I’ve always called Photoshop “the Pencil of Digital Art”, and here’s Reason # 32,359: This image is a before-and-after example of a photograph I’m working on for a commission.
The series is part of my ongoing Oxidized Macros series and comprises a number of photographs of what I’m calling the “Homicide Posts”–the old, paint-layered lampposts outside the former Police HQ set of the TV show, “Homicide: Life on the Streets” at Fell’s Point Recreation Pier in Baltimore.
In these series, I don’t do any digital painting or rearranging of elements; the only editing I do is cropping, focus and tweaking the colors. I amazed even myself with this result–all done with Image Adjustments and Image Adjustment Layers…and again, no painting or additions. In other words, all the changes you see in the right image were extracted from the information in the left image!
A “Painting in Progress” image time line: To keep my sensibilities freshy-fresh (and to explore the medium), I keep a couple of small paintings in ongoing States of Becoming. They’ll let me know when I’ve had enough–if ever.
These represent a sort of external “painting id” to balance out the constantly preening (and suffocating) “painting superego”: I allow myself to try anything that comes to mind, I allow myself to unapologetically suck, and I *force* myself to sacrifice passages that I like, in the service of learning to Let Go. Honest to God, they’re tough on me–even knowing I’m not supposed to “produce” with these, I still get angry when nothing works.
This one got so thick with paint that I sanded it down several sessions ago (after which, of course, the surface became a glassy nightmare of paint non-adhesion). A half-dry coat of retouch varnish made it paintable again, and it’s odd little challenges like that that often pay dividends.