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Editing Composite Shoot #1 - Compositing Models

Lesson 42 from: Creating a Fine Art Series

Brooke Shaden

Editing Composite Shoot #1 - Compositing Models

Lesson 42 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

42. Editing Composite Shoot #1 - Compositing Models

Lessons

Class Trailer
1

Class Introduction

07:25
2

Overview of Brooke’s Journey

20:13
3

Your Timeline is Nonlinear

05:37
4

Using Curiosity and Intention to Build Your Career

03:26
5

What Factors Dictate Growth

08:24
6

Organic Growth vs. Forced Growth

05:18
7

Niche Branding

04:57
8

Brooke’s Artistic Evolution and Timeline

24:27
9

How Can You Get Ahead if You Feel Behind?

10:02
10

Ideation and Conceptualization to Identify Meaning in Your Art

05:54
11

Idea Fluency

10:33
12

How to Represent an Idea

07:01
13

How to Innovate an Idea

07:07
14

Creating a Dialogue With Your Art

05:48
15

Conceptualization For a Series vs. a Single Image

03:43
16

Transforming a Single Image Into a Series

03:12
17

How to Tell a Story in a Series

03:28
18

How to Create Costumes From Fabric

07:20
19

Brooke’s Most Useful Costumes

02:19
20

Using Paint and Clay as Texture in an Image

02:56
21

Create Physical Elements in an Image

10:22
22

Shooting for a Fine Art Series

05:45
23

Conceptualization: Flowery Fish Bowl in the Desert

04:08
24

Wardrobe and Texture

04:54
25

Posing for the Story

05:32
26

Choosing an Image

01:23
27

Conceptualization: Rainy Plexiglass

11:34
28

Posing for the Story

04:17
29

Creating Backlight

02:37
30

Photo Shoot #1 - Creating a Simple Composite

17:51
31

Photo Shoot #2 - Creating a Dynamic Composite

06:31
32

Photo Shoot #3 - Creating a Storytelling Composite

07:40
33

Shooting the Background Images

06:14
34

Editing Samsara Shoot #1 - Working With Backgrounds

24:35
35

Editing Samsara Shoot #1 - Retouching the Subject

04:20
36

Editing Samsara Shoot #1 - Color Grading

02:45
37

Editing Samsara Shoot #1 - Floor Replacement Texture

15:24
38

Editing Samsara Shoot #1 - Final Adjustments

03:21
39

Editing Samsara Shoot #2 - Cropping and Editing Backgrounds

05:25
40

Editing Samsara Shoot #2 - Selective Adjustments

03:55
41

Editing Samsara Shoot #2 - Adding Texture + Fine Tuning

03:21
42

Editing Composite Shoot #1 - Compositing Models

06:58
43

Editing Composite Shoot #1 - Expanding Rooms

02:17
44

Editing Composite Shoot #1 - Selective Color

02:47
45

Editing Composite Shoot #1 - Selective Exposure

04:04
46

Editing Composite Shoot #2- Masking Into Backgrounds

10:45
47

Editing Composite Shoot #2- Creating Rooms in Photoshop

06:11
48

Editing Composite Shoot #2- Compositing Hair

05:07
49

Editing Composite Shoot #2- Global Adjustments

04:49
50

Editing Composite Shoot #3- Blending Composite Elements

05:00
51

Editing Composite Shoot #3- Advanced Compositing

08:46
52

Editing Composite Shoot #3- Cleanup

03:34
53

Materials for Alternative Processes

06:20
54

Oil Painting on Prints

05:41
55

Encaustic Wax on Prints

03:09
56

Failure vs. Sell Out

05:14
57

Create Art You Love and Bring an Audience To You

03:35
58

Branding Yourself Into a Story

05:40
59

The Artistic Narrative

05:26
60

Get People to Care About Your Story

03:36
61

Get People to Buy Your Story

11:36
62

Getting Galleries and Publishers to Take Notice

03:41
63

Pricing For Commissions

06:43
64

Original Prints vs. Limited Edition Prints vs. Open Edition Prints

02:11
65

Class Outro

01:00
66

Live Premiere

16:14
67

Live Premiere: Layers of Depth 1

04:41
68

Live Premiere: Layers of Depth 2

07:12
69

Live Premiere: Q&A

16:10
70

Live Premiere: Photo Critique

47:33

Lesson Info

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.

Class Materials

Bonus Materials with Purchase

Worksheets.pdf
Student Practice Images (large 1.9gb zip file)

Ratings and Reviews

a Creativelive Student
 

Brooke never fails to deliver. I found this course superb from start to finish. From exercising your creative 'muscle', demystifying taking self portraits, and showing that they don't have to be perfect before you begin editing, to walking you through her editing process and how to price your work. Brooke's enthusiastic personality and excitement about the work shines through it all. Definitely recommended!

Søren Nielsen
 

Thank for fantastic motivating an very inspiring. The story telling and selling module was very helpful - thanks from Denmark

Rebecca Potter
 

Thank you! Thank you! Thank you! Brooke for this amazing class. Inspired and so full of practical knowledge, this is the best class I've ever watched. You have given me the confidence to pursue what I've always been afraid to do. Watch this space!

Student Work

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