View allAll Photos Tagged compositing
From the left...
Composite strand board.
Cobweb.
Rusted iron catch with stainless steel bolts.
Sapele timber (a rainforest hardwood) with brass screws.
Grimston pebble dashed section.
Composite building.
Stacksteads, Lancashire
Whenever I dig into my old stuff the question always creeps into my head, "What would I tell that kid if I could tell him anything?"
You are going to do OK for yourself but in a quiet, unspectacular way. He (I) already knew that. In fact I took that for granted.
You are going to lose people that mean the world to you and you will never stop grieving for them. I knew that too ( we all do ) but I would have never admitted as much, preferring to only recognize those bitter truths as I was being run over by them.
I suppose I couldn't resist giving some sage advice but I wouldn't listen to myself. I remember making a point of not acting on good advice when dispensed by anyone professing to know what life was really about.
All in all it's a good thing time travel isn't possible. Aside from being freaked out by my wrinkly old self showing up to tell me crap I knew but didn't have the courage to act on, I would have been angered that all the suspense and mystery had just been taken out of life. For all the effort that goes into fiction about jumping back or ahead in time I think it is good that we have to crunch along alone without the aid of a nebbish future self showing up every so often to whine and moan about how I'm so lacking in ambition. I'm peeved at myself right now just for thinking up the thought of it.
I first put this together in 2012. Today I thought about it and made an effort to find the original images. 1974 was taken with a Canon F1 and a 50mm f1.4. 2012 was taken with a Pentax K10D and the 18-55 kit lens. In 2012 I used Gimp to stack the images. This time around I used Affinity Photo.
One of the interesting exhibits at the Beamish Museum is the printing room above the sweet shop. It's easily missed but contains a treasure trove of items from the past including a bench press and this compositing table. Imagine doing this every day to produce a newspaper!
Photo Art Composite. See original here: www.flickr.com/photos/193474231@N06/53588323802/in/datepo...
Composite photo from one of my Milky-way shots with a fish-eye lens, and a long exposure shot of Buchaille Etive Mor at night.
I don't do many composites. And to be honest, I am not sure why. I have always just been happy with capturing a scene naturally and it wasn't until lately where I started experimenting and trying some new things.
I took the sky from another image I posted recently, the one with the headlamp on a road. I really like the texture in the sky so I thought I would add it to one of my looking up at architecture shots.
I masked over the bottom bit it still wasn't right. I was left with bright blue in the building's reflection so I duplicated the sky and blended it through again giving it the pink hue.
It gives the image much more drama and mystery and the gradient in the sky matches up so well with the edge of the building, almost like it is back-lit and glowing.
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So, I bought a green screen the other day and thought I would try my hand at the chroma key thing. It wasn't too bad, actually pretty easy for the cut-out, but I was still getting a green cast on myself no matter how far away I was. I gave up and shot it and color corrected in CS3. Then, went downtown and took a photo of the alley here in Savannah, GA and did a composite. PP done in CS3.
Strobist: 1x AB1600 in beauty dish high camera right, large reflector camera left for fill, 2x AB800s bare far left/right for rim lighting. 2x Sunpak 433Ds were used bare (cardboad on sides to protect from spill over on me) to illuminate the backdrop. Cactus V2s were used on the Sunpaks and fired the Alien Bees optically.
Set-up shot here.
Day 43
It's true isn't it. I mean, whenever there is a household dispute, someone is bound to suffer. And most of the time, its the poor husband. Why, because "a happy wife leads to a happy life" or something in that context. You can contest this, and I know a lot of you who will, but that is the hard fact of life. You can not and will not win against your discontented better half. Might as well just bow your head and raise the white flag and hopefully she will abide.
Anyway, I had this idea a few days ago when me and the wife had a bit of a tiff. Minor stuff, but still inconvenient to say the least. I discussed the concept with her (after we settled ourselves) and she was excited to do the shoot. Took us a good half hour to get the expressions right but after that, it was smooth sailing all through out.
For the lighting, its pretty straight forward. Softbox as key overhead cam right and two strip box at the 10 and 2 o'clock of the subject (full power).
Before I close this blog, I want to leave you with a thought. When was your last fight with the wife and who actually won?
Composite of moon added to the bridge over the rail tracks in Peterborough and a snow action added in PS CC
Composite buildings are a common feature of the architectural style of Hong Kong buildings that were constructed in the 1950s and the 1960s. Info from wiki.
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This is a rare composite by me, I really had no intention to shoot here, but as I was driving down to Natural Bridge to shoot there I noticed the moon was still very high in the sky and I needed to kill some time. So I decided to stop at the Swamp Canyon pulloff and snap a couple foreground pictures with the moon shiny on the cliff tops. Later after shooting Agua Canyon and Natural Bridge I had about 15 minutes before astro twilight started so I drove back to this pulloff and snapped a few shots of the sky as astro twilight started. I thought the brightening of the eastern sky during the start of twilight accented the bright moonlit cliffs so I went ahead and put the composite together.
Shot this one with my Nikon D800E and Sigma Art 35mm on a Sky Watcher Star Adventurer 6 shots total. 3 foreground shots, 1 minute at f2 and ISO 800, 3 sky shots, 2 minutes at f2.5 and ISO 800.
TriPack0&1(B0T8T0S8)&1(B2T0T2S2)SqGPP3exHDRCompo+r90+r270)3exCompo
Scanned & Rotated Tripack Abstract Composite
I recommend clicking on the image to go into the Lightbox for maximum effect.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2014.
This is a composite of some shots taken around Pettit Lake in central Idaho, Andy Jones and I shot there the night after the peak of the Perseid Meteor Shower. We got some good shots earlier in the night with Antares and the Rho Ophiuchi Complex above the horizon, then later moved over towards the lake and shot there. I wasn't overly happy with the sky shots from our last shooting location, the airglow was so overwhelming it was pretty much impossible to process such that you could even see the Milky Way, so I decided to composite in the sky shot from our first shooting location (where my foreground turned out awful and I decided not to use it). Scale is correct for the composite, but the core height and angle for this alignment is impossible. Still a gorgeous spot to shoot at, the mountains across from the lake are at a perfect distance for the 50mm lens.
10 exposures for this one, shot with my Nikon D800E and Sigma Art 50mm on my Sky Watcher Star Adventurer tracking mount. 5 foreground exposures, each 2 minutes at ISO 1600 and f1.8; 5 sky exposures, each 4 minutes at ISO 800 and f2.8.