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Editing Samsara Shoot #1 - Retouching the Subject

Lesson 35 from: Creating a Fine Art Series

Brooke Shaden

Editing Samsara Shoot #1 - Retouching the Subject

Lesson 35 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

35. Editing Samsara Shoot #1 - Retouching the Subject

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 Samsara Shoot #1 - Retouching the Subject

Now I want to also fix this arm up because I think that was a bit thick. Azaz. Well, I'm just doing the same thing. Selecting it just like I did for the leg, right? Clicking and feathering 50 pixels seemed okay and then choosing a curve adjustment layer, making it darker and adding contrast. And that looks so much better to me. See how much more texture you see in this arm, which I particularly like because of all these little cracks that you see in the skin, which is what I was going for. I really love that. So taking a fresh look again, what do I see? What looks good. Um, I noticed that I still don't really like how much the leotard stands out. So let's just practice. This is the next step to get to where I wanna be. I'm just every single time I do a single adjustment, I pull out and I say, What's the next thing that needs to happen? Okay, so I'm going to select the leotard all around her because I want to make it a little bit less bright. Let's see if we can achieve it. And if not t...

otally fine. It's just the next thing that might look good. We'll keep it with 50 pixels curves, same thing as the leg in the arm. But this time we're going the other way. We're gonna actually brighten it up just a bit now. If you go from the mid tones as I'm doing, it's going to Brighton everything up, which I don't mind. But let's try going a little bit from the shadows. So you see how it's softening everything so that the black points aren't really is black anymore. Then maybe we'll bring up from the mid tones as well. And when you turn that off and on, it made her body actually stand out a little bit more so that there is something that we see inside of this, and I think that's really exciting. Another thing that you might do to smooth the transition here is to create a new layer and to use your brush tool and just select the color of whatever you're trying to blend on top and see if you could just go in with a low opacity to get rid of that transition there, so just in option and as you're painting. You can also change the mode. So, for example, if I click on Darken and then I start to paint, it's going to affect whatever is darkest there. So that's another kind of good way to go if you're looking to just sort of blend one thing into another. I just took my opacity down so that it's a little bit less harsh, but you can see what that did. Just that layer there created a softer transition between the skin and the body suit, and I'll worry about that more a little bit later. But right now I want to focus on two things. One is the color super important right in this whole Siri's, and the other one is how much the leaves and the flowers stand out. Right now, I am in love with the way that they look. Let's zoom in and take a look this pink and orange and yellow. They all go together in this amazing transition that fits pretty well with the color theme that I have going on in Samsara, so I'm probably not gonna mess with that too much. I wanna preserve it, knowing that the Onley area that I really want color in is inside the glass bowl. I'm going to select the glass bowl. Just like again. Not not very perfectly. Just select around it. Right? Click and feather. Well, do 40 pixels. Maybe this time, Uh, yeah, I think that'll work. Okay. And I'm going Teoh, right? Click and select in verse. Now, I am going into huge saturation for an adjustment layer. Let's back out here so we can see the whole image and let me reset our view. So we're not crooked, alright? And in that hue saturation, I'm gonna take down the saturation of everything. But inside that bowl and what this is doing is it's eliminating any color that was outside of that. There wasn't a lot to begin with in terms of really saturated colors, so we don't have a huge change here, But it's enough. It's taking away the warmth of the skin. It's taking away the blue of the leotard that came out. Um, and it's just neutralizing everything. And I really like doing this because now I'm going to add color back on top of everything

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