Sponsored images from 
View allAll Photos Tagged compositing
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.
I did a face study for my final project.
Thirty-two portraits are here in this one photograph.
A movie accompanied my project and the composite was a way to portray the same idea (of faces morphing into one another) in print.
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 :-)
Canon 60D with Canon EF-S 10-22mm @ 20mm, f9.0, ISO 800
Photomatix Exposure Fusion and one composited flash frame blended in CS5.
The flash frame for this one consisted of a YN560 (w/ diffusor cap) BOC CR, another YN560 CL, Vivitar 285 (w/diffusor cap) in Butler's Pantry and 580 EXII (w/ Stofen) handheld above the camera.
The advantage of composites is that the fibres can be place in the ideal direction to carry the loads. This, combined with their inherent light weight, results in dramatic weight saving possibilities. Another benefit of using composite materials in design is that complex shape parts can often be made in a single moulding, reducing the need for assembly and mechanical fastening operations.
For more information www.twi.co.uk/technologies/material-properties/non-metall...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
St Mary Magdalen, Wiggenhall St Mary Magdalen, Norfolk
You cross the wide, lazy Great Ouse, and at once Norfolk changes. The rippling countryside flattens out, the horizon straightens. Norfolk's trees disappear, apart from the odd one or two that flame like beacons below the perpendicular sky. There aren't really fields anymore, just wide prairies, and the villages are perfunctory. This is the Marshland.
Pevsner mentions very few buildings west of the Ouse - except the great churches, some of which are among England's finest. In his book England's Thousand Best Churches, Simon Jenkins includes no less than ten of the Norfolk marshland churches. There are only nine for the whole of Northumberland.
Magdalen is, perhaps, close enough to the rest of Norfolk to still be a proper East Anglian village, and a pretty one at that. One to savour if you are heading west and about to tip off the edge of the real county into that strange, sinking landscape beyond; inexorably, water spilt here would roll into Lincolnshire. But the church is a marshland church, big bold and beautiful with that air of chiarascuro familiar from its neighbours, a slightly decayed beauty with the smell of old wood and damp in the air.
The village takes its name from St Mary of Magdala, of course, because it is really one of the Wiggenhalls. Over the years, Wiggenhall St Mary Magdalene has become a bit of a mouthful, particularly given the presence of the nearby parish of Wiggenhall St Mary, where there is no real village. So, Magdalen it has become, incidentally giving its name to a railway station on the Cambridge to Kings Lynn line. St Mary of Magdala is one of my favourite Saints, and so it was a pleasure to visit a whole village named after her. The church is a gorgeous assemblage of red brick, flint and stone, wholly organic as it rises venerably in the narrow graveyard. It is all pretty much 15th century, built on wool money, although as is common in East Anglia the great tower is earlier, on the eve of the Black Death. If it had ever been rebuilt, this would have been one of the most magnificent churches in England.
You step into a huge building, full of light, a dusty air falling slowly. At the west end, there is a strange little door into the base of the tower - I wonder if the rebuilding of the nave raised the level of the floor - and on either side of it the remains of the rood screen are propped up, just four panels depicting the evangelistic symbols. Now, this is very curious - the symbols do not generally appear on roodscreens. My instinct was that they might be later, but the work certainly looks medieval, and the face of Matthew's winged man has been scratched out.
Much of the character of the nave comes from the woodwork, a pleasing mixture of simple medieval benches and 19th century box pews beneath the original 15th century roof, which is rather rustic in character with alternating hammerbeams and queen posts.
Just as neighbouring Wiggenhall St Mary has the largest collection of medieval bench ends in Norfolk, St Mary Magdalen has the largest collection of 15th century stained glass figures. There are about forty of them, scattered in the upper lights of the north aisle. However, they are rather specialist collection, and not easily identifiable to the untutored eye, because rather than familiar Apostles and Saints they mostly represent Bishops, Archbishops and Popes.
Simon Cotton, in the church guide, provides an excellent key to them. Ann Eljenholm Nichols' book Early Art of Norfolk, probably the best book ever written about the medieval churches of Norfolk, shows that more than a few of them are unique representations in the county, and perhaps in the Kingdom. Most of them have scrolls, and with binoculars you can decipher some of the inscriptions, but few have their familiar symbols with them.
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.
Composite of the Annular Eclipse from Page, AZ. The shot at the Lower Right, shows the top of the ridgeline, on the western horizon.
Composite,with a slight texture added to cover a minor imperfection.One bird was added to the other image.
I've done 3 different background paintings over the last couple of days..took pictures of various portions of them and layered them in Paint Shop Pro, adding Organic Edges Filter and layer blends....just to see what I like. Do you like????
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 :-)
Experimenting using Nik Collection in Affinity Photo, based on advice from Simon Foster's course "Nik Collection: Creative Recipes"
This photo is an imaginary composite showing my boat Teal in Blasket Sound, with a new sky too!
my room as it was during my final year at university.
made from composite of images.
it was not always this messy ! (honest)
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.
I'm trying to create some composites for sales ideas.
Strobist: 3 lights. 2 B800s on background in 7" reflectors, ~f/22. Key is a B800 in a 86" PLM (as a reflective), f/11, front and boomed high, and slightly camera left. Triggered by Pocket Wizards
PP in LR3/CS5
I stiil have to meet with a friend/photography teacher who will teach me the basics of using Photoshop;
so, before I'm really running late for this group, I used some layer work and tried to mix different shots together :
this is me wandering around in the woods, where anything can happen and where close encounters of the 3rd kind become reality ?
or was it just a nightmare ?
<i>for 52 weeks in 2014 : composites</i>
<i>for me again monday in februay 2014</i>
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.
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