Editing Composite Shoot #2- Compositing Hair
I'm going to leave that for now. I know that it's not quite right, but we'll come back to that as we go. And I do wanna kind of look at this area here, but I wanted to rely on the hair, but I don't feel like I can. So I'm just going to manually grab that area and feather will say 200 pixels and make it darker. Now that's layer, too, so make sure you're on the right layer. Take that curve, pin it down good and just and just make it a little bit darker. So there's a natural transition. You can always click on that adjustment layer and erase it where you don't want it. So if it hit the hair okay, you don't want it. There may be softened that you can always finesse it just a bit, so let's go see if we can find some shots of hair and see if we could build that up for this particular image. Okay, let's take a look. I really like some of these, like that one's really hitting the wall wherever they really hit the wall. I love that. So I'm going to definitely use some of those images. And this ...
is not the kind of picture where you could take hair like this and flip it because the lighting has to be the same. So keep that in mind as we go, wherever the hair falls naturally is where it should go in the final picture. I think that's probably a pretty good one to continue the Ark. So let's see about that. Once we get this open, we're just going toe lasso it and copy and paste it so big lasso Copy faced again. We have to shrink it down. Okay? And that looks pretty good. Proportions seem not bad. You can always use your arrow keys to nudge it into place. And I'm just lining up my back wherever my shoulder hits in the right spot. That's where I think it should go, Okay? And we're going to try a layer mask. I'm actually gonna pull this all the way up to the top layer there, and I'm going to use my fuzzy brush on the adjustment there so that we can just softly, softly blend it in. Just like that. I can see that it was a little bit darker than the other. So we can either make the bottom layer darker or the new layer brighter. Let's make the new layer brighter. And breaking that up just a bit. Perfect. So now we can see that that's really flowing. Now let's go get more hair. And now we're going for the It's sort of upper to upper left. So if we see any that fit that description, we're gonna take it. They think this one looks good. Yes, it does look good. I hope it fits, though, because it has to fit right? Okay, lets take it. Grab that hair, copy it and paste it. We're going Thio, make it a little smaller and see if that'll fit. I might even rotated a little just a little because you can't go too far with these things, but just a little bit should be okay without messing up the perspective. Okay, Now let's see if we can again do the same thing on DSI. How that looks and get rid of any harsh lines. Okay? And then we'll do another one facing the other way. We might only need one more. We'll see. Don't quote me, but maybe I'm not sure which one's quite the best for this, because I don't think we got any really good shots for that side. But I think this one might give us the most room. So let's seem okay, and that's going to cover up any errors that we have on the other side. I hope that is the goal and paste it in and you can always play with size with hair. It's like I might leave this one a little bit larger. Uh, just like that. And then I might even play with warping it to make it cover more ground, since we don't quite have enough images. So going into warp and just allowing the hair to come up a little bit more, um, in that area, you know, just playing with it to see what creates the best shape here. Okay, final time that we're going Thio erase like that, Okay. And then just making the brush smaller so that attach is and this one can stand to be a little bit brighter as well. So I'm going in with my curve, pinning it down, making it brighter, and that's okay if it messes with the wall. I mean, we can always go in with that mask and just get rid of it where it's too bright. If it was already blending really well, then just get rid of that brightness right on the edges, and that's okay, too. We might even go in with a lower opacity on the edges there, something like that.
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.