View allAll Photos Tagged compositing
Compositing [two images]: create two images of an alternate reality. The space should be continuous (not like collage), but you've manipulated the scene to create a seamless alternate universe of some kind
Composite of two images. I need some lessons in how to do this technique. Short on time to watch any tutorials and I found this challenging
It has been a while since I did any night photography, actually any photography for that matter. Apart from the shot of Pomponio beach sunset I uploaded a couple of days ago I've just not had the time to go out much this whole year. Most of my recent uploads have been from the archives. This is a composite of two different images. The Davenport beach shot was taken at sunset with a shutter speed of 1/4 s to get some texture in the wave motion and the Milky way shot is a completely separate shot taken at ISO 3200 for 15 s. I darkened the beach shot, replaced the cloudy sky with the Milky way shot and then converted the whole image to black and white using a Nik filter.
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Supply and installation in Edinburgh, Glasgow, London.
View On Black <--- so much better here!
jesse is a fellow classmate in my session. i wanted to try more composites, so i had him stand in the studio for a shot the other day. i'm pretty happy with the result! took 3 exposures for the hdr background.
ab400 boomed/socked high camera right.
ab400 behind jesse to the right.
Just a fun project compositing in photoshop. Strobist info: 580exii camera right in a 48" octabox at 1/8 power SB700 at 1/16 in a 28" Apollo softbox and a 560 Yongnou in a 8x36 gridded strip light at 1/4 power.
I used a solar filter which renders the sun WHITE, not the orange you see here. The sun is SO bright that you have to stretch the data to see some of the grain, and orange/yellow helps to make the solar details easier to see. However since this is a STACK most of that good data is lost in the stacking process.
What is a stack? Photoshop people will know this as a "layer" but instead of using screen mode or lighten mode as one with a star trail, I used ***** mode.
For information about how Venus' motion differed according to your location on earth see: transitofvenus.nl/wp/where-when/local-transit-times/ enter "Trona Pinnacles, CA" in the search box. You'll notice from the slider that Venus doesn't move at a uniform speed. Lots of reasons including that the apparent motion of Venus across the face of the sun is due to a combination of: Venus' rotation around the sun; Earth's Rotation around the sun AND earth's rotation on it's axis. For super fun, enter "Manila, Phillipines" in the search box and you'll see something rather interesting. Advance the slider and you'll notice the ingress is slow but the egress is rapid. (It also makes a LOOP).
My results from Trona Pinnacles look quite linear - but I was using an Equatorial mount so was getting very little field rotation.
From our vantage point (Phil McGrew was with me), the motion was quite linear - see below for the forecast path.
© Copyright 2012, Steven Christenson
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All rights reserved. Curious what "all rights reserved means?" it means that without written permission you may not: copy, transmit, modify, use, print or display this image in any context other than as it appears in Flickr.
The ‘upper composite’, containing the ninth and tenth Galileo satellites attached to their dispenser atop the Fregat upper stage inside the launcher fairing, are moved from the S3B building to the Soyuz launch site of Europe’s Spaceport.
The satellites are scheduled to lift off at 02:08 GMT on 11 September (04:08 CEST; 23:08 local time, 10 September) from Europe’s Spaceport in French Guiana on top of a Soyuz rocket. They are expected to become operational, after initial in-orbit testing, later in the autumn.
Credit: ESA–M. Pedoussaut, 2015
We thought we'd try out a simple (no feet :) ) composite at our little photo club, and here's the example I produced, inspired by Joel Grimes work, and using a lot of his technique from various video tutorials on KelbyOne, f-stoppers and others.
We shot each other in a room against a plain grey wall, lit with a small folding reflector (called a folding beauty dish, but tbh, these things are nothing like a beauty dish). I had this mounted on a Lencarta Safari II portable light. We used a two Speedlights at the back, one on each side to give the edge light. It's this edge ight that is key to Joel's approach and it certainly works - combine this lighting on the subject with a background scene that has natural backlighting and it all fits together pretty well. Using the Lencarta Wavesync trigger to fire the Safari and having the two Nikon SB-900's react to this in SU-4 mode meant we could use the same trigger on everyone's cameras.
Painting on some background flare, bth behind and in front of the subject; matching colours and layering on some split-toned colour wash over the entire thing all help tie it together.
The background is the tunnel under the Grand Villa Argentina, a hotel in Dubrovnik that goes from deep underneath the hotel out to the swimming pool area.
This composite image presents the three most visible elements of space weather: a storm from the Sun, aurora as seen from space, and aurora as seen from the Earth. The solar storm is a corona mass ejection (CME) composite from EIT 304Å superimposed on a LASCO C2 image, both from SOHO. The middle image from Polar’s VIS imager shows charged particles as they spread down across the U.S. during a large solar storm event on July 14, 2000. Lastly, Jan Curtis took this image of an aurora display in Alaska, the visible evidence of space weather that we see here on Earth.
Credit: NASA/GSFC/SOHO/ESA
To learn more go to the SOHO website:
sohowww.nascom.nasa.gov/home.html
To learn more about NASA's Sun Earth Day go here:
Selection of 15 photos from about 50 taken over about 2 hours.
300mm lens on D200 = 480mm effective length.
Varying exposures: the full eclipse shots are around 1 second at f5.6 at ISO400, the partial are much shorter exposures.
Composition by photoshop (sorry!) - the earth rotates much farther than this in two hours, and fitting it all on one shot with a composite exposure would result in a bunch of tiny dots.
