View allAll Photos Tagged compositing
Yes, I know you saw it first, but I'm bigger and stronger so go find yourself another place.
I wish after all the rain we've had over the past week that these frogs were actually in my garden looking for a spot to get out of the weather.
My very first Multiple Composite.
Used 5 different images to create one Multiple Composite.
Just playing around with ideas, not too satisfied with the outcome, as it is lacking creativity.
My first try on a composite: Any help is very welcome. This is a further worked on version of v1.
Oh, and take a look at phlearn. A really great resource on learning photoshop.
Strobist info (Model was shot on a grey background and flipped in PP to match the light in the BG-- Woods was a non-strobist snap-away awailable light):
- Main light: Elinchrom Style 1200S at 106Ws in an Stripbox
- Fill light: Canon 580EX-II at 1/2 power and a 1/4 CTO in a reflective umbrella
- Rim light: Canon 580ex-II at 1/16 power and 1/2 CTO
All triggered by Elinchrom Skyports
Also see the according setupshot.
Dress by Irene Luft.
Makeup by Anja El Sawaf.
An idea I came up with while trying to imitate MC Escher's work this past month. The forest scene is composited, but I think I have some future ideas of how to do this without all that work :-)
school project
strobist info:
sb800 boomed and snooted overhead at half power
580ex gelled w/ soft amber behind chair at 1/64th
characters:
sb800 and 580 ex bounced off hallway walls
This shot was inspired by all of the times that a security guard has approached me in the street and told me that I can't use my big camera and tripod in a public place to photograph their building. But after a bit of discussion, they're usually friendly and agreeable.
Taken for the Certificate IV in Photo Imaging I'm doing at The Centre For Creative Photography.
My last composite. Still working out the kinks with creating enough contrast between the background and the hair. Also my first use of a fan! shot with large softbox directly in front and above with two x800 lights for rim with bar doors and frosted gells to soften the light.
Created for 66th MMM Challenge
Source image with thanks to Peter Trimming
GhostWorks Texture Competition 99
Texture with thanks to Skeletal Mess
And many thanks to these artists for their works:
Young Fox Squirrel by Ingrid Taylar
the balcony and background by kuschelirmel-stock
The Velocity XL is tucked away into its hangar after another successful morning of flying.
Millin's 12-year adventure to construct the aircraft resulted in building an addition onto his home before the aircraft was transported to the airport.
The end result of countless hours of construction is a composite aircraft that is truly appealing both in terms of performance and appearance.
Composite of the Annular Eclipse from Page, AZ. The shot at the Lower Right, shows the top of the ridgeline, on the western horizon.
Category: Risk
I didn't have to look far for inspiration for this shot. I see people doing this all the time.
This is a composite of a few shots. One of me in my driveway looking at the phone, another on a road and a screenshot overlay of the message I was sending my honey :-)
I grew up with music in our house. My father played the fiddle. He played the mandolin and he played the accordian. His brother was in a dance band. I learnt songs at an early age. I sang songs in the streets. Folk songs, rebel songs, songs about the dead and dying, songs about injustice, comical songs, songs by Robert Burns. There was a great oral tradition, of songs being passed on from one generation to another.
While in London living in lodgings with Norman at Neasden NW10, and living with an Irish landlady, we would go to Irish clubs and they would sing the saddest songs in the world, they would sing fighting songs, and it seemed each and every one had a great voice, and knew a song that nobody else knew, and remembered words and melody, as though they were running through their blood. Tunes passed from father to son.
On the evening that Norman and I set off to sail around the world we fell in with Terry from Cork. He was fat. He was middle aged. He had a grey stubble of a beard, and greasy grey hair that hung in curls over his brow. His teeth were tobacco stained, and he enjoyed his stout. He had the voice of an angel.
We all got roaring drunk an in the moonlight at half past one in the morning the three of us staggered out of the pub. Me and Norman on either side of Terry, and him with his arms around our necks, and as we walked we sung. We sung "I've been a wild rover", and if it so happened we stoped under the light of a lampost we gave the chorus laldie. We sang "Ye rambling boys of pleasure"
Down by Sally's Garden one evening late I took my way.
there I spied my young love, and to me these words she did say.
She bade me to take love easy, as the leaves fall from the tree.
But I being young and foolish, with my true love did not agree.
We sang in harmony with Terry taking the top notes like a good Irish tenor, and there under the light of the lampost Terry grabbed us fiercely around our necks, and pulled us closer to tell us that he loved us.
It was the drink talking. "Take me with you boys, I don't want to work the night shift at Heinz baked beans anymore. It's the freedom of the sea for me. Take me with you" We knew he didn't mean it, but you want to show solidarity when your drunk. He launched into "Hunt the bonny shoals of herring"
Oh, it was a fine and a pleasant day
Out of Yarmouth harbour I was faring
As a cabin boy on a sailing lugger
For to go and hunt the bonny shoals of herring
As we sang we were on the deck of that fishing boat, with the salt spray in our faces. The road was heaving as though in a gale. We held on to each other to stop from falling over, and we sang the words so they could be heard above the whipping wind. Windows from a few houses were flung open and angry english accents told us to "shut the fuck up", and that only served to bring our gaelic blood to the boil and for us to sing even louder.
