View allAll Photos Tagged superimpose
For DS106 Use camera panning to blur the background behind a moving subject
iPad photos table blur and still apple with superimpose app
Superimposed 5-minute expsoure frames at 30 minute intervals. Captured with with an SXVF-H9 camera and SW250PDS Newtonian reflector. The asteroid was approximately 170 million miles from earth, the galaxy behind it was over four trillion times more distant.
An accidental superimposition (the advance lever got fussy). I quite like it though. Yashica Electro 35, Kodak T-Max 400.
be more like jesus they say---Taken 10.1.08 pasted on older photo, Finished photoshopping on 11/1/08
What Would Jesus Do-365/1--10.1.08 - Best Viewed Large on black
The DC flag superimposed over portrait of Obama on a record, at Artomatic 2009, in Washington, DC.
Blogged:
welovedc.com/2010/01/27/state-of-the-union-2010-watch-par...
greatergreaterwashington.org/post/8362/how-can-obama-real...
boston, late '50s or early '60s
microscope image, integrated circuit with reticule superimposed
originally labeled "ZOT", set features microscope images of an early integrated circuit. part of an archival project, featuring the photographs of nick dewolf
Two superimposed and blended layers, each layer taken with a gelled SB910 and triggered with Pocket Wizards, to produce shadows for the arms of the clock.
The superimposed picture was taken during the summer of 2010
Original Caption: "American Cities"
U.S. National Archives' Local Identifier: 306-NT-609K-20
From Series: "Pictures of an American City, Skylines and Streets"
Repository: National Archives and Records Administration College Park, MD 20740
Production Date: circa 1948
themes for current project - women, mental illness, destruction, textures, light, text. Sounds blah but I can talk about it all really well (:
Used a tripod here.
Anna Ostoya
Composition of Information
2010
print on paper, superimposed on first page of Composition of Space. Calculating the Space-Time Continuum by Katarzyna Kobro and Władysław Strzemiński (first published in 1931, Łódź, a.r., No 2)
"Every sculpture has within its borders a certain quantity of space. Thus we can say that sculpture encloses space within itself. The border of sculpture is also a border that encloses space from beyond the sculpture and separates it from the space contained within the sculpture. So we can think of the borders of a sculpture according to our disposition – either as a border framing internal space, or as a border framing external space. Sculpture’s most essential feature is the fact that we cannot say that it is simply the framing of internal space. It is equally correct to say that its surface, its border, frames external space, giving it a momentum that accords with the momentum of the mass’s borders. Every sculpture answers, in some way or another, the most important question: that of the relationship of the space contained within the sculpture to the space found beyond the sculpture. This is a fundamental question, only partially revealed though the secondary questions: the static or dynamic nature of sculpture, the dominance of line or form, the color or colorlessness of sculpture, the use of chiaroscuro or mass. The type of sculpture and the treatment of all the secondary questions depends upon this or that treatment to the main question.
The oldest and the best known type is the sculpture - mass. In the understanding of the sculptor, giving it form, there exists..."
(translation by Klara Kemp-Welch)
Taken with an iPhone 5s, edited with an iPad mini.
Apps: ProCamera, Snapseed, Superimpose, Repix, Photo fx, icolorama.
Watercolour wash on watercolour paper.
Landscape Architecture 134a. (Drawing Workshop)
University of California, Berkeley.
Mistakenly superimposed by the camera, at the end of the roll. I love the effect, which links those two parts of the same building. Taken with Yashica 75-200mm f:4.5
Ilford XP2 400 exposed at 200 and developped with Rodinal.
Superimposing the image of the glacier as shown in one of the illustrative panels in Moraine Lake, on a panorama taken near that panel.
boston, late '50s or early '60s
microscope image, integrated circuit with reticule superimposed
originally labeled "ZOT", set features microscope images of an early integrated circuit. part of an archival project, featuring the photographs of nick dewolf
Dstretch doesn’t bring out too much more detail. It appears that there might have been another larger outer circle.
All Saints, Lessingham, Norfolk (not in situ)
Rood screen, early 16th century.
All Saints is a small, remote church on the north-east coast of Norfolk. As with other churches in the benefice, it is welcoming to pilgrims and strangers; indeed, this church is militantly open, with a large 'welcome' board up on the top road.
