Photoshop Projects Volume 14

PROFILE
SHANE MONOPOLI
icing on the cake; it enables me to make
a good image great. It also enables me
to achieve the things that would definitely
be impossible without it. Another very
important factor is that it keeps most
of my clients very happy. With it I can
remove those unwanted lines and
wrinkles, blemishes, even birthmarks.
How much do you try to capture
in camera and how much do you
add in later?
It’s really important that when I’m
shooting, I still aim to get the perfect
shot when it comes to lighting,
composition, expression, etc. Sometimes
I do already know what I’m going to do
in Photoshop, like dropping in another
background, scene or texture, but
Photoshop will also help me give an
image the edge that’s required for it to
be an award-winning shot, and
sometimes it’s more subtle
adjustments that you think of later.
Do your clients come to you for
a specific style of work?
A lot of our clients know exactly
what they want, they might have
seen something in a magazine, on
a TV show, or even our website. We
provide the look they want.
How much do you use Photoshop
for clients? Do they request it?
We use Photoshop for every client,
without fail. Everyone can use a little
enhancement. The skill is in how you
use Photoshop. We try to keep it
looking real, ensuring it doesn’t look
like it’s been Photoshopped. That’s
key to what we do.
“The skill is in how you use Photoshop.
We try to keep it looking real...”
IMAGES
INTENSE
MOMENT
» (ABOVE) This image
shows how to create
drama and mood
using studio lighting.
OLD PAREE
» (TOP RIGHT) Shot in
studio and placed at
La Louvre in Paris,
thanks to Photoshop.
FORMIDABLE
FOE
» (FAR TOP RIGHT)
Windsor Castle
in the 16th Century,
all subjects shot
in studio and placed
in the setting.
GHOST
WHISPERER
» (BOTTOM FAR RIGHT)
Shot in the studio,
overlaid with clouds
to create the look of
the heavens.
42 | PHOTOSHOP PROJECTS