The Scots and the Irish and the Welsh have only ever had songs as effective weapons against the English. While cannon and muskets and sabers and swords rust, break, and disappear. Songs live on.
We reached Terry's house and he was doing that drunk handshake that seems to go on for ever. Just when you think he was going to let go he would renew his grip and squeeze harder. His hands were crossed in front of him and he shook both my hand and Norman's, and then he took his solo "The parting glass"
Oh, all the money e'er I had, I spent it in good company.
And all the harm that ever I've done, alas it was to none but me.
And all I've done for want of wit to mem'ry now I can't recall;
So fill to me the parting glass, Good night and joy be with you all.
Oh, all the comrades e'er I had, they're sorry for my going away.
And all the sweethearts e'er I had, they'd wished me one more day to stay.
But since it falls unto my lot, that I should rise and you should not,
I gently rise and softly call, Goodnight and joy be with you all.
The longing and the heartache in his voice was too much for Norman and me and we stood in the middle of the road weeping softly like idiots, the clear snot running from our drunken noses, unable to say a word. The sadness was for wanting there to be more nights like this, and knowing that there never would be another night like this ever again.
maine composite (acadia)
hasselblad 500 el/m
50mm
fuji nph 160
one of my first attempts at making a panoramic image. this was back before i understood parallax, tripod heads, stitching software etc. I went crazy trying to stitch these images, and even went back and gave it a try with stitching software, before giving up and filing them. I didn't realize the low tech approach has merits too. I have a bunch of these early pre smooth stich panos to go back and look at.I think the composite look has a charm and vitue of it's own, it's just taken a while to think about it.
A composite capital in the collections of the Musei Capitolini (Palazzo dei Conservatori). Rome.
Marble.
inv. 1935
The same capital with the decorative elements labeled: here.
This was supposed to become a finished composite like the others on here, but it was hard and so did not progress especially far. This way it looks a ton like David Hockney's work, which I very much admire.
I jumped outside last night around 11:00, and caught just a few frames of the eclipse. These are spread across a rather narrow time span, maybe 15 minutes.
The images are just about the same eclipse phase, just with different exposures and/or different zoom settings.
When I looked at the images this morning, I was a little disappointed, since they are a little soft. It could have been any number of things. I shot these using my gorillapod, on the hood of the car (I wasn't sure where my full-size tripod was at the moment.), with exposures as long as 1.6 sec (with self-timer.)
These were also the first pictures that I took with my camera after Daytona. Towards the end of the race, my camera went for a little swim in one of our beer cooler bags. So, after three days of sitting and drying, I gave it a try.
Anyway, I figured I'd throw these together as a composite image.
Creating composites is a nice occupation on snowy days. Many thanks to the following people for sharing their work.
Oniendra-Stocks for Resting young polarbear
www.deviantart.com/art/Free-Stock-Resting-Young-Polarbear...
Nancy <I’m gonna SNAP! for the wave
pixelsandpainting.com for the texture
Composite of ISS entering eclipse in Orion. Jan 19, 2019 02:43 UTC. Canon G7 X, 60 x 1/2s, ISO 400, aligned and stacked with gmic and gimp. Exif is from a single frame. Timelapse: flic.kr/p/2igT72v
I've been wanting a tilt-shift lens for some time, but was unwilling to pay the $2K+ that Canon wanted. Rokinon has just started shipping their 24mm f/3.5 TS lens. I got mine and finally got around to playing with it. Price was around $1K. Less than half the Canon version.
This composite shows a scene captured at f/3.5 with shift applied (upper left) compared with the lens un-shifted at various f-stops. In each image, I am focused at the 22 inch mark (where the key is). The differences in sharpness are most evident at the 10 inch mark and the end where the tape measure body is.
To my eyes, it takes f/16 to achieve the same depth of focus that I got at f/3.5 with the lens shifted to put the focal plane down the hallway. That's over 4 stops difference!
I have found with my 16-35mm f/2.8L II lens that stopping down to f/18 and f/22 creates too much softness due to diffraction. I have wanted a way in landscapes to get "tripod to mountain" depth of field without being diffraction limited. It will be fun to add this to the arsenal
It can also help when there is some wind and you need to be at f/8 or below to freeze motion, but need f/16 or above for DoF.
Lastly, I've had an old 28mm Nikon shift lens for some time that I love to shoot architecture with. Now I have a 24mm shift that will also do tilt.
Lastly, if I need field of view equivalent (or better) than my 16mm, I can use the shift function to do seamless 3 shot panos at very high pixel counts
I need to compare sharpness to my 16-35mm, but from what I've seen so far, I don't think it will be an issue.
Cline River Photography, Photo by Edwina Podemski.
View or purchase items from our portfolio at: www.clineriverphotography.com