Editing Composite Shoot #1 - Compositing Models
Let's jump into this edit with me as a self portrait, and you have these images so you can edit along with me. I'm going to do each one individually in a slightly different way so that we can practice lots of different techniques, especially compositing. Obviously, these images don't go in a Siri's. Yes, I shot them all in a red dress in the same location, and they could go as three images together. But conceptually, it doesn't really work. So this is just a fun bonus to be able to practice editing with. And I can't wait to jump in because there's so much to talk about here. Here are the images that we shot. This was my test shot that we did together, and you can see that that wasn't really posing yet. I'm just making sure that it's in focus, that the lighting is good and we can check that here by zooming in and just making sure that everything looks crisp and clear and it does. I can see my eye looks really sharp, so that looks great. So moving on this was the first actual image that ...
I did with the candles, and it was okay. It certainly wasn't bad. But I didn't really love that. You couldn't see the shape of my body. So I decided Thio move my elbows out. And I think that was a great choice because this image I love it has shaped to it. It's creating those triangles, those points of interest. And I think it's gonna work really well. So I'm going to mark that as my main shot. And for the purposes of this first picture, I'm not going to move to a different location. We're just going to keep it at this location. I'm even going to keep the texture in the background, I think because I really like how it looks all on its own. So here we have the smoke because I thought that was really neat, so I photographed it, but it didn't show up Very well then we have all the hair. So I've got all these pictures of hair. Some of them are more interesting than others, and I just have to choose which ones I want to use. So I really like this hair quite a bit. I'm going to mark that because that one was really cool. I'm gonna mark this one as well because I took note that those were my two favorites and then the dress which of the dresses looks best? I think I'll probably just go for that one and select. So let's go through and choose all of the images that we like. Okay, open them up into Photoshop. And I think I'm not gonna do anything to these in camera raw. There wasn't anything that was over exposed, under exposed. It was pretty okay overall. So I'm not gonna do anything but select all of them and open them into Photoshop altogether. And as they go in, I'm starting to think about the order of things and how I want this to go. And we talked about there being a main shot, the one shot that is going to lead everything else. So that's going to be the one with the pose with my elbow spread holding the candles and everything else will get added. On top of that, that's really the main principle. When it comes to compositing is making absolutely sure that you have that one main shot that you're gonna build on top of. So let's go ahead and grab some hair. I really did like this hair quite a bit. So I'm going to use my lasso tool just to grab some of the hair. I'm not trying to cut the hair out. I'm just trying to blend it into this picture. So I just copied it and pasted it. And I'm using my move tool to put it where I want it. And I think that's gonna be where I want it. All right, I'm going to create a layer mask on that new hair and with my brush tool, let's go in and make sure that there's no hardness. Good. We're just gonna blend it right in just like that. As easy as Cumbie. Okay, Now I'm gonna go in with an even smaller brush to finesse the edge there and to bring it back right up to the edge. There's even a little bit where it's not quite blending very well here. So thinking about that keeping that in mind, I want to kind of manipulate this image. So what? I wanna dio and I'm gonna bring back some of that dress. We're in the hair there where I really, really do want this to be filled in here for continuity just like that. And then I'm going to click on the actual layer of the hair. Not the adjustment, but the hair. I'm gonna go into edit, transform, warp. I'm just going to slowly move that down just a little teensy bit and then get back on my layer mask to erase the dress so that it's just the dress underneath. There we go, and the hair fits in that way. Okay, Perfect. Now you cannot even tell that that was added. It's so hard to tell, except for any edges that we haven't erased. So let's go in and erased, um, with a soft brush, Just go in right around the edge wherever you see an edge. Soft, fuzzy brush, zero hardness. Great. Look at that. So simple. Just adding that hair on because it was all shot in the same backdrop. So we don't have to worry about the hair being cut out hair by hair and adding it in that way, it was all shot on the same backdrop. So there you have that. I'm just taking a look at the dress now, and I'm gonna I've chosen a side. I could've made my hair go everywhere. My dress go everywhere, but I'm just going to make it look like the wind is blowing toe one direction. So let's go ahead and get that dress that we wanted to add on. And the same goes for this. I'm not going to worry about cutting the dress out necessarily. I'm just gonna worry about creating a little bit more shape out to the side. I think that this dress doesn't quite fit the way that I wanted. So I'm gonna warp this again. Just like I worked the hair in Edit, Transform, Warp. We're just gonna kind of nudge that into place wherever we think it should go. Ah, not bad. Okay, I'm going to create my layer mask. And with my fuzzy brush, I'm just gonna start to go in around the edges and blend. Okay, Let's see right through here. We want to be a little bit cautious, but it looks good. I just don't want to erase too much, get the dress in there because we don't want to cut into the dress at all. That's very, very important. But look at that. That's all it took such a simple little adjustment to make it look like the wind is blowing in a certain direction, and I think that that's phenomenal. I think it looks so nice.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Beat “creator's block” by practicing exercises to help you overcome it
- Conceptualize a series that nails story, emotion, and connection
- Execute a low-budget, high-impact photoshoot for your series
- Edit your images for series cohesion and seamless compositing
- Brand yourself and your art into a story that others can connect with
ABOUT BROOKE'S CLASS:
Creating a fine art body of work can be daunting when you consider that a great series has innovative ideas, cohesive editing, and an undeniable connection to an audience. During this class, Brooke will walk through the entire process of creating a fine art series, from conceptualization, shooting, and editing to branding and pricing. The success of a body of work comes from the artist’s ability to go beyond the connection to an audience; it must land in the heart of the viewer and then instill a call to action within them. Brooke will lead you through not only how to make your work relatable, but how to take that extra step to become unforgettable, and ultimately, sellable.
WHO THIS CLASS IS FOR:
- Intermediate creators who want to focus on personal work and find a deeper level of creating.
- Creators who not only want to tighten the cohesion of their work but ensure that the full depth of meaning is communicated.
- Artists who want to learn simple yet effective ways of creating a body of personal work.
Adobe Photoshop 2020 (v21.2.4) and Adobe Bridge CC 2020 (v10.1.1)
ABOUT YOUR INSTRUCTOR:
Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear. Being the creator and the actor, Brooke controls her darkness and confronts those fears.
After studying films for years in college, she realized her love of storytelling was universal. She started photography then in 2008, excited to create in solitude and take on character roles herself. Brooke works from a place of theme, often gravitating toward death and rebirth or beauty and decay.
Ultimately, her process is more discovery than creation. She follows her curiosity into the unknown to see who her characters might become. Brooke believes the greatest gift an artist has is the ability to channel fears, hopes, and experience into a representation of one's potential.
While her images come from a personal place of exploration, the goal in creating is not only to satisfy herself; her greatest wish is to show others a part of themselves. Art is a mirror for the creator and the observer.
Brooke's passion is storytelling, and her life is engulfed in it. From creating self-portraits and writing to international adventures and motivational speeches, she wants to live a thousand lives in one. She keeps her curiosity burning to live a truly interesting story.
*This course contains artistic nudity.