If you ask Jean-Marie Vives what the original photograph was for this image, he will tell you with a straight face that there was no original image. The iceberg was pieced together using multiple “found images” that Vives bought royalty free. This fanciful image of the iceberg was constructed entirely in the computer, using the powerful art programs Photoshop, Logiciel 3D and Cinema 4D.
The image was originally created as a print ad for a French law firm. The challenge was to make it look like the Earth, with continents and bodies of water, without making it look forced.
Vanity Fair magazine gave Astor the plum assignment of photographing world-class architects wearing their buildings. Since Astor hadn't yet learned digital techniques, he contracted a model builder to construct a scale model of César Pelli's Carnegie Tower, a 60-story skyscraper in New York City, which could be worn. To place Pelli into the desert scene, Astor commissioned a trompe l'oeil painting backdrop. (1996)
Chris Levine was hired by singer Grace Jones to create a laser light show for her concerts. At the time, she hadn't performed with a band for a full decade, and wanted to come back with a bang. Levine created a moment in the concert in which light laser was pointed at Jones' bowler hat, which was covered with Swarovski crystals, and then diffracted, filling the auditorium with shards of colored light. The audience went wild over the effect. For this photograph, Levine re-created that moment. The lenticular 3D print is illuminated by an LED edge-lit panel.
Brooke Shaden wanted to take the often clichéd subject matter of ballet photography and teach it some new steps. In creating this photograph, Shaden was interested in the “in-between moments” in dance. Shaden’s photographs are often self-portraits, as here, where she used Photoshop to clone herself seven times. She often takes more inspiration from painting, film and literature than from traditional photography.
Normally, one might expect that evolution and progress would have an upward arc as time goes by. Over the past few years, however, Vives has come to quite the opposite conclusion, that his children will have a harder, less happy life. This idea is expressed within the context of a photograph taken for the environmental group Nicolas Hulot Fondation, with which Vives frequently works.
The orangutan was shot separately and digitally dropped into an image taken at the Palais Brongniart, the old Paris Stock Exchange.
In 1999, when Astor was not quite ready to use digital photographic techniques, he relied on analog techniques to float the planets, electrons, and hands: He hung them from wires in the studio. To merge it with a photograph he had taken of Big Sur, he used front-screen projection, a technique in which the ocean shot was projected onto a highly reflective background that was draped behind the hanging planets. The projection didn't show on the planets because they were not crafted from reflective material.
While driving from Boulder to Golden in Colorado, Lhotka hit a freezing fog. She pulled over to the side of the road, pulled out her camera, and started shooting. The trees were encased in ice, and the air was filled with frozen mist. When Lhotka first loaded this photograph into Photoshop, the tree was almost completely white. Then she began experimenting. "I accidentally did something that allowed these hidden textures and colors to emerge out of the fog," Lhotka says. "When I saw that, I really went for it.
To capture Shaden’s unique frozen moments takes a lot of planning. Her work begins with an idea, develops into a sketch, and evolves into a detailed written description before she ever pulls out her camera. Having done all that preparation, shooting becomes easier. She rarely takes more than five exposures. In this case, Shaden shot the birds separately, deliberately out of focus, so that they would fit when she dropped them into the final shot.