take clothes for instance BOOK

POST PRODUCTION
Following the Photo-shoots I employed Photoshop to post-edit
the images. This I originally thought would fly in the face of the
purpose of the project as in my view the images needed to be
explicitly raw. However given that I was already creating montage
conditions in respect of the way the ill-fitting clothes were being
utilised to break down the unity of the appearance of my
subjects’, I began to think that this use of Photoshop would
further enhance the idea of this montage. I would also be taking
liberties with the temporal, momentary nature of photography by
a cut and shut compositing technique of two or more images
from different times. I also began to appreciate that the aesthetic
appeal of the hide and reveal nature of layer masking as in many
ways it conformed to a notion of dressing and undressing, the
very subject of my project.
My major concern in regard to Photoshop is that often it is used
to bring disparate elements into a unified whole, to blend these
anomalies together, and my purpose was to do the complete
opposite. However I realised that two or more images restacked
opaquely in layers would be hidden and this would ensure that I
would be unable to see which elements of the underlying images
I would be blending with the topmost image layer. There was in
effect collaboration between me, the software’s blending
capacities, and the images in the negotiation of what would
ultimately be revealed to the viewer because I could not in effect
determine the outcome in advance. I deliberately did not finesse
the masks as I wanted to show the rough painting between
layered images and show clearly that I was mixing up different
imagery and points in time. As I worked with these composites I
especially highlighted the absurdities which became revealed to
me through the masks. Subjects would share each other’s body
parts, limbs would double up, and the front, side and back of a
subject would be depicted within the same picture space.