This is perhaps one of my favorite recent works.

The person you're seeing in this photo is in fact another user within this web community who goes by the name of * blameshiori

I'd run into her early on in my time here and liked the sort of expression she'd conveyed in her studio photos. One in particular (though not my favorite of the series) was very "workable" in my opinion considering my newfound (at the time) ability to match and create consistency.

The photo used can be found here: [link]

Most important to note is that HER PHOTOS ARE NOT STOCK AND I HAD SPECIFIC EXPRESSED PERMISSION FROM HER TO USE IT IN MY WORK.

Looking at that it's obvious that it's really only her face that's included in the image. So first and formost was the dilema of finding her a body. Ulitmately I opted to used a computer generated render within a commercial human modeling package known as poser. A bastards 3d program among serious 3d artists. But something that does everything I need it to do. Though I can agree, most work done in poser will most always look very unrealistic due to the programs limitations. Which I why I always will not use the face included in the program due to the fact that they will always look like dolls.

The complete opposite of course is finding an expressive photo to base the "pose" on.

That done I still only used it as a base, and all of the exessive detail in the picture comes from photos and all the elements of detail that comes with it being from reality. So essentially she was naked at the start of this picture.

The photos I took were of toy cars, knowing that for this "sexy robot" themed picture, that I needed geometric yet conformed types of material. Looking closely you'll see fenders, intakes and even a gas cap from various toy cars. The Bands of steel and chain-like tubing are in fact bands from watches and metallic necks of common house lamps. The great "accident" of this photo is that in holding the watch bands in order to photograph them (most of the time having one end in my hand and the other end clenched between my toes.) A lot of time the reflection of my skin and other elements would be caught in the dull shine of the metal. That having happened throughout the process creates an unrealistic yet consistent effect.

One of the most important things about photomanipulation, it doesn't have to work, it just has to be believable. Something very opposite from what I learned at my attempts at learning to work in 3d. In 3d it not only has to look good, it must be flexible to change while remaining consistent. A downfall in that traditional means of realizing a vision is always limited to the mindset of the artist, and doesn't change on a whim so easily.

Is it worth it to sacrifice vision or directions for efficiency? I'll let you know when I'm finally obsolete.