Real Smoke, Sparks and Particles for Compositing
Real smoke curls, real sparks streak and real bubbles catch the light in ways that are hard to fake. These VFX stock elements are photographs of the real thing, ready to layer over a painting, a render or a photo. The largest is Sparks and Fireworks: 514 photos of sparks, smoke and explosions at 6000 × 4000. For atmosphere, try Smoke (170 photos).
Fire, sparks and smoke
These are the elements you reach for most often: a welding scene, a battle, a forge, an engine on fire.
- Sparks and Fireworks: 514 photos of sparks, smoke and explosions, shot by Ref-G on a Canon 77D with a 70–300 mm lens, at 6000 × 4000.
- Sparks: 44 close-ups of sparks for smaller accents.
- Smoke: 170 close-ups of swirling, curling smoke.
The Sparks and Smoke packs are by TLopez, shot on a Nikon D90 at 2848 × 4288 in portrait orientation. That is about 12 megapixels: plenty for an overlay, which you usually scale down and soften anyway.
Water, dust and air
Small particles add depth and weather to a scene.
- Particles: 125 extreme close-ups of water and dust particles. Use them for rain, wind, floating dust and debris.
- Splashing Waves: 47 photos of splashing water in a dramatic lighting setup.
- Night Bokeh Blur: 81 photos of round, out-of-focus city lights, shot in Sydney on a full-frame Sony A7C with a 70–300 mm lens, at 6000 × 4000.
Underwater elements
For underwater scenes, light and bubbles do most of the work. Both of these packs were shot with a GoPro 7 at 3648 × 2736:
- Scuba Diving Bubbles: 135 photos of bubbles from scuba equipment, shot underwater on the Great Barrier Reef.
- Underwater Godrays: 66 photos of sun rays coming through the water surface.
For whole underwater environments, see our underwater reference photos.
How to composite a photographed element
- Choose the blend mode. Elements on a dark background, like sparks and bokeh, usually work in Screen or Linear Dodge (Add). Those modes drop the dark areas and keep the light.
- Match the color. Use Curves or Color Balance so the element takes on the color of the light in your scene. A white spark under orange firelight should turn orange.
- Match the direction and blur. Rotate the element so smoke drifts with your wind and sparks fly away from their source. Add motion blur if the rest of the image has it.
- Place it in depth. Elements close to the camera are larger, softer and brighter. Distant ones are smaller, lower in contrast and take on the haze color.
- Add the light it casts. Fire and sparks light up the things around them. Paint a soft glow on nearby surfaces, or the element will look pasted on.
For more on matching light, see our guide on how to photobash and our lighting reference.
Frequently asked questions
Are these video elements?
No. These packs are still photographs. They work for illustrations, matte paintings, photo composites and still frames, and as texture sources for particle systems.
Will the backgrounds be fully black?
Not always. Check the preview images on each product page. Where the background is dark but not black, darken it with Levels or Curves before you use Screen or Add, so no grey haze shows.
Can I use the elements in a commercial film or game?
Yes. Every license is royalty-free, covers unlimited projects and never expires. You can't resell the elements themselves as a stock pack, in whole or in part.
Why not use a simulation instead?
Simulations are great when you need control and motion. A photograph shows how real smoke, sparks and water behave, with no setup or render time. Many artists use both: the photo as a reference or a quick layer, and a simulation when the shot needs it.