Over the past few years I’ve really come to love Photoshop. It is an amazing photo editor and allows me to create any world my demented little brain can imagine.
One of the best things is that it gives me the ability to create images containing more subjects than I have models to pose in one shot.
Case in point, I only have two Black Series stormtrooper action figures. However, in this shot there are six, though I shot them all one at a time. I just changed the poses, then composited them into a single shot.
Another example, I only have one LEGO First Order heavy assault walker and one TIE fighter.
This may shatter your world, but there is only one of me to go around, except in this shot:
… and this shot, too:
I only have one AT-AT walker, and only five stormtroopers. Now I have three walkers and nine troopers. Handy.
Number of genetically re-created velociraptors in my possession? Yep, you guessed it: one!
One may be the loneliest number, but when armed with Photoshop, one is all you need.
[dave]
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I have yet to try this, though I’ve run into situations where, had I thought of it, multiples in photoshop would have been very useful. Keeping the light consistent is something I have not mastered yet however.
Love your work Dave.
I can’t live without photoshop even if it’s for the slightest of touch up.
It can bring a flat image completely to life plus I find it so relaxing with the music on editing away.
Keep up the amazing work.
Thanks for the comment Paul.
I love getting into the zone. Some good tunes, some RAW images, and Photoshop are a fine way to spend an afternoon, or an entire day.
Thanks for the comments Demarcation Media. One method I use to keep light consistent is to lock down the light, and the camera position/settings, and only change the pose of the figure. This way the light and perspectives are always the same between shots.
I love how you work, Dave and have to remember that I can do this sort of thing in Photoshop which I use all the time.
Thanks Mary.
When I think about my images, I think of the final image I want first, then I deconstruct it in my head to figure out how I can shoot it. That deconstruction phase is often where I realize I need to take multiple shots of the same figure and composite them together.