Even in 1 second, the moon moves a couple of pixels, resulting in some blur.
Radiant Sorceress. Working on my compositing skills. And next time I see a beautiful, rich backdrop and decide I should use it when shooting material for compositing, please remind me that actually a boring, single color that isn’t close to my model’s hair or costume pieces would be better.
Model: @azagame (www.alizagame.com/)
Headpiece / Waist-corset: @kmbienwald_design (www.kmbienwalddesign.com/)
A composite Christmas card. I live in LA. Yes that is my dog.
If you would like to see a tutorial of how i did it, go to my blog.
I was going through one of my back-up drives and found a folder of "to be edited" pics. Saw two pictures from 10/15/2008 that I meant to merge together but never got around to doing. Both had great elements going for them but neither one was great on it's own.
Background image (clouds): 150mm, f/5, 1/5 second exposure.
Foreground image (moon): 150mm, f/5, 1/60 second exposure.
A composite I made for CPS with the theme "Paint With Light."
This was my origional conception, but I couldn't make it happen all at the same time, sooooo I had to piece it together in photoshop.
4 elements used
paint rollerer and red swoosh
paint brush with blue scribble
paint bucket
green eminating light
Red and blue light came from LED flash lights, The red glowing paint on the paint brush was actually the juice from a Glow stick I cut open. Green light was a zoom effect on a small glass filled with green glow stick juice.
Total cost of production : $4.99 plus tax for the glow sticks, everything else was laying around the house.
Angel's Landing, Zion National Park, Utah. If you've ever hiked to the top of this thing, you understand. August, 2008
More on Insidious Tomatoes".
Strobist: (Skater) Quadra "A" head in 7" reflector, camera right, f/16.
(Objects) Quadra "A" head in the Portalight, camera left, f/16
Triggered by Skyport.
PP in LR5/CC
Seeking adventure, Flori and SQL run away and join the airforce - HSS
Thanks to Jim, his wonderful composites gave me the idea :o)
Being stuck indoors due to the weather, I have started to explore flash photography using an umbrella softbox with a radio trigger to fire the flash. This is my second attempt at an image which uses some of the things I have learned watching Youtube videos by Joel Grimes. My plan is to work on composites of a person on an added background. Now, my significant other has decided to balk at being a guinea pig, so I have had to resort to a selfie-mode with the accompanying gymnastics as I hop about between flashes, camera and my perch. At least the subject does not complain – rather pointless. Anyway, I have plans to do more of this stuff over the next while to work the kinks out. One such kink is cutting out the background. I did this manually after several attempts to use various selection schemes in GIMP, my image editor. Limited success, so that needs more work. Regardless, nice diversion as long as the weather fails to cooperate. - JW
Date Taken: 2017-01-10 (figure) 2016-03-26 (background)
Tech Details:
As the title states, this is a composite of 2 images. The background is a modified form of this image: www.flickr.com/photos/jwvraets/25972796782/in/datetaken/ in which the image was darkened overall and a significant vignette added using RAWTherapee. The foreground image was taken using a tripod-mounted Nikon D7100 fitted with a Nikkor 18-105mm VR lense set to 34mm, ISO100, Manual mode, Auto WB, f/6.3, 1/200 sec, Nikon SB600 flash inside a Godox 47inch/120cm octagonal softbox with diffuser set camera right face parallel to the axis from the lense to the face and about 4 feet away and also a white reflector set camera left about 4 feet out face parallel to the lense to face axis, triggered by Photix radio trigger set. Free Open Source RAWTherapee was used to process the resulting Nikon RAW/NEF source file by first scaling it to 9000x6000, adjusting exposure to suit, increasing contrast and Chromaticity in L-A-B mode, slightly increasing vibrance with skin tone protection enabled, sharpened, saved. PP in free open Source GIMP: The background of the figure/subject was manually erased and then used as a top layer with industrial image loaded as a layer below, adjustments made to tonality and contrast of each layer to suit, eye whites dodged slightly and pupils selectively boosted in saturation, sharpen, save, scale to 6000x4000, sharpen very slightly, add fine B&W frame as well as bar with text on left, saved, scaled to 1800 wide for posting, sharpened slightly saved.
A composite made from the most recent 10,000 images submitted to the Flickr Central group.
Like most of my composites, this has a general orange shift. There is a bit of a blue shift at the top which corresponds to the sky in outdoor photographs.
For more information about this series, see this blog entry:
www.krazydad.com/blog/2009/08/the-color-of-us/
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More stuff by jbum:
TESTING SOME COMPOSITING
*Background image is not mine.
Peep the composite breakdown - 3byone.tumblr.com/post/317022218
So I decided to give composite images a try. Here is a picture of Brent I took awhile ago mixed with an HDR image I took a while ago. I think it looks pretty good, I want to do more of these composites, its easy and produces great results!
HERE is the original picture of Brent.
HERE is the original HDR background that I made from a single RAW file while sticking my camera out the window while driving lol.
so what do you think??
Strobist: SB600 cam left through umbrella, SB800 back cam left bounced off umbrella. triggered via V4's
Watch the review comparison of these two camera:
www.learningdslrvideo.com/canon-t4i-650d-vs-60d-review/
My training course on the T4i: www.learningdslrvideo.com/store/t4i_sales.php
This photo is a composite I did, the background of the Boulder CO Flat Irons is HDR.