This image (a hand painted B&W one at a guess) comes from the 1958 film "Schoolgirls in Uniform", which is based on the book "The Child Manuela" by Christa Winsloe, and is used on the book's front cover. I picked it up for a couple of dollars specifically for the cover, because to me the schoolgirl (Romy Schneider) bore a striking resemblence to Terry Farrell, otherwise known as Jadzia Dax on Deep Space 9.
It so happened that I own the particular issue of the DS9 magazine that contained both a feature on Terry and the synopsis of the episode "Rejoined". Quite fortuitiously, it contained photos of Terry and Susanna Thompson (her love interest in that particular episode) in poses almost identical to the book cover. A little bit of Photoshop magic, and voila!
There's no real backstory to go with the image, but it could be the day Jadzia receives the news that she's failed her training to become a host for a Trill symbiont.
Ah, Kathryn Janeway and Seven of Nine. To me, the relationship between the two women has always had overtones of BDSM, even discounting the truly prodigious slash tradition based on the obvious subtext between them. Kathryn is always trying to make Seven conform to her will, and it seems only natural for this to continue in the bedroom.
This picture was a pain to put together, mostly because finding a suitable picture of Janeway was extremely hard to achieve. There was a lot of airbrushing, snipping and compositing from several sources until I finally achieved the look I wanted, and even then I needed to greyscale it so that the image would look its best. Naturally, after all the work I put into it, I'm quite chuffed with the result.
Yet more Seven. Well, what can you do about such a character, appealing in so many ways? Now I've started doing fakes, I keep an eye half-open for suitable base images to work with, and this just appealed to me (partly because someone had done something similar with a picture by the same artist, so I was inspired). Formerly called "seven: warrior princess".
This one was easy, put together in under a half hour. The picture is by an artist named Royo, and I flipped it from it's original orientation so the glove would 'match' the exoskeleton on Seven's left hand. A mark of a good fake, to me anyway, is that the creator takes account of the whole character, and doesn't just plonk a head onto a body. Once the image was assembled, a quick application of the Angled Strokes filter helped to merge the artistic and the photographic.
Nuzing in ze vurld can stop me now! Yet another Seven of Nine piece, this one with an angelic motif. Baz Lurman's version of Romeo + Juliet gave angels, already a perennial favourite, a big boost in the funkiness stakes, so there's quite a few pics of them out there. This one suggested itself because of the position the model has her left hand in.
A couple of hours for this one. Matching Seven's face was easy enough, but the main trouble came with the wings - the original pic's contrast was off and the wings (white) were lost in the background (also white). But Photoshop once again came through in the end.
Third up for the digital makeover is Captain Kathryn Janeway. The base image had a certain 1920s smoking lounge ambience that seems to quite suit Voyager's captain.
This one was trouble, most of the time spent trying to colour match the headshot I had of Janeway with the illustration; I had to start over repeatedly. Though I would have liked this one to be in colour, there's just something about the way Kate Mulgrew photographs that makes finding a compatable skintone difficult. None the less, the final result has turned out reasonably well.
Another Janeway/Seven image, one that manages to be sexy with the bare minimum of exposed flesh. It also evokes the intimacy of their relationship, regardless of whether you choose to view it in a sexual manner.
This picture was constructed in stages, first Janeway then Seven, as I needed to create a mask not only for Seven's head but to close her eyes as well. The original had the velvet sheet done in blue, but I think it looks nicer rendered greyscale.
B'Elanna Torres this time, just for a change. Mostly because someone mentioned that Seven is always a subject where as the other Voyager women don't get as much of a look in. I saw this, and felt that it suited the dual nature of the feisty engineer. It also suits her relationship with Seven, especially when you realise that since 'First Contact', the Borg have been re-conceptualised as vampires...
Rediculously easy initial construction made all the more so by the base image being greyscale to begin with. I had to reduce the size of the breasts, and scale down the width of the shoulders, though, in order to make the image balance with the size of the head shot, which had to be that size because of where the top of the image was in relation to its subject. A little over an hour all told.
My second B'Elanna Torres, with a theme diametrically opposite her first appearance in this gallery. I mentioned above that there's a certain vampiric element to the Borg, and if a vampire loves a person chances are they'll turn them. I also mentioned the nature of B'Elanna's 'official' relationship with Seven. But fan-fiction has paired them as lovers...
