View allAll Photos Tagged compositing
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".
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
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.
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 with Olympus LiveComp mode.
The camera will automatically record a composite image from multiple shots, observing changes in light without over exposing areas where there has been no change.
This image is multiple 30 second exposures with me doing some light painting in the foreground while recording star trails in the night sky.
After every exposure the composite image is updated on the camera screen, so you can see your work in progress. In my case I had my phone connected via WiFi for remote shutter and image preview.
I didn't take note of how long I spent on this image (I thought it would have been in the meta-data), but it was around 45 minutes. That means this is a composite of around 90 continuous 30 second exposures.
This is the jpeg straight out of the camera, no processing.
Note; this is using my new 9-18mm wide angle lens (18-36 equivalent).
Swarm satellite assembly mated to the Breeze Upper Stage sealed inside the Rockot fairing, which forms the Upper Composite, at the Plesetsk Cosmodrome in Russia, 16 November, 2013.
ESA’s Swarm mission is ready for launch on a Russian Rockot on 22 November at 12:02 GMT (13:02 CET). The three-satellite Swarm mission aims to unravel one of the most mysterious aspects of our planet: the magnetic field.
Swarm is ESA’s fourth Earth Explorer mission, following GOCE, SMOS and CryoSat.
Credit: ESA–S. Corvaja, 2013
Compositée (Astéracée, ex-Composée) de 90-200 (-300) cm à tige creuse, robuste et dressée, glabre mais poilue-glanduleuse au sommet, solitaire et ramifiée, produisant du latex en abondance (d'où le nom vernaculaire de Laiteron). Limbe foliaire à oreillettes allongées, étroites et aiguës. Feuilles lancéolées, acuminées, indivises (les caulinaires sagittées, les supérieures étroites à l'aspect de bractées), souvent réfléchis et denticulés.
Glandes de l'inflorescence vert noirâtre. Involucre à folioles nombreuses, inégales et imbriquées sur 3 rangées. Réceptacle nu. Capitules jaune pâle de 28-40 mm, pédonculés en corymbe étalé, aux fleurs nombreuses et toutes ligulées. Akènes oblongs et sans bec de 3,5 mm environ, beiges à aigrette sessile et jaunâtre, faiblement striés transversalement, surmontés d'une courte aigrette (inférieure à 1 cm) de soies blanc sale.
Espèce caractéristique des peuplements en grands hélophytes de la cladiaie-pgragmitae (Caricion lasiocarpae) : mégaphorbiaies (du grec ancien megas : grand et phórbia : herbage ou herbe) et roselières eutrophiques, où elle profite de la dégradation des milieux tourbeux alcalins, l'eutrophisation et la minéralisation lui étant plutôt bénéfiques (cf. M Blamey & C Grey-Wilson, H Coste, Nouvelle flore de la Belgique..., Guide des groupements végétaux de la région parisienne et P Jauzein).
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 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.
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>
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
Week 31 in 52 Weeks for Dogs
When Tasku was small we gave her the nickname 'Ninja', referring to her uncanny ability to get from one place to another without anyone noticing her. We would think we knew where she was.....but we didn't! That, combined with her mountain goat propensities (I used to find her standing on the dining room table and a couple of times stood on a four inch wide window ledge) has inspired this 'multiplicity' picture.
Song title: Here there and everywhere ~ George Benson
Just beginning to get into compositing images. This is one of my first tries. Though flawed it does show the direction that I'm trying to go and the learning curve on this one was pretty difficult. My grandson loves it though.
Red for right audio, white for left, yellow for picture. Horrible blurry, noisy images. Soon to be a thing of the past. Good riddance.
compositing i made from several second life objects. and brushes i found in a tutorial.
this is not a screenshot.
I decided this is my last dark pic i made for personal reasons. now let the light be.
Multi-image composite of this evening's sunset (8:15 p.m., CDT), just after a storm front moved through (we didn't get any rain, but the clouds were beautiful).
For this composite, I left off the top row of images for a more panoramic appearance but with less sky.