View allAll Photos Tagged compositing
I'm hazy about the details of Edna's life, I'll ask Mamgu next time we talk. My grandmother, mamgu, introduced me to her friend Edna when I was a teenager. the only remarkable thing about this was that Edna had only met about half a dozen people in a long time; and by "a long time" I mean decades. She and her sister had become recluses after the death of their father, they lived like Miss Havershams on one of the upper floors of their big Victorian house. The kitchen stove had only been used once, on that occasion it had belched out some smoke, and Papa had said "I don't think we should try that again".
In their youth Edna and her sister had gone on painting holidays to Cornwall, then their brother had died in the First World War, and shortly afterwards their mother had died. After that their lives revolved around caring for Papa, and after his death they just stayed home and crocheted, and cooked their food on a little camping stove upstairs. I think I'm right in saying that the only people they saw on a weekly basis were my grandparents. After Edna died Mamgu gave me a pretty 1920's stenciled jacket, a shirt of crocheted silk that looked like chain mail, a little crochet silk jacket, and a few yards of beautiful furnishing material.
My mother inherited the paintings from all their family painting holidays, and one of the landscapes somehow ended up with me, it's dated 1893. I used it in this composite image, which obviously is inspired by the work of Linda Manymuses. www.flickr.com/photos/manymuses/ Although perhaps Linda is inspired by fin de siecle water-colourists. The distant hills are from an area of Welsh countryside that probably didn't look much different in Edna's youth, the barn and foreground are from near my house in Canada. It feels funny to have taken her painting so far from home.
Composite image from Friday night, taken from two shots a few seconds apart in Myrtle Edwards Park.
needle: 1s iso640 f/11 600mm
moon: 1/250s iso640 f/11 600mm
The moon, and the part of the aircraft beacon mast directly in front of it, were enlarged about 20% to completely cover the blown-out disc of the moon in the longer exposure.
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Painting with flash in the studio. This is a composite of 6 images.
Strobist: Ambient - large softbox to camera right. various painting with snoot. Norman D24 pack.
Inspired by Joel Grimes.
Lighting info:
Elinchrome strobes. Two large soft boxes on the sides with one overhead beauty dish for fill. Two black cardboard cards were placed just in front of the camera to the left and right to prevent lens flare.
The model was shot on a grey seamless. The background is a HDR image shot with three images, -2, 0 and +2. The images were tone mapped in Photomatix and combined in Photoshop.
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This image is protected by copyright, no use of this image shall be granted without the written permission from the photographer.
My project explores the idea of composite and surrealism. I looked at work around concept of composite and surrealism. I never looked at one artist but just explored the concept of it. I noticed how the artist used completely different pictures that should be combined together, but they do it anyways. So i used completely random pictures i took and put it all together. I wanted to try this technique because i thought it was very unique and i felt like a wizard! In this project i got better at photoshop and my creative thinking. Making completely different pictures and put it together to make something cool and unique. First i wanted to do something about a person who has animal body parts, but it didn't work for me very well so i instead made the picture above. If i did this project again i probably would've make the background different rather than just having a blank white background.
Two composite engineers discuss the finite element analysis results of a composite carbon fibre stair tread. The stair case is to be premiered at the Science Museum in London on March 11th 2009 as part of a new exhibition entitled "Fast Forward- 20 ways F1 is changing our world." The accompanying picture is that of the carbon component itself.
Strobist info:
580EX through Eyybox Softbox high camera right aiming back down towards papers.
430EX snooted rear left as kicker
430EX gridded and blue gelled to put a hint of blue between the two designers.
Triggered by an ST-E2 strobes in manual
Blinds closed partly in room to allow ambient to come through the tiny slots - main and kicker gelled CTO with WB to tungsten to render them blue.
My first attempt for "composites". This was so much fun! I figured, wearing different clothes is something that's never been done before, so there you go.
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This is a simple composite that I done, I'm not too proud of it although it is one for the first that I done.
I've been taking photos of street scenes lately, attempting to stitch them together... This is a view from yesterday, an area close to my office, looking south down Peachtree Street. (Larger view is a little more interesting if you're interested in Peachtree Street.)
Just playing around with my 365 photo from today. I googled "stadium seats" and used an image I found and treated it to match the photo of my kid I extracted. Just a quick composite in honor of the Super Bowl.
Two originals from Library of Congress; composited, repaired, and colorized. Since the originals are in the mirror-reverse like all of those early daguerreotypes, I decided to leave the restoration that way also. While working on this image, it occurred to me that the two originals were not intended as an end in themselves but made to serve as a portrait artist’s reference for a painting. An artist’s studio sitting would have required far too much time for the subjects. The early daguerreotypes were a hastle; however, they were often used by artists to project a much larger first impression on canvas. Color was also in the artist’s professional advantage in going this route. I have never seen any such painting of the Lincolns that were taken from these originals. Maybe the project never materialized. Perhaps this is why the their arms fit together so well; it was part of someone’s clever plan way back there in time past.
A re-imagining of Dali's 'Christ of St John of the Cross'
A composite of 3 images taken at Alnmouth and Amble
Flickr Exquisite Corpse (info) by charlesmchen.
This collage uses Hiking up to Brown Willy, Cornwall from felinebird (Under Attribution License) and www.flickr.com/photos/avriette/133328457/ from avriette (Under Attribution-NonCommercial License).
Product Photography
Many of my product shots in the past have involved a lot of experimenting, moving things around, and a lot of time and test shots. That, of course, also results in gaining knowledge of what works and what doesn't. I've also been slowly working through "Light Science and Magic".
This shot was rewarding for me because I had a specific plan on how to light these packages before I started setting up anything. I put the setup together on top of the dining room table and made just a couple of very minor adjustments before moving forward with the shoot - and the result was pretty much what I wanted to see.
This image is a composite. The two bottles were shot seperately in position. I did an overlay and a quick mask. If the two bottles had been photographed together there would have been shadows and lots of reflections of one bottle on the other.
Lighting:
SB800 in DIY 28" soft box fired through intermediate diffuser - a white fabric shower curtain. Same setup left and right side.
SB-28DX from above onto background.
Black cards behind and on table just outside frame.
All speedlights fired with buff Cybersyncs.
The camera takes a base image and then sequential images at preset timing and just adds the new light sources , hence the car trails... very clever.....this is a bit foggy in the foreground due to pedestrians