This took me an entire night, attempting to match colour and tone and shading and position, and after so long I'm glad that I could keep the image in colour. Let's face it, blood should be... 'bloody'. The base shot is an image belonging to John Bolton, an artist famous for his vampiric work.
A word to the easily offended - don't look if artistic nudity troubles you.
A return to Seven of Nine with a fusion I've always wanted her in - a piece by H.R. Giger, the artist responsible for the look of the creature from Alien. Partly because of the fact First Contact was essentially Star Trek vs Aliens, mostly because Giger's subject is the biomechanical which is exactly what the Borg are.
A couple of hours on this one, mostly colour matching Seven's face to the base, which is Giger's famous skewered portrait of Deborah Harry. It needed a couple of retries to get it right, which I got it in the end. Seven's prominent cheek bones mean the little star implant isn't visible, and the base shot's hair style is just so atypical of how we've seen the former Borg that it looks very very alien.
We depart Voyager for Deep Space Nine and the most recent addition to its crew: Ezri Dax. It's another Royo base, one that suggested itself for Ezri due to the shape of the original's face - and the bondage gear. In my slashfic Ezri is a submissive, so it seemed natural to combine her with this picture. Originally I called it "cloaked in chains" but I thought it sucked so I renamed it.
I spent a few hours on this one, trying to get Ezri's face (and most importantly the eyes) to sit properly with the face of the base image so the smeared mascare would match, then getting the Trill spots just visible on the breast to look right. And getting them to look right isn't easy. The last step was re-bluing the eyes - colour matching the skin tones of face and body required desaturating the former, so as a result the original colour was somewhat washed out.
A reversioning of the image above, turning it into my first actual Jadzia piece. As with some of the other pictures in the gallery, I've been having a second go at them.
Simple enough. The headshot of Jadzia I used was possibly even better than the original Ezri one and required little more than matching skin tones and decontrasting the intensity of it.
My second Ezri, using a base shot from the 2000 Heavy Metal calender, the artist of which I don't know. I was originally going to call this 'Feral Trill', but opted for the current title partly because of a story on Entertainment Tonight that was playing in the background and partly because of the scenario the picture conjured in my head: Ezri going somewhat feral following a crash that's stranded her on an uninhabited planet.
Up to this point, 'survivor' would have to be the most heavily constructed image I've made next to 'ticket to writhe'. The reason for this is simple: Ezri's spots. As the head shot came from a publicity photo of Nicola de Boer from 'Deep Water Black', and because of the exposed skin, I had to do six different layers of spots. And they are damn hard to get looking right even when they're harvested from other images. And given the source of the base - the HM2000 calender - the breasts had to be resized to more closely resemble the real thing.
A return to Seven and the Bondage & Discipline theme that to my eyes underlayed her first season at the very least, and this time she's getting to be the one on top. Plus for me, silver has always been Seven's colour, from the moment they put her into that spray-on silver catsuit.
A multi-layer construction process that involved masking the suit so the washed out palor of the base shot's skin could be matched to the head shot, as well as subtly re-proportioning the body to get it to look right because I couldn't get the face any smaller without making too much of a sacrifice of Seven's likeness. The last step came in removing the braid from the base shot so that the hair more closely resembles her style from the series.
My second B'Elanna Torres/Seven of Nine image, this one with the two as themselves. Consisting purely of manipulated screen images, after putting it together I found myself coming up with a little plot to explain it, namely that somehow the two women have been sent on a blind date with one another.
Another case where I've been forced to reduce an image to b&w because the colours of the source images just weren't matching properly. The two women were roughly the right scale when I inserted Torres into the image, but I still had to scale her down a bit, then run it through the Lighting Effects filter to help counter-act the fact the lighting in the source images had been from different angles.
Another Torres image and - surprise, surprise - it's using a vampire picture as a base. What can I say - she's just so vampy. I'm not sure who did the original, though I suspect it may have been Boulton; he has a certain way with colours. The name comes from 2 factors - the first is a Lucious Jackson song of that name that had been playing on the radio at the time, the second is a scene from my all time favourite vampire film 'Nadja' where the title vampire tastes blood only a woman can provide...
This one was incredibly difficult to get out, mostly because of having to match not only the colours and shades between the head and the base, but the shadows as well. Even though we might not be able to place a finger on it, we can spot those little differences in light and shadow and the direction they fall in, and this was enough to keep me tinkering for a couple of days. Finally after lots of layering and other messing about I resorted to the Lighting Effects filter; difficult to get right in the past, it proved to be the magic final touch.
