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Mowscodelico, Woskerski, Soureye.
Neither work was completed when the owner of the wall kicked off.
LR1153
... painting on progress... to pure whiteness... almost everywhere...
... and when painters take their lunch break, what do I do?????
Yessssssss.... that thing you're thinking.... wouldn't you do the same??? :-)))
Not sure if my energy will last to visit you later this evening... but if not, I promise I will be back around soon... missing you all!
While exploring this abandoned place, I was fascinated by this forgotten paint roller, a silent witness to the passage of time. The decomposed layers of paint have created a natural fresco, where colors blend and oxidize, creating an organic abstract composition. My intention was to capture this beauty born from abandonment, where decay itself becomes art. The presence of the roller tells an unfinished story, while the decomposition of pigments creates a work that only time could paint.
Happy Birthday David - Hope you get to paint the town red (or whatever other colour you like :-)
No need to comment Flickr Contacts :-))
With thanks to:
kahle182: officialpsds.com/Paintrollers-PSD58568.html and officialpsds.com/Gold-Painter-PSD58569.html
bummer: officialpsds.com/Amazinig-Rainbow-Swirl-vector-PSD53483.html
'Dark and stark butterflies on hot wind-whipped orange by Su_G': printed on Basic Cotton Ultra by Spoonflower.
Original: Paint roller & oil on paper.
© Su Schaefer 2017
See 'Dark and stark butterflies on hot wind-whipped orange by Su_G' as fabric at Spoonflower
[Dark and stark butterflies on hot wind-whipped orange by Su_G_swatch_IMG_1554]
I had lots of fun with PechBeach buddies, Jeffa, Mike Friedrich and DXTR, I made paintroller thing mixed with cans. Huge mural, big image with all artworks coming up soon!
This is the full description for how I add gorgeous light to a photo just where it needs to be and no where else. There are several steps but it is not hard to do.
There is really not one thing that is new or novel in the technique at all, I think the value here is in the combination of steps I have outlined here. They are nearly effortless once you have practiced them a bit.
On the left is the equipment. Put it all together with your SB900 like I did, or SBxxx or Canon xxx and you have TTL on a stick. Poke that light right where you want it and just where you need it. The magic of TTL is that you can concentrate on everything else and let the flash expose the subject automatically.
On the right are the photos that I used to pull this together. The numbers below correspond the the numbered photos.
1) Pick you beautiful background and expose for it, mostly you can ignore the subject as far as exposure level goes. But when you start you already need to know how you are going to put this together. So think it through, but I'm sure you do that anyway. You are going to take a set of images while not moving the camera or changing the settings. So your assistant has to know that, and know you aren't going to be talking to them. Take your background shot.
2) Have you assistant poke that TTL stick right into the frame right over the subject and expose them beautifully. I usually will take about 3 of these for each of the backgrounds done in #1 above. So my assistant, just knows to count the flashes, 3 shots with that flash stuck into the frame, then pull back for one, repeat. If I am going to change anything, like the framing or exposure level or anything, I will change it for a set of four images.
3) Now for the post.
A) Pick a background shot and the best shot with the subject flashed and exposed correctly from one of the sets of four.
B) Import both files into Photoshop
C) Bring both frames into one file by right clicking on the layer, select duplicate layer and duplicate the layer into the other file.
D) Select both layers then edit->auto align layers.
E) Now like magic the layers are lined up PERFECTLY (you have to love PS) you can mask out anything you don't like. Like the flash sticking into the frame. I left it partly masked out so you can see it disappearing. If everything is done right, this part just feels like erasing, since when you are removing the light and often the assistant, the layer underneath will be exactly the same but without a light. Depending on which image is on top paint in (or out) the subject. Personally I like have the unlit image on top but either way works fine.
F) Notice that in this image I got a boat in one image it's circled, only because I moved a little between the frames and I can use it, but when I mask out the flash on a stick I loose some background and that forces my crop, that's marked with a red X.
G) Total time in PS? Two minutes TOTAL, honest. It really can go that fast when you have done all the steps right.
4) Now the last image. Since I used a white flash with no gels I need to push the yellows so that the light on my subject looks like natural sunset golden light, and that helps my sunset and her dress explode with yellow, marked with an X in this frame. The reason that it is important to have the settings exactly the same for both images, is so that now you can make the change to both images in the blended scene at the same time and it looks right. Since everything is the same in the two exposures you can blend them without having to try to match the light. Since they align perfectly you can just pick what you want from each layer.
Things to watch out for:
1) Don't change ANYTHING in your set of four (nothing on auto mode except TTL and focus)
2) You have to try really hard not to move, but you don't need a tripod
3) Be careful where the flash is pointing on the out of frame fire
4) PS does a great job of auto aligning the layers, but.... Since the lighting on your subject is changing so drastically PS is seeing your subject as a non overlap. So on a close up when the subject is more than 40% of the frame, PS just barfs and gives up so you have to align manually, that takes a long time, I don't like going there. So go a little wider than you might normally frame your photo, that extra part helps PS line you up.
I have learned so much from so many here on Flickr. The generosity of photographers that share what they know has changed everything that I do. Credit where credit is due, Strobist has been a huge influence on me, I cannot thank David Hobby enough. Ryan Brenizer has also given me great insights, there is a little from both of them here in this technique.
Mural by Fabio de Oliveira Parnaiba who calls himself Cranio aka @cranioartes seen in the Depot District of Berwyn, Illinois.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
I went today with many buddies (MF, PeachBeach,Jeffer and many more to do some nice paintings, unfortunatelay some monsoon rain occured and it ruined my work :( I was happy to capture an image before the jungle rain of Berlin washed away big parts of my art. Unfinished.
'Dark stark orange butterflies on gray by Su_G': printed on Basic Cotton Ultra by Spoonflower.
Original: Paint roller & oil on paper.
© Su Schaefer 2017
See 'Dark stark orange butterflies on gray by Su_G' as fabric at Spoonflower
[Dark stark orange butterflies on gray by Su_G_swatch_CU_IMG_1553]
Mural by Ruben Ubiera aka @urbanruben for Just CBD seen in the Wynwood Arts District of Miami, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
'Bright + colorful butterflies of the rainforest by Su_G': in a shoe mockup (Bucketfeet's Low top slip on, showing front and side)
Original design: Paint roller & oil on paper © Su Schaefer 2017
My entry in the Spoonflower 'Bucketfeet Rainforest Animals Challenge'.
See
''Bright + colorful butterflies of the rainforest by Su_G' in fabric
[Bright+colorful-butterflies-of-the-rainforest_Low-top-slip-on_2]
Rooftop Painting by 1UP Crew near Train-Station Ostkreuz in Berlin-Friedrichshain.
More Infos about Urban Art at Berlin Streetart Blog.