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Creating a Fine Art Series

Lesson 51 of 70

Editing Composite Shoot #3- Advanced Compositing


Creating a Fine Art Series

Lesson 51 of 70

Editing Composite Shoot #3- Advanced Compositing


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


  • 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


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.


  • 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)


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.


  1. Class Introduction
  2. Overview of Brooke’s Journey

    How Brooke went from creating only for herself to building a multi-faceted career in fine art photography.

  3. Your Timeline is Nonlinear

    How to incorporate the idea of wealth into your journey as an artist.

  4. Using Curiosity and Intention to Build Your Career

    Too many people rely heavily on either intuition or goal setting as a means of propelling their career forward. Brooke believes that there is a blend between the two that sets most professionals apart.

  5. What Factors Dictate Growth

    A look at how improvement in the categories of technique, conceptualization, clarity of voice and vision, and impact all work together to create growth.

  6. Organic Growth vs. Forced Growth

    The most successful artists are able to use inspiration strategically to create innovative works that regularly impress their audience.

  7. Niche Branding

    If you brand yourself into a story, you will be less likely to fall victim to boredom within your branded niche.

  8. Brooke’s Artistic Evolution and Timeline

    Watch as Brooke shares every important event in the past eleven years as an artist to see which were the most helpful in propelling her career forward.

  9. How Can You Get Ahead if You Feel Behind?

    When you learn to celebrate small successes like they are big successes, you will rewire your brain to find optimism in the journey rather than pessimism.

  10. Ideation and Conceptualization to Identify Meaning in Your Art

    Walk through several categories of meaning to figure out how you create and how others perceive your creations. You will learn how to layer the concepts of your art, create controversy in your ideas, how to make viewers feel something, and figure out where you land on the scale of fixation.

  11. Idea Fluency

    Learn abou how your ability to generate many good ideas in a short time is directly influenced by brain science, and then learn how to control your own idea fluency through exercises.

  12. How to Represent an Idea

    Ideas are represented by four elements: visual, symbolic, experiences, and emotions. Learn how to control those elements in your work by figuring them out in your work.

  13. How to Innovate an Idea

    By examining your sense of style, sense of idea, and sense of innovation, we will walk through exercises to not only create what is in your mind, but to take it further to stir yourself and your audience.

  14. Creating a Dialogue With Your Art

    Dialogue comes from provocation and response. Take a look at how to provoke an audience through visual and thematic clues, and then how to issue a definitive call to action.

  15. Conceptualization For a Series vs. a Single Image

    Find out the differences between coming up with ideas for a single image vs. a series and see examples of series Brooke has created to deconstruct how they work.

  16. Transforming a Single Image Into a Series

    A look at how to take a single idea and transform it into a cohesive series by focusing on visuals, theme, and through-line.

  17. How to Tell a Story in a Series

    Storytelling can unfold thematically, abstractly, linearly, and/or concretely. Here you will look at how story structure can help create a more impactful series.

  18. How to Create Costumes From Fabric

    Look at which fabrics work best for costuming, how color plays a role in costume selection, and how to tea dye or coffee stain costumes.

  19. Brooke’s Most Useful Costumes

    See which costumes Brooke uses again and again and how to build a costume wardrobe with a few essentials that won’t break your budget.

  20. Using Paint and Clay as Texture in an Image

    Brooke will demonstrate how creating texture on both skin and costumes can create a more dynamic look in the final image.

  21. Create Physical Elements in an Image

    Brooke will share ideas of how to create sculptural elements in your images, like using wire, paper mache, and more.

  22. Shooting for a Fine Art Series

    How you can create cohesion and conceptual flow across images in a series.

  23. Conceptualization: Flowery Fish Bowl in the Desert

    A description of the image being created and why it is conceptually and visually relevant to the rest of the series.

  24. Wardrobe and Texture

    How to choose wardrobe based on the concept of the image, and how to add texture to make the image more visually appealing.

  25. Posing for the Story

    Brooke will photograph three different poses, each one changing the story of the image, to demonstrate how pose can alter the viewer’s perception of the series.

  26. Choosing an Image

    Brooke will explain why she chose one image over another to demonstrate the need for angles and dynamic movement within an image.

  27. Conceptualization: Rainy Plexiglass

    A description of the image being created and why it is conceptually and visually relevant to the rest of the series.

  28. Posing for the Story

    Brooke walks through poses that become more and more complex, from posing the model behind a Plexiglas sheet, then adding water, then adding syrup.

  29. Creating Backlight

    Using a portable LED light, Brooke moves the light from the side to the back to create a more abstract image.

  30. Photo Shoot #1 - Creating a Simple Composite
  31. Photo Shoot #2 - Creating a Dynamic Composite
  32. Photo Shoot #3 - Creating a Storytelling Composite
  33. Shooting the Background Images
  34. Editing Samsara Shoot #1 - Working With Backgrounds
  35. Editing Samsara Shoot #1 - Retouching the Subject
  36. Editing Samsara Shoot #1 - Color Grading
  37. Editing Samsara Shoot #1 - Floor Replacement Texture
  38. Editing Samsara Shoot #1 - Final Adjustments
  39. Editing Samsara Shoot #2 - Cropping and Editing Backgrounds
  40. Editing Samsara Shoot #2 - Selective Adjustments
  41. Editing Samsara Shoot #2 - Adding Texture + Fine Tuning
  42. Editing Composite Shoot #1 - Compositing Models
  43. Editing Composite Shoot #1 - Expanding Rooms
  44. Editing Composite Shoot #1 - Selective Color
  45. Editing Composite Shoot #1 - Selective Exposure
  46. Editing Composite Shoot #2- Masking Into Backgrounds
  47. Editing Composite Shoot #2- Creating Rooms in Photoshop
  48. Editing Composite Shoot #2- Compositing Hair
  49. Editing Composite Shoot #2- Global Adjustments
  50. Editing Composite Shoot #3- Blending Composite Elements
  51. Editing Composite Shoot #3- Advanced Compositing
  52. Editing Composite Shoot #3- Cleanup
  53. Materials for Alternative Processes

    Brooke shows some materials she uses for alternative processes, or applying texture to an image after it is printed. She shows oil paints, wax, and more.

  54. Oil Painting on Prints

    A look at applying oil paints to canvas prints and how that adds value to original prints.

  55. Encaustic Wax on Prints

    A look at applying encaustic wax to canvas prints and how that adds value to original prints.

  56. Failure vs. Sell Out

    Brooke shares how the most successful artists straddle a line between personal work and consideration of audience.

  57. Create Art You Love and Bring an Audience To You

    When you identify areas of your process and craft that are non-negotiable vs. negotiable, you begin to identify how you can work best with clients and what you need to keep sacred.

  58. Branding Yourself Into a Story

    When you consider that branding is a mixture of personality, art, storytelling, and business, you can feel more at ease with your brand not just being one single thing.

  59. The Artistic Narrative

    Defining what stories you want to tell about yourself directly influences how you tell the story of your brand through your business.

  60. Get People to Care About Your Story

    Your brand must inherently bring interest and value to the people who are viewing it. Take a look at how you can begin down that journey.

  61. Get People to Buy Your Story

    From identifying your clientele to figuring out how you can meet their needs, shifting someone from an admirer of your art to a patron of your business is important in becoming a full time artist.

  62. Getting Galleries and Publishers to Take Notice

    Steps we can take to get representatives to pay attention, like the importance of regular interaction and becoming a resource.

  63. Pricing For Commissions
  64. Original Prints vs. Limited Edition Prints vs. Open Edition Prints

    Brooke goes through the benefits of selling original prints and how they can be done simply to add to your arsenal as an artist.

  65. Class Outro
  66. Live Premiere
  67. Live Premiere: Layers of Depth 1
  68. Live Premiere: Layers of Depth 2
  69. Live Premiere: Q&A
  70. Live Premiere: Photo Critique


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!