn doors. Right behind Phoenix, we have another 7" reflector pointing back at camera through the dense fog.
Night sky sprinkled on using BorisFX Optics
Model: Phoenix Quow
Shot at: Studio De Lumiere
Kerry Walker at the last 1:1 tutorial I did a few weeks ago. This set was all about layering colours, going from broad to localised, cool to warm and dim to bright.
Here we started with a broad blue wash from an overhead softbox. No grids on this to ensure a wide spread, and lots of spill onto the white background.
Next we have an orange fill light from below, that shows up wherever the blue light doesn't reach.
Then, two red edge lights in the back, left and right.
A yellow light is coming from camera right to illuminate Kerry's face (tight, warm and bright light). I used the Lightblaster to focus this through a 50mm lens.
Finally, on the background, Im using another projection unit with a pink light, through an 85mm lens, and an abstract pattern gobo.
The sparkly bits are added in post, using BorisFX Optics.