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Creating a Fine Art Series

Lesson 51 of 70

Editing Composite Shoot #3- Advanced Compositing

Brooke Shaden

Creating a Fine Art Series

Brooke Shaden

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Lesson Info

51. Editing Composite Shoot #3- Advanced Compositing

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 #3- Advanced Compositing

so something to keep in mind is blending one thing into another rather than a hard eraser. And seeing if that works for you, I'm going to just fill in the top. And then that will be the very last thing that we have to do here. Like just like that Thio, create the frame. All right, so we've got the frame, but we don't have everything that we need in the frame. The first thing that I need to dio is get rid of this rope that's coming down so I won't be able to erase it because what's underneath is just a blank wall. So I have to clone Stamp that as well, which shouldn't be too difficult because we have plenty of Walter work with here and I'm just going thio make it very simple on myself. Go straight down. Okay, so we've got the rope. Now we need to switch the arm because we have a remote in the arm. So let's go ahead and find another arm should be right there, and I'm going to just select what I need of that. So just about that much, copy it and paste it. Make it the right size, as we hav...

e been doing, and this needs to be rotated slightly to fit the other arms position. But that's okay. Not a big deal to rotate something like that just a little bit. And then I'm going Thio. Ah, go ahead and erase that, uh, hard line. That's all around it. Good. And make sure my opacity is up. It's okay if you blend one into the other a little bit. We can always adjust as needed so we can click on that move, tool. And just really make sure that we are going where we want with e with the arm. So e think that looks pretty good just there. Okay, so now we have rope on both, and I'm going to find the street ropes. Now that we shot, we shot there we go. Couple of ropes and I'm even just going to use the ones that were already going to the wall. So let's go ahead and use those two images and all we need is the rope going into the wall. Now I'm going to go over really fun technique to make it look extra special. We're gonna open that up, and with our lasso tool. We're going to select them by law sewing, going to try to get the shadow in there as well, so that we don't have to recreate that. Okay, and it's gonna be bigger again. It's hard to tell because it's a rope, but it's gonna be bigger, so make sure that that works. We're gonna go probably somewhere around there. Let's go in and blend first. I'm thinking about I probably need a higher hardness on this because I do want it to look like it's going straight in. Can't have anything touching my hand. So that's the area that has to be really erased. The rest of it doesn't weaken. Take the hardness back down and use that nice soft brush to erase. I'm going right up to the shadow, not up to the rope. So wherever the shadow is, that's where I'm going to erase it, too. And this rope is a little bit bright for the spot that I said it in. So let's just go ahead and darken that rope down Good. It doesn't need much, just a little bit great, and the shadow needs to continue because you can see here that I cut it off right there, and we'll see if we could bring it back. But I think that we can't. Probably So let's see. Oh, we did great. So we brought that shadow all the way down. Okay, lets go get the other one. Before we look at how to actually insert this into the wall, we're going to get this one. And this one has a nice wide shadow. So really go wide on that one and paste it in. Always make sure you paste on the top layer so that it doesn't clip to the other layer below it. Okay? Making it smaller, Moving it up. I think that looks pretty good. And let's start to erase this one as well. Again. A soft, fuzzy brush wherever possible, right? I mean, why make more work for yourself? I certainly don't enjoy that. Okay. Again avoiding where the shadow is. I'm trying to keep that shadow. I don't want to do more work. Okay, good. And again, this one's a little bit too bright, so just darkening it down. This one also ended up a little bit more yellow. Sometimes this happens with composites, where the image is just has a different color cast on it. So if you see that, go ahead and fix that. If it's too yellow and blue, that's gonna make it blend even better. Okay, we've got the rope going. I think that looks pretty good. So now let's figure out how to make it look like it's going into the wall and the way that I want to do that. Let me fix up this rope very quickly before we move on, because I want to erase that little black spot on there. There we go. The way that I want to do that to make it look like it's going into the wall is to create a three D effect on the wall to really make it look like the wall is popping out to take in the rope. This is super fun, so I'm going to do that by, uh, going in and duplicating and merging all of my layers. So this is where you have to say, Am I ready to do that? Well, no, I'm not ready to do that because the Shadow doesn't quite work on the floor, So let's go ahead and extend the shadow out on the floor so that everything blends a lot better than it is right now. Okay. And make sure that we're on, uh, just the background. We don't need to worry about anything but those background layers to make sure that the shadow falls on the background just like that. And if this is a little bit too harsh, which I think it is towards the top of it, it's okay, just a just. And I think that this is really a good mind set to develop when it comes to editing. Because editing could be very brutal. It can be really hard. And in order to make it a little bit less daunting, it's really nice to think of it as individual little baby steps right now. The next little baby step is that the floor is too bright, so let's darken the floor down. Nice. All right. I think that for the sake of moving on, we're ready, Thio duplicate and merge all of our layers, which I will do now. I'm gonna come in here, take a look at this little spot where the rope hits the wall and this is one of my favorite things to do is to create a three D effect on something where there wasn't one, and this is such a great lesson because anything three D is that way because of light and shadow. There's a light that hits something, and then a shadow that's created when something is three dimensional. So that's what we're gonna do here is go into our Dodge tool. Make sure that we have just a tiny little Dodge tool exposure on mid tones, and we can keep it to somewhere in the 20% range. You just want to create a little half circle on the wall, right where it's going to go in just like that. Now that hit the rope too much. So let's back it up. Okay, in history, I'm gonna back it up and try again. This time, let's change the range to shadows and see if that helps. I'm also making it a little bit smaller, Um, just to make sure that we get the right there. I think that's gonna work a lot better. So let's go with shadows instead of highlights and making sure there's kind of like a little highlight there. Then we can go into the burn tool and exposure could be again in the 20% range and create a shadow on the other side. So the goal here is to create this natural fall off so that it almost looks like there is a bulge in the wall just like that same thing on this side, just wherever the lights coming from. In this case, from the left, I'm going to use the Dodge Tool on shadows to create a little bulge just there. And then I'm going to use the burn tool on the other side to create the shadow. There we go. So now we have these two little entry points on the wall, which I think is much more effective, so it really looks like it was there, Okay.

Class Description

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.

SOFTWARE USED:

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.



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!