Gallery: Inspirational Photoshop art from Issue 15
We featured these images in Issue 15 of Practical Photoshop. Enjoy!
Funland – Peiling Lee, Tanzania, using Photoshop CS5
“This image was taken with everything pre-planned. I set up the ‘stage’ for the ant, carefully put the ant in place, pre-focused on a spot that the insect might run across, then snapped the photo while spraying water with my free hand. I used Photoshop Elements 9 to process the Raw image twice – one with a cooler tone for the insect’s body, another for the vibrant, warmer background. I used Noise Ninja for the finishing touches.”
Sleeping Forever – Erik Almas, USA, using Photoshop CS5
“This is one of a series of pictures shot for a feature in7x7magazine about supermodel Maggie Rizer moving to San Francisco. It’s a straightforward portrait where the San Francisco skyline was added to connect the image to the San Francisco theme of the series. The two parts to this image were shot on a Linhof Technika 4×5 field camera.The film was then scanned and the two parts composited together using Photoshop. The skin retouching was done by Erik Passawar at Jellysquare.”
The Lighthouse – Paree Eagleton, Australia, using Photoshop CS5
“I’m 47 years old and live in Newcastle, Australia. I have always been a creative person. Over the years I would often try my hand at various crafts including sewing, glass painting, folk art etc but I would often tire of it after six to 12 months. A friend did a course in Photoshop and it sparked my curiosity, so I starting using the software in late 2007.
This image was created for Make It Interesting, one of the groups I administrate on Flickr. I used the following stock images in the composite: the lighthouse from Shirokazan from Flickr; model by Faestock from Deviant Art; ocean and sky from Arwen Arts; water brushes from FrostBo and bird brushes and texture from Jerry Jones at Shadowhouse Creations.”
Stagnation – Josh Sommers, USA, using Photoshop CS4
“This image is a collaborative effort between Paul Bruins of South Africa and myself. Paul shot the background image of the stump and sky. I shot myself in a studio with lighting to match the background image. I did a fair amount of manipulation to the background to change the proportions a little (making the stump larger and positioning it closer to the centre). I used a hand-painted Layer Mask to composite myself onto the stump.”
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