Your question is worded a little tricky, but I think you're saying: John 4:24 says that God is a spirit, and you are saying that Mormons respond by saying that it only refers to one part of God (one part is the spirit and the other part is the body), since Mormons believe God has a body. Then you cite 1 Peter as an example.

Not to throw your example a little bit, but Mormons believe that


  15 ... the spirit and the body are the soul of man.(Doctrine and Covenants 88:15)


So, to answer your question:


  How do / Do Mormons reconcile God the Father's omnipresence with his corporeal / fleshy form?


Yes, Mormon doctrine does reconcile it, and it's quite simple:


The body houses the spirit.
God has a perfect, immortal, and glorified body which houses His spirit.
God is not, as an actual being, omnipresent. For example, Jesus couldn't visit the Nephites and other of God's children at the same time:



  1 And verily, verily, I say unto you that I have aother sheep, which
  are not of this land, neither of the land of Jerusalem, neither in any
  parts of that land round about whither I have been to minister.
  
  2 For they of whom I speak are they who have not as yet heard my
  voice; neither have I at any time manifested myself unto them.
  
  3 But I have received a commandment of the Father that I shall go
  unto them, and that they shall hear my voice, and shall be numbered
  among my sheep, that there may be one fold and one shepherd; therefore
  I go to show myself unto them.
  
  4 And I command you that ye shall write these sayings after I am
  gone ...



Since the Holy Ghost is both a spirit (no body) and also a god, His influence can be felt anywhere at once. The Holy Ghost is a separate, distinct being from God Himself, but is nonetheless a member of the godhead. In this sense, perhaps, God is "omnipresent."


God the Father's possession of a body of flesh and bones
Texture hunting is the photography of walls, surfaces, artefacts, etc, typically outdoors, with the intention of using the photos in a computer game.  The photo could be of a brick or concrete wall, a chain link face, a door / window, or whatever.  It is also possible to photograph a white wall that has been damaged or stained in some way, process it in various ways, and use this as a mask on top of other textures, in order to get a new damaged variant.

Textures are typically lighting-neutral and extremely sharp.  The computer game will compute its own lighting and shadows.  One must avoid having a shadow across the subject, as this will only have to be removed in post-processing.  Typically, texture hunting is done on cloudy days where there is a uniform soft light from the sky.

1024×1024 is a reasonable size of the final texture, but it's usually photographed at a higher res, photoshopped considerably, and then sized down.  The subject of the photo could be something like 5 metres × 5 metres.  The idea is that every pixel is being used to the fullest effect to convey the character of the surface.  Textures are often photoshopped to become seamless so they can be repeated across a large surface in game.

Textures are usually shot perpendicular to the wall as much as possible, otherwise distortion correction is required.  Sometimes you can take a photo from further away and zoom in to get a better view of a high wall.

It is often quite hard to find a surface in the real world that has an interesting texture and is easy to photograph from the right angle.  In particular, taking photos of the floor is challenging because you need to be several metres above it, looking down.  Leaning out of windows / over bridges, or holding up a tripod are solutions.

One thing that concerns me is that some cameras do image processing on the digital image.  Really, the artist has to be doing all of the image processing offline, in photoshop or similar.  I often see digital camera photos with edge enhancement artefacts in high contrast areas.  Perhaps raw shooting mode is the answer to this?

Shooting digital photos with greater colour depth than "8 bit per channel" might also be useful to avoid banding when increasing contrast during post-processing.

Another thing is lens distortion — since we need to photograph flat surfaces.  Either the camera has to be good at it, or it should be possible to turn it off so the processing can be done manually by an artist.

How do I find a camera which meets these requirements?
