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Editing Composite Shoot #2- Compositing Hair

Lesson 48 from: Creating a Fine Art Series

Brooke Shaden

Editing Composite Shoot #2- Compositing Hair

Lesson 48 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

48. Editing Composite Shoot #2- Compositing Hair

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 #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.

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