The chancel was severely damaged by a storm in October 1961. It was decided to block off the chancel and make the ruin safe, creating the fine thatched nave you can see to day, with what is effectively a walled garden on the site of the chancel.
Before the chancel was demolished, All Saints had the surviving panels of a splendid rood screen with twelve painted figures. I had read much about it. Although much later than the more famous screen at neighbouring Hempstead, it was of particular interest because, as well as the twelve figures of apostles, there were further figures which had been superimposed on paper some time in the 16th century; perhaps, unusually, during the 1550s reign of Mary I.
After the destruction of the chancel and the blocking off of the arch, the screen was moved to an unsatisfactory position at the west end of the nave. After a couple of years, it was decided to loan it to the church furnishings museum at St Peter Hungate in Norwich, where it would be a star attraction, and in 1968 the screen headed off to the big city.
However, when public spending cuts forced the closure of that museum in the 1990s (it now lies empty, awaiting a new use) the screen went into storage, in the depths of Norwich castle. In 1995, it was moved to the Archaeological Service archive at Gressenhall. The two sides were packed into enormous pine cases, and screwed up tightly to prevent them rattling around.
One hot summer day in 2006, I went to visit the archive. It was like stepping into Aladdin's cave. The kind archivist unscrewed the front of the two cases, and revealed the wonders inside. It was the first time that the cases had been opened, the first time the screen had been seen for eleven years. I hope I don't sound immodest if I say I felt a little like Howard Carter.
The screen is intricate and flowery, full of the flavour of the English Renaissance -or, at least, what it might have been if puritanism hadn't intervened. This suggests that the construction of the screen itself is quite late, perhaps early in the 16th century.
The figures are painted in two, possibly three, distinct styles. The original twelve are all by the same artist, and depict the eleven disciples and one other, possibly St Paul. Where a paper figure has been superimposed, there is a white banner with a legend about two-thirds of the way up the panel. This appears on panels I, II, VI, VII, VIII and IX. Curiously, there is a break in the background painting at the same point in panels XI and XII - could they also have been superimposed? Or, intriguingly, were they prepared, but the imposition never carried out?
Four of the imposed figures are the Latin Doctors St Jerome, St Augustine, St Ambrose and St Gregory. A fifth is St Roche, associated with sufferers from Plague. There were several outbreaks of Plague in Norfolk in the 1550s.
Last night, I dreamt that Google had superimposed a false world on top of the real one, using a mixture of some sort of gas and a strange strain of idea-glue. They'd started on this project during the '80s and things had just got gradually more and more caught up in it since then, which was why the music was so bad. However, their insidious plan had started to unravel, as some people had started to notice; when I clocked what was going on, I thought that I and the others who knew would have to do something about it. This we did; our efforts seemed to consist mainly of going out and telling the rest of the people what was going on. There were some quite good special effects, including some explosions caused by the Google crew to stop me and my companions from spreading the truth, and then some interesting reality-melting sequences when we overcame their machinations and started to peel back the G-world, with all its speedboats and palm trees, revealing the real world underneath it - which was exactly the same, but not full of sublimated gas and rotten music, and therefore better. Less glue flying around too. It was a pretty fine dream.
Superimposed photocreation to illustrate Houghton Street closed to traffic in the LSE Magazine June 1975
IMAGELIBRARY/57
Persistent URL: archives.lse.ac.uk/dserve.exe?dsqServer=lib-4.lse.ac.uk&a...
Superimposed exposures create clouds of meaning, which help us get much closer to the emotional content of the image than would an absolutely sharp and well defined photograph. At some point the viewer starts resonating with the vibrations of these clouds of meaning and becomes part of a complicated resonance system. In front of us is not a photograph, but a tuning fork, marking a certain moment in the existance of the photographer and of the object. Actually, more precisely, marking a sequence of such moments. The uncertainty and blur of the picture becomes a more complex system of describing the world. It becomes a subtle and precise instrument of emotional cognition. It really captures the secret tremor of the world, which Baudrillard wrote about. It not only captures it, but it records it on a tangible medium.
"The dream" has become reality.