Back to Seven again, and something a little more domestic. There's going to be a time when she'll no longer have to use that alcove, and she's going to have to consider sleeping attire. I like the idea of her in flannels myself, but there's always the possibility that she might have to borrow something from someone when she stays over; Captain Janeway wears nightgowns... As I've mentioned before, silver is always going to be the colour I associate with Seven, so using this for her seemed a natural choice.
Creating this one was a breeze - just a little colour matching and rotating of the head. The hardest part was trying to find a match for her Borg hand - it usually is. In the end, I had to disassemble the image I was using and use some, smudging in the rest. That hand is a faker's nightmare, it really is.
Another B'Elanna and Seven image, also on a slightly more domestic line than the usual entries in the gallery. It's the sort of picture a couple might have taken of them at a party, say some little reunion of Voyager's crew in the years following their return to Earth.
This one was unbelievably hard to do, harder even than "lady fingers" or "survivor". Part of the problem lay with the original image - a picture scanned from the celebrity pages of my sunday newspaper. The problem arose from the fact that the various colour layers were slightly misaligned and slightly over inked, resulting in something that was a pain to work with. Then I had to work on the skin tones seperately for each woman, resculpt hair, hand shadow, smudge, use layer upon layer upon layer, tweak, filter... You get the idea. It took two days, and over 10 solid hours to finish.
And this marks the return of Kathryn Janeway, the third member of the Voyager trio. Once again she's paired with a Soroyama image, one that looks very much like she's doing a bit of flamenco. Janeway, though controlled, is a woman of passion, and latin dancing is passionate indeed.
Mediumish-to-easy this one, the greatest trouble coming from fiddling with filters and saturation settings to match the skin tone of the head and the body, as well as merge the appearance of the photographic and the illustrated. I'm glad that I didn't have to resort to grayscaling it.
I thought quite hard how to post this one - my first reversioning of one of my pieces, though not the last as demonstrated elsewhere in the gallery. I decided to keep the original and post this immediately below it so you can see the changes that have been made between the two, a format I'm employing for all my other reversionings. The reason for the tampering is that I wasn't hugely happy with the way the picture turned out, and now that I'm better at this and I have a larger collection of head shots, I decided to do something about it.
Mediumish-to-easy this one, the greatest trouble coming from fiddling with filters and saturation settings to match the skin tone of the head and the body. Again. As with some other pieces, I had to doctor the hair to make the two halves merge better. And happily, unlike the first one, the colours are a lot more vibrant than I could previously manage.
This image appeared on one of the email lists I'm on. Normally, anime style art doesn't really appeal to me - I like people to be in proportion - but I looked at this image, and saw possibilities in the hair, oddly enough. Thus, a couple of hours later, a pair of anonymous anime ladies have become Kira Nerys and Jadzia Dax. The cartoony nature of the image meant the Trill markings were a lot easier to manage given the lack of photo realism, and I got to play with Dax's statement that the spots go 'all the way down'.
As with anything Trill, the spots were composed using different layers, only some of them taken from a photo of Jadzia, the rest put in by hand. Nerys's nose looks kinda funny, but then again it is anime. Her earing is actually sampled and re-colourised nipple, the chain taken from the obvious source.
Not only a nudity caution for this one, but a warning that the two women have just been having a great deal of fun...
Originally a Cindy Crawford fake, I liked the base shot (by artist Jim Burns, and I don't know why but it really feels like a book cover) way too much to let it be wasted by what I considered competent but uninspired work. It was always going to be a B'Elanna picture - the hair and the leather really didn't want to be anything else - but lack of an appropriate headshot meant that I couldn't work Seven into the image, so I had to alter it; I find it interesting that both times I've had an artwork I want them both to be in, it's involved the necessity of reassigning the gender of a secondary subject.
As I mentioned above, the image originally contained a secondary male figue standing behind the car, who was subsequently erased with the stamping and the cutting and the pasting... Sorry channelling a Simpson character there. I also had to monkey around with the hair, coping the edges and some of the surrounding image back onto the background and bringing them in so the surrounding greenery covered up the original hair. When that didn't look quite right, I enlarged the body by a fraction and repasted the modified head back on and got something I'm fairly happy with. The final touch was getting a match, as best a match as I could anyway, for the shadow and light - in this respect, it's always handy to have the genuine original to see how the artist did it, otherwise there's a deal more guesswork involved.
Don't know the artist behind this one, but I saw it, saw that it like the image above hadn't been used to its best, and said to myself "That's a Janeway calling out to me". When Voyager originally started, the good captain had an interest in gothic romance holonovels, an interest that was never mentioned beyond the first season. Da Vinci and a string of Tom Paris' holosettings took over. The image seems a little more vibrant than the stories we did see Janeway in - all possessed rather muted colours, nothing really vivid - but I dunno, it just seems really really right that this is a character she'd be playing.
Not as much fiddling with the basics, apart from copying and slightly altering the hand with the owl to replace the dodgily drawn one at her waist. Mostly it was the nuances, getting the blending of the hair and face right, that sort of thing, getting the right emphasis around the eyes and the play of the light.
This was going to be an Ezri image, mostly because the angle of the base image's head matched the angle of Nicole de Boer's publicity shot from Deep Water Black. However, due to the single most irritating feature of Photoshop - you have to manually resize image selections rather than there being a simple automatic function - the proportions of her head were altered with the effect of elongating it. By the time I'd finished adjusting the fit of it, de-shadowing and so on, it wasn't distinctly Ezri any more. As it happened, for about a week prior to this for no reason can point at, I'd had the picture of a blonde trill stuck in my head. Thus halfway through the eventual length of the construction I decided that this would be a fake inspired by that fixation, hence the triple entendre of the title.
It's a trill image, so that automatically ups the degree of difficulty, and as images with this particular subject tend to do, it's taken over the domain of most technically complex, at least for now. Surprisingly, rather than the spots being the major sticking point - they were just tedious, it was the hair. The original image was brunette which I darkened to black for Ezri, but then had to convert to blonde. LOTS of subtle shadings and smudgings, as well as devolumising its mass. The final step was reducing the width of the shoulders.
Due to the short life span of Tasha Yar, the most prominent female slash pairing aboard the Enterprise D and E has naturally been Deanna Troi and Beverly Crusher, the latter being somewaht (in)famous for her on again/ off again desire for one Captain Picard. This picture is informed by that particular dynamic, with Deanna about to remind Beverly who the red head is supposed to be at the party with...
This was a paparazzi shot from some opening or another, and originally featured Patrick Stewart betwen the two women, with Marina apparantly trying to wipe something off his face. It was child's play to erase him and move Sirtis across so that she was touching McFadden's face, helped greatly by the presence of the dark middle bit between them. The final touch was selectively playing around with saturation levels and a couple of layered filters to get the lighting right.
Another example of a song providing inspiration for the title, this time the guilty culprit being the Avalanches' song of this name. I don't know why I made it a Troi piece, it just seemed a good idea at the time though admittedly I was wanting a bit of a holiday from Voyager. And the reason the song proved so inspirational is of course Troi's position aboard the Enterprise of looking after the mental well being of the crew.
Again, I cannot emphasize enough the hassles of trying to match a photo with black and white illustrations, especially those like this one by Fastner and Larson, where there's a texture to the shading. I had to darken the hair, and play around with filters and layers and different transparancies to match the face and the body, but the end result is quite presentable I think.
The biomechanical and the techno-organic have long held a certain degree of fascination, particularly when they come to Seven of Nine. Comic artists especially seem to love the chance to draw such creation where metal mimics the movements of the flesh but has to capacity to look startlingly alien to it. The base shot was of a comics character called Sara Pezzini and her mystic talisman the Witchblade; not technically either of the above, but it just looks really wonderful they way they draw it, and was thus inspired.
I really wanted to make the hair blonde, but by the time I was done it looked so dodgy I kept it as a brunette. This was another case where in order to get head and body to match up, I needed to tinker with the way the head had been illuminated originally, as well as reducing it in size rather considerably due to the small resolution of the base. The final touch was giving the creature behind Seven a borg-green eye.
A simple piece showing Kira Nerys in a more casual light than we're used to with the character. The inspiration lay in the colour scheme, the earthy tones that seem to characterise a lot of the bajoran fashions on DS9.
Ridiculously easy construction, just erasing the original head and putting Kira's in its place, and only a perfunctory colour shift involved as the two components had such an exquisitley matched lighting angle.
Another 'original' construction like the child jadzia in that it doesn't attempt to depict any genre actress but rather invoke the larger Star Trek mythos. I came across this picture while on the never ending acquisition of head shots and liked it pretty much in its own right because it's erotic without being grossly blatant. The decision to alter it into a snapshot of a trill and a vulcan came sometime later in one of those flashes of inspiration the origin of which can never be quite identified.
Total construction time took a couple of days, but this was spread out over a few months as I'd do a bit, go away for a while, then come back to it. The vulcan was the first thing I focused on and was in someways the hardest as after I did the eyebrows and ears I had to isolate her from the rest of the image, make a copy that was colour shifted to green (to allow for that species's blood) and then translucently reapplied over the original until it looked 'right'. The hardest part about the trill (apart from actually designing the spotting, which took several attempts) was finding a colour that worked with her asian colouring. The spots themselves were run through a filter to give them a sense of texture. The last touch was inserting the combadge, getting the angle and lighting right so it didn't look out of place.
Don't look if nudity offends.
I'm not really sure why I made this a Troi image; perhaps it's because she's not as human as she looks, a question hanging over the central character from the film Bladerunner which shares a good deal of ambience and imagery with the base shot by the artist Ronin. The title is a three way reference: Bladerunner, Star Trek's prime directive, and the role playing game Mage (the art comes from a game supplement, the symbol on the building being the sigil representing a field of magic called Prime).
Putting this together was harder than I'd thought it would be, but not too much so. The hair took quite a bit of playing with to get right, as did the neck so that it blended into the shirt on the base shot. It took a few filters to get the lighting on Troi's face to look like it belonged to the shot.
I've had this image floating around a little while, and after the Captain Proton episode of Voyager in which Janeway plays a 1940s sci-fi alien queen as part of the holodeck programme, a queen named Arachnia, I just had to use her for this one.
A pleasingly simple construction wherein the greatest difficulty came from colour-matching the skin of the two halves. Because of the layered desaturation method used to achieve this, I had to carefully reinsert colour into the threads and jewellery.
Another trekification of an image without it technically being a fake, I came across this image and decided to indulge my love of trill markings and bondage aesthetics. It's also an attempt at inserting a background into a work. The name is fairly obvious in its derivation.
First and foremost I wanted to trill the image so patiently applied the markings - the advantage of the image's smallness being that they don't have to look anything near as precise as they might otherwise. I would have been happier if there was somewhere to put either a discarded com badge or an Okudagram (the display panels used by the modern iterations of Trek), but given there wasn't I decided to take advantage of the window. This involved copying the image, erasing the curtain from one then transparently layering the second over it. Underneath both of them was then placed the background image, a futuristic looking pyramid taken from an online comic.
Don't view if photographic nudity offends.
There's a web-based comic called The Naked Earth that's been doing the rounds for a little while now. It's full of kinky lesbian fun in the far future as a queen of the all-female population of Earth consorts with dark powers to remain in power. The art is a little idealised but it's not too bad. Fortunately, someone has been posting the comic to the newsgroups.
Fairly easy to construct, just erasing the original head and placing Seven's in its place. A little altering of the shadows on her face, and then an overlay of grain to help blend the photographic and the computer rendered.
Don't look if nudity offends.
My second entry for the Fake Trek contest, this one was quite obviously a candidate for conversion to a Seven piece - the direct positioning of the face and the size of the breasts.
Harder than it first seemed, but still not too difficult. The hair had to be copied and placed over Seven's face to hide the edges of it as it had the original, and Seven's face had to be adjusted slightly to match the perspective of the picture. Originally the picture was very... red. After colour-matching the two halves, I methodically isolated each instance of colour - hair, lips and lacing - and shifted them towards the purple end of the spectrum.
Ezri really is rather cute, and I chose her as the subject for this entry into the 2001 Faketrek contest because of the way I picture her as being sexually submissive, and I had a good headshot to match.
I'm happier with the Trill markings in this pick than I have been with some of my more recent attempts though there's still an infinitesimal something that isn't quite there. I tried darkening the hair but it just didn't work convincingly - it rarely does when starting from blonde, at least for me. The head shot is a colourised b&w picture.
I must have Nerys and Ezri on my mind. This picture just suggested itself to me for no real reason I can think of. Well, actually, it might have been because of the long hair which I couldn't convincingly shorten., and since Nerys had long hair when she was young...
Not much work had to be done colour matching the two halves, but I did have to rotate the ear to fit it in with the angle of the face. I would have liked to do more, but the amount of time in which I had to do this particular picture meant there wasn't time to find a thematic background. Still, it does have an elegant simplicity to it.
A Boris Valejo base, which put me in mind of Seven because the subject was blonde, and the predominant colour of the image is Seven's favourite colour. It was hard thinking of a title for the piece, but the backdrop of the city was just such a 20th century image that I had to go with it.
The hardest part of doing this one was getting the prothesis on Seven's hand in place, and it took as much effort as the facial substituion and bicept implant together. Colour matching the face to the skin was surprisingly simple.
September 11th 2001 became one of those days that belong with the Kennedy Assassination and D-Day as markers of epochs. Time changes many things, and though I believe there is a place for revisionism as new truths come to light, I also believe in maintaining as accurately as possible the historical record, so this image is going to remain in the Gallery until it rolls up its welcome mat and fades into the night.
Although the original title as seen above is ironiically so very true, I felt the need, none-the-less, to change it. Would Valejo paint this picture - which seems so very prophetic - now, given what has happened? Are we to be denied the history of those towers' presence in an attempt to erase the horror of their loss as so many movies and television shows did in the aftermath of that day so much of the world watched with a single shared gasp. By all means mark and respect tragedy, but don't let it dominate your life or blind you to the simple pleasure of looking back and saying "yes it's sad, but it was such a beautiful thing".
The background to the badging info is black as a mark of respect.
As mentioned above, I'm rather hung on the idea of Nerys and Ezri as a couple, and when I came across the original image I was just struck by the thought that this could work out as a very interesting family portrait of the two.
As with most double-person fakes, each body had to be seperately colour matched to the appropriate headshot, then the spots added last. The most difficult part was trying to get the placement of Nerys's /just/ right, because its being even a fraction out with the elongated pose of the second body jarred.
There are times when you're watching Star Trek, and there's a line or two that just grab your attention. One such was a comment by Seven that it is in her nature to comply to the will of the collective, which just ties into my seeing Seven, for all her attitude, as being on the submissive side.
Hardest part for this one was getting a match for Seven's head, as B'Elanna's was a perfect fit even down to tghe shade of her hair. Once Seven's head was in place, I had to use the colour burn tool to compensate for the bleached out nature of the head-shot when compared to the body.
The art of the black and white portrait is a fine one, and has produced some of the most striking images; the base for this picture is once such image. I made this a young Nerys picture because of the long hair.
An easy enough construction, the lack of colour to match being as much of a compensation as a bane, both mediums having their pros and cons. In order to fit the face shot in with the shading of the base picture, I had to use the burn tool to darken beneath the cheek bone.
Another Sorayama base, with a physique definitely suited to a certain member of Voyager's crew. But I didn't feel like messing around with all the prosthetics so I decide to make the subject of this piece Annika Hansen. And because I couldn't get around the black hair, I decided to key it to the alternate version that cropped up in the novels Dark Passions.
Took a while to match the two halves together, but I gave up trying to meld the two different hair types. The main problem was that the base was red heavy, while the head was white/yellow biased. Once that was done, I needed to clone the left hair out a bit to accomodate the different angle of the headshot to the base's.
Another piece reworked, albeit slightly, from an earlier piece. Because this is an alternate version of Annika from the Dark Passions novels, once I got my hands on the symbol of the Cardassian agency fro which she works, I wanted to add their brand to the image.
I used a filter that makes the white content of an image transparant on a pice of the model's leg so I could overlay the mesh pattern onto the symbol. Very simple. I also cleaned up the throat area a little to remove a couple of patches of hyper colouration.
From memory, the originasl comes courtesy of Julie Bell, and is of a minor Marvel Comics character named Mariko. The costume, however, just screamed out to be faked as Seven of Nine.
Originally placed against a Japanese fortress, the background was removed along with the three throwing knives, which saw a need to clone part of the torso to make up for the fact its was partly obscured by one of the knives. The original head was erased and quite simply replaced with Seven's. The com badge was manipulated and shadowed to suite the angle it had to be placed at, and the background put in to to create the title.
As stated elsewhere in the Gallery, whenever there's something biomechanical I automatically think of the Borg and Seven of Nine. My only regret is that the image wasn't larger.
Amazingly simple. The head was a natural match for the base, it just needed resizing. Once that was done, I made it translucent to properly scallop the edges.
This one is based on a shot of fetish model Dita von Tease. She's a little over endowed for my tastes, but there are some shots of hers I've saved for later use. This is the first, a Dax picture because I had a head shot that fitted the angle.
Apart from the usual labour created by the trill markings, the biggest thing was adjust the shading on the head shot because the lighting on it was from a direction quite different from that on the body. Because I wanted to make this a holodeck image, I chased down an okudagram display, skwed it to the right perspective, and stuck it on the only available surface after giving it a framing effect.
A simple title for what is in essence a simple picture - Gillian Anderson as a bajoran. I think this particular shot came from a series used in a magazine interview. I chose it because it was a good headshot that the ridges would show up well on.
Unsurprisdingly perhaps, the construction of the nose ridges was a pain to get them looking right, particularly the slightly square bit between the eyebrows; I'm still not quite happy with it. The earring I can't remember where I got, but I think it came from a Kira headshot. The image was originally greyscale, but I decided to try my hand at recolouring, doing each component as a seperate layer with part of the monochromatic original.
The head shot was chosen to coincide as best as possible with that of the Marcus Gray base. selected from amongst my collection of non-Trek characters. Thus was Kate Winslet chosen asthe subject. The exposure of the model's side is what made this into a Trill image.
The model's hair was originaly black, but I wanted to make it a bit more distinctive looking so recoloured it my favourite colour - purple. The skin was also recoloured from an anaemic blue to suite the head shot. Again, the presence of something around the neck helped to make the blend of photo and painting more seemless. I'm not sure why I put in the combadge, except that it makes it just that bit more Treky I guess. I superimposed the necklace over the badge and used the dropshadow filter to make it look a little more three dimensional.
I really wanted this to be a Jadzia image, but I just couldn't find a head shot that would go with it. But I did find something I had been looking for, and had been holding off finishing this image because: the symbol of the Cardassian Obsiddian Order. Because in my head, this was going to be a scene they were responsible for.
Originally intended to be a grey scale piece, the fact the obsidian order symbol looked really dull stymied that plan. So I decided to leave it, and the image, as they were. This had the result of making the symbol a sinister point of focus. And because I'd intended this as a Jadzia image, the subject is naturally a Trill.
Surprise surprise, Seven and blood, Seven and a Royo.
Lovely base for that very famous large head shot of Seven to be paired with. As you'll see, the base had a very pale, blue tinged skin tome that was difficult to match the headshot to, but I think I got fairly close, and the film grain filter helped get it towards a texture match too. The blood came from the original, but I reddened it up and shifted its relative position to suit Seven. The last touch was pillow embossing the Borg symbol onto the shoulder guards. I had wanted to Borg-texture other stuff, but it didn't look good so I abandoned the idea.
Something of an abitious work, this entry in the gallery is a dyptich - two pictures that exist independently, but at the same time can be viewed together as a larger whole. In my search for images to fake, I come across innumerable "series" - a collection of pictures taken at a single photo-shoot, usually displaying some sort of linear progression. Typically I'll take one and leave the rest or assign them to different subjects, but here I decided use such a series with a single subject which in this case was Ezri Dax.
Both images are linked above, one on either side of the slash.
The first image had the model's head at an irritating angle, and I had only one headshot that came close to matching it. Even then I had to rescult the line of the model's neck sso that they'd mesh properly, and the ear is a merger of the original's and Ezri's so I could keep the earrings in. Similarly the second image had the models' head at an inconvenient angle that required more fudging and I think it might be just a tad too large as a compromise to having to tinker with the far arm from removing the outer right edge of the original's face. In terms of recolouring, I was relieved at how easy it was for both headshots to be matched with the model's body.
When it came time to do the spotting, I tried out a new technique that involved merging the hand painted markings with a copied layer that had been diffused and subjected to a little digital noise in combination to the embossing layer effect in order to remove the artificial smoothness created by using a mouse and a paint programme that the artists lucky enough to spot the actresses don't have to endure. And happlym, I was able to reuse the markings from the first picture in the second (though with rather a bit of cutting, pasting and inverting) to create a sense of visual continuity.
For both I wanted to addd a little Trek touch, but it was only manageable in the second where the bottom edge of a picture made a convenient location for a LCARS display; the combadge I have was lit from the wrong angle to look convincting on the little shelf behind the model in the first picture.
Both these images contain photographic nudity.