Inside the Big Lie
by Richard Martha

An Introduction

It’s 2008 and Adobe Photoshop CS3 reigns supreme. Photoshop is impacting image making in such ways that it’s hard to imagine that less than a decade ago the industry was relying on systems that had not yet incorporated the use of multiple layers. Systems like the original Quantel Paintbox, and Scitex Blaze were the industry’s heavyweights. To most, Photoshop was considered the yellow cab amongst stretch limousines. Digital image manipulation, as some like to call it, was historically a service only politicians and wealthy advertising houses could afford. A few young chosen artists were allowed entry into the world of image fairytales to assist in exploring and expanding the creative boundaries.

Today, Adobe has complete control over this continuously expanding industry. It is apparent in their most recent software releases, that Adobe has become a powerhouse by forging bonds between customers and developers alike, providing both with the tools needed to explore the practical needs of all end-users. A key element to this bond is Adobe’s free Beta testing program, which allows customers to experiment, research and provide feedback on their latest software updates before they are released. This allows for the most user-inspired software. We are truly part of an exciting evolutionary period in still life art thanks to Adobe embedding its creative suite permanently into photo labs, design houses, photography studios and homes all across the globe.

The combination of concept, photography and digital imaging has become the accepted norm for professional image making. The merger between Photography and Photoshop blends together in such a convincing way, it can be challenging to detect where one ends and the other kicks in. However, the program is still received in a nonchalant manner and is sometimes even frowned upon. We hope that this new forum may shed some light on the power of the Adobe applications and the prowess of their operators.

This brings us to the purpose of this newsletter. We are going to bring topics to the foreground that might have randomly been discussed at dinner parties or exhibitions. This will be a way to complete thoughts and opinions; our way of sharing them with our readers and hopefully engage in discussion through the comments section. We would also like to highlight different artists who have had an impact on the way we work. In this debut issue that artist will be Photoshop Hall of Famer Bert Monroy, an extraordinary teacher, author, lecturer and digital illustrator.

Bert co-authored the first book on Photoshop, The Official Adobe Photoshop Handbook. His comprehensive knowledge of the program is unparalleled. His hyper-realistic work is truly inspiring and a testament to the limitless possibilities of Photoshop and Illustrator as painting or image making tools. We became fascinated with Bert because he innovates new methods. His tenacious approach in Photoshop and Illustrator is reflected in his work. Starting with a blank palette, he brings simple shapes to life and turns them into photorealistic images. As an Adobe alpha-tester, he maximizes every option and tool that his software has to offer. The results are absolutely stunning.

April 2008

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