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Creating a Fine Art Series

Lesson 40 of 70

Editing Samsara Shoot #2 - Selective Adjustments

Brooke Shaden

Creating a Fine Art Series

Brooke Shaden

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Lesson Info

40. Editing Samsara Shoot #2