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I'm kicking this off a bit early as it is (almost) Friday here, and I am going to be a bit full on tomorrow (my new computer is _finally_ finished).
A different approach this time, and I have done some of the work for you. Instead of a full image, I'm providing a cutout with transparency, and you have to decide how to use it. The sailor and his girl are a statue at San Diego I took at MAX in 2016.
The PDF is about 2500 pixels on the long side. Previous SFTW threads got a bit slow to load by the time it was filled with images, so we should maybe keep the final uploads to say 1200 pixels on the long side. Have fun
[EDIT] I am not sure if you will be able to open this as a layered document with CS6 and older versions. If you have that problem, then you will still be able to open it as a PDF with a white background, so an easy selection.
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so the task is the replace the sailor with a new model or place the sailor into a new background?
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Trevor.Dennis wrote
I'm providing a cutout with transparency
Nah, where's the fun in that...
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Hah! I didn't even consider anyone making it flat. That's nicely done Dag.
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Clever idea Dag - and very nicely put together
Davce
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Thanks, guys - there's a sort of nostalgic feeling here that I like. Yeah, my best entry so far
It doesn't quite hang together, lighting-wise. The crumpled corner is lit from the wrong angle, but my crumpled paper plugin doesn't work, so I had to pick up my camera and actually photograph one. Forensic experts can probably spot that in a second.
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I can't compete with Dag -- that was great. I'm on a deadline today so this is my quick & dirty.
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Almost Friday so :
Dave
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the true cost
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Is that Darth Vader's head in the foreground? Your picture gave me this idea:
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no its her knee but she won't get back in the kitchen where women belong!
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Friday night is horror movie night
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I just love Dag's image this week probably the best since we started doing this. Give that Norwegian a Nobel Prize I actually couldn't think of anything decent this week. My first thought was a wedding cake , then one of those wooden carvings on the front of those 18th century sailing ships, but finally ended up with the one below.
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Pretty busy today, here's my ten minute put together.
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And another....
Dave
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Thats really cool, Dave!
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Thanks . Only the statue and the trees are real
Dave
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you certainly have a very active imagination Dave. How did you do the statuette? Completely off topic, I've got a feeling that cars in England can't have those things on the bonnet anymore. My dad had an old style 'Inspector Morse' style Jaguar and had to have the big cat statuette removed when the car was MOT'd or it would fail. I'm still not convinced that was legal but I was given the mascot and now have it on my desk at home on a wooden base mount.
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Your probably right about the car mascots now Terri. At one stage they were retractable - but I think that was against theft rather than pedestrian safety.
The statuette was Trevor's image turned to silver by using a black and white adjustment layer followed by several curve adjustment layers each with different blending modes For example the curve below was set to "difference"
After I got the basic silver I used hue and sat and a sky image to set some color and added a hint of reflections using the tree layer with puppet warp.
Dave
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Some very clever stuff going on here. Dave's chrome plating is masterful, and I love that the rest of the vehicle is pure illustration. Some excellent use of perspective and eye lines going on in the monochrome images. You'd be hard pressed to recognize them as composites. Terri, I'm coming to the UK in May, so be very afraid
Dave has told me some of his ideas for future SFTWs and I can't wait to have a crack at them. That's if I don't drop off the perch before then Terri . I take hope from Prof Norman who is 110 and still a Photoshop Grand master.
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Hi Trevor
I only did the chrome plating on the statue Trevor - the chrome on the top of the radiator below is taken from a section of real chrome. I was going to paint the car bonnet (hood in US) but I realised that from that angle it would be pure reflection.To be honest the fun part was the glass, making it appear as if there was some car interior behind it.
Great challenge this week Trevor.
Dave
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davescm wrote
Your probably right about the car mascots now Terri. At one stage they were retractable - but I think that was against theft rather than pedestrian safety.
The statuette was Trevor's image turned to silver by using a black and white adjustment layer followed by several curve adjustment layers each with different blending modes For example the curve below was set to "difference"
After I got the basic silver I used hue and sat and a sky image to set some color and added a hint of reflections using the tree layer with puppet warp.
Dave
I am all for folk doing a how it was done post after they do something clever. I keep looking at Jane's #17 and trying to work out why it looks so right. Some how our point of view has been raised — is it just the bottom of the dress? Very clever stuff, and a real learning experience.
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Trevor.Dennis wrote
I am all for folk doing a how it was done post after they do something clever. I keep looking at Jane's #17 and trying to work out why it looks so right. Some how our point of view has been raised — is it just the bottom of the dress? Very clever stuff, and a real learning experience.
Remember that I called myself uncreative? It looks "so right" because it's the real photograph taken by Alfred Eisenstaedt on August 14, 1945 in Times Square and published in Life Magazine a week later. It's possibly one of their most famous photos.
The sailor was George Mendonsa and the woman was Greta Zimmer, a dental assistant. He grabbed her and kissed her. She had nothing to do with it!
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jane-e wrote
it's the real photograph taken by Alfred Eisenstaedt on August 14, 1945 in Times Square and published in Life Magazine a week later.
Yes, this is one of the truly iconic photographs, along with Cartier-Bresson's man jumping a pool, or - on a more disturbing note - Nick Ut's napalm girl, and a handful of others. It's the kind of once in a lifetime shot that all photographers dream of - being at exactly the right spot at exactly the right moment in time.
The Times Square shot could not have been taken today, and yet it appears as fresh as morning dew. This apparent paradox is a reminder that, contrary to myth, great art is not "timeless" - great art is of its time with perfect precision. It tells us that whatever else is in eternal flux, there are some things that remain at the core of being human. That's the story these images tell.
This has been a great round, by far the most interesting so far. Keep it coming. This time, we get images that tell a story in their own right, not just putting together things that don't "belong" together. That's fun, by all means, but there can be more to it. It doesn't have to be a "grand" story, it can be a little one, so tiny that nobody notices it. Like a piece of chewing gum sticking to a heel.
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jane-e wrote
Trevor.Dennis wrote
I am all for folk doing a how it was done post after they do something clever. I keep looking at Jane's #17 and trying to work out why it looks so right. Some how our point of view has been raised — is it just the bottom of the dress? Very clever stuff, and a real learning experience.
Remember that I called myself uncreative? It looks "so right" because it's the real photograph taken by Alfred Eisenstaedt on August 14, 1945 in Times Square and published in Life Magazine a week later. It's possibly one of their most famous photos.
The sailor was George Mendonsa and the woman was Greta Zimmer, a dental assistant. He grabbed her and kissed her. She had nothing to do with it!
Ahhh... That'll be why I was banging my head against a wall wondering how you'd done that. It was still food for thought as they say, and I had to have a go at changing the perspective to some extent. So below is the original, my edit, and the statue. All I really did was lower the dress hem so we were no longer 'looking up' (which feels kind of seedy even to write) and hand draw the hat so we are looking down on it. Perspective is the enemy of compositors IMO, but the problem is that you can't always work out what is wrong, even when your brain is shouting out that _something_ isn't right.
Wouldn't it be wonderful if George and Greta had married and lived happily ever after?