Continuing forward from a previous post ( See - ) on how Ruth Reynolds' portrait was taken, today we see how some South Austin street art was composited with her portrait.

This image is a composite which spans several years in its creation from the time I took Ruth's portrait to the time I saw the fence with particular street art on it.

I enjoy photographing street art in Austin, Texas. During the Fall of 2010 while photographing street art on South Congress Avenue, I came across this fence which had been painted by students of the Texas School For The Deaf. Given the colorful nature of the painted fence, who painted the fence and its message, the fence caught my attention and reminded me of a young model/actress I had worked with.

As with all street art, it is of a temporary nature, always changing or disappearing altogether for various reasons. The fence as I saw it no longer has the same artwork. Nonetheless, this is how the fence looked when I first saw it. See -

As mentioned in yesterday's post, I have had the privilege of photographing budding actress Ruth Reynolds at the early stages of her career.  I had learned of her aspirations to become a film actress and maybe a director. She moved out to California to began working on achieving her dreams.

When I saw the mural on the fence, Ruth immediately came to mind because she always signed her emails with "Live, Love, Laugh". Combining one of my images of her with the fence was just a natural thing to do!

Composite Image - How Accomplished:

I took several overlapping images of the "Live, Love, Laugh" section of the fence. I stood as close to the fence as possible to get top to bottom of the fence in the viewfinder. I side stepped a few feet in one direction while maintaining the same distance from the fence and took another overlapping image of around 25 to 30 percent of overlap. This process was continued until I had completely photographing the section of fence of interest.

On exposure, it was an overcast day so lighting was even. I used aperture priority on the camera and refocused with each shot (a constant distance was maintained from the fence for each shot).

Image Processing:

All the overlapping images were brought into Adobe Bridge and a lens correction for distortion was applied to all images. From Bridge, the images were opened into Photoshop and merged into a panorama. Using the transform tool, the panorama was straightened into a rectangle and cropped. Exposure and tone type tweaks were applied to panorama.

Ruth's portrait was edited in Adobe Bridge and then brought in as a layer in the panorama of the fence. She was selected from her background and positioned into the composite. Her image opacity was changed to be pleasing. Various adjustment masks were applied to her layer so she blended into the fence well.

Ruth Reynolds:

Movie Web Page:


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