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Editing Composite Shoot #2- Global Adjustments

Lesson 49 from: Creating a Fine Art Series

Brooke Shaden

Editing Composite Shoot #2- Global Adjustments

Lesson 49 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

49. Editing Composite Shoot #2- Global Adjustments

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- Global Adjustments

Okay, so we've added all this hair. So what are we gonna do to the room now? Okay, let's think about that. We're going Thio, perhaps dark in this area down here because it's still quite bright. But now I'm going to start to work on top of all the layers instead of tea, each layer individually. So from the top, I'm just going Thio say, Okay, you're too bright. Book. Let's darken it all down and feather it. We'll say 150 pixels, right on top of all the layers. We're going in and darkening, darkening that area. Now let's say we want to brighten up this area just like that and what we're doing is choosing where the light's gonna go. You're choosing if you want to look at the feet are at the head. And typically we don't wanna look at the feet unless that's the point of it. So we'll start there. I did a nice big 300 pixel feather and just brightening it up through that area. Now we can finesse this more. Of course we will, but let's go in and do one overall adjustment and see how that looks ...

just adding Maybe some darkness, some contrast to the image. And now you can see when we start to add contrast, where it doesn't look quite right. For example, here we just have this strip that's a little bit bright. Let's darken it. It doesn't have to be any more complicated than that, right? You see something wrong? Fix it. No big deal. So I'm going in and feathering 100 pixels. Then we'll just darken it down if it doesn't look quite right there. Perfect. Now we'll go over here. It's too bright. It's too bright. So let's dark in it. No big deal, right? Like that. Okay. And feather it, 90 pixels. I don't know. I'm making this up and darkening that down so much better, right? Oh, so much better. Okay. And wherever you see there's a problem. Fix it. So I'm gonna add a vignette through there because I think that that wall is still too dark. I'm gonna make that really big 400 pixels. He only did 90 pixels, so we'll do it again. Just dio there 300 pixels to compensate and darken it down just in that area. You know, we'll keep going like that. You know, you just keep going. Wherever you see, it's kind of wrong or something is up. Just fix it, fix it as you can. Selecting and darkening or brightening whatever it calls for at that moment. I think this looks pretty interesting. At this point. I wanna actually darken my subject. So I'm gonna go ahead and do that by clicking on, uh, curves layer pinned to my subject on Lee. And just take those highlights down because I do think that that was a little bit much. And this is where we're having problems with color specifically because my skin is pretty orange and my hair is also pretty orange. So I'm gonna take the color away from this. And as I do that, I'm going to focus on making sure that I neutralize what's happening here. So I'm just going into hue saturation. We're gonna take the saturation down, but I want to keep it on the dress. So on that hue, saturation layer, let's bring back the dress by just coloring black and bringing it back, and I'm leaving it a little bit. I'm only going 60% on this because I wanna make sure that it doesn't stand out too much. I like the antique look here. So I'm gonna try to keep that antique look, and I think that looks good. I did say we would go back to the shadow, so let's create a little bit more of a harsh shadow coming out to that side and feather that about 40 pixels and bringing that down. Okay, there shadows extended a little bit more, So that looks nice. There definitely issue still in this edit. We have this straight line here that's driving me nuts, but it's okay. It's not a big deal. It's something that you can find and fix. You know, it's right there. That's where it is. You click the layer on and off to see if you can find the problem and then go in and fix it. Definitely gonna do that at 100% opacity to make sure that the line goes away for good, and I can see that there's the same problem on this one. So always turning your layers on and off is extremely helpful to figuring out what needs to happen in terms of cleaning up your edit and making sure that it's really flawless. So that's where I'm going to stop with this edit right now so that we can edit the ropes. And I think that once we edit the ropes, it's gonna bring everything together, so that's what I'm gonna jump into next.

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