Photoshop Projects Volume 14
Photoshop knows no boundaries. Whether it’s age, skill or training, you’re only limited by your imagination. In this issue, we talk to young guns like Sebastian Andaur, who’s making a name for himself as a freelance art director while still in high school. Then there are the illustrators and lettering masters who maximise the tools and techniques of Photoshop to suit their own needs. Check out Gabriela Fuente’s patterns, designed for high-end fashion clients and created in Photoshop. The beauty of Photoshop is that it has almost limitless possibilites. Use it to take ordinary photos into the realm of the extraordinary. Shane Monopoli and Mark Gardner show us how to composite a gothic drama at Windsor Castle, while Rachel Lewis goes behind the scenes to create highenergy cosplay images. There are also loads of tips and tricks, interviews and inspirational articles on everything from lettering and 3D work to complex layers and high-end retouching. Happy Photoshopping!
Photoshop knows no boundaries. Whether it’s age, skill or training, you’re only limited by your imagination. In this issue, we talk to young guns like Sebastian Andaur, who’s making a name for himself as a freelance art director while still in high school. Then there are the illustrators and lettering masters who maximise the tools and techniques of Photoshop to suit their own needs. Check out Gabriela Fuente’s patterns, designed for high-end fashion clients and created in Photoshop. The beauty of Photoshop is that it has almost limitless possibilites. Use it to take ordinary photos into the realm of the extraordinary. Shane Monopoli and Mark Gardner show us how to composite a gothic drama at Windsor Castle, while Rachel Lewis goes behind the scenes to create highenergy cosplay images. There are also loads of tips and tricks, interviews and inspirational articles on everything from lettering and 3D work to complex layers and high-end retouching. Happy Photoshopping!
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TUTORIAL<br />
LISA SAAD IS A MELBOURNE-BASED, AWARD-WINNING<br />
PHOTOGRAPHER WITH 25 YEARS EXPERIENCE IN COMMERCIAL<br />
PHOTOGRAPHY. CHECK OUT LISASAADPHOTOGRAPHY.COM.AU<br />
01<br />
Getting the shot ‘The Mob’ was shot at the<br />
greyhound track in Lara, Victoria. The image was a year-long<br />
project to shoot and complete, including all post-production.<br />
This is a constructed image. Each dog was photographed<br />
individually. The technical challenge was to shoot each dog<br />
in motion whilst the camera (Kodak DCS 35mm digital SLR)<br />
was travelling backwards at 40-50 km/h firing on a<br />
programmed time of eight seconds with an approximate<br />
delay at the start. The eight seconds of shooting could only<br />
be on the straight just before the first turn as the lure the<br />
camera was attached to became too shaky and violent after<br />
that point. The camera was mounted in the position of the<br />
rabbit and was controlled by the lure operator so it sat at<br />
a distance of approximately 1.2 meters from the lead dog.<br />
Each group of greyhounds, around four to five dogs per<br />
group, were suited up in race gear and started in the gate<br />
in a simulated race. The lure was fired up at different starting<br />
points until we could work out the correct sequence. Time<br />
management was crucial as the greyhounds could only run<br />
once around the track and I had six starts with about 30<br />
dogs available each time and could only stretch the owners’<br />
helpfulness to experimenting with their greyhounds on<br />
four occasions. The first day was a disaster, with the camera<br />
dropping to the bottom of the lure and being dragged in<br />
the sand. The second day was not any better and I felt very<br />
frustrated as the rigging on the lure was failing. It couldn’t<br />
deal with the weight of the camera verses a fluffy bunny.<br />
After much thought we arrived at day three, which involved<br />
numerous phone calls to the owners, track management and<br />
a few engineers. We managed to secure the camera but the<br />
images weren’t pin sharp and the greyhounds were too far<br />
away in the distance. On day four I was extremely nervous<br />
because this was the last chance. And it worked!<br />
(There were six months between day one and day four.)<br />
Original images<br />
Images of the dogs from test shots<br />
PHOTOSHOP PROJECTS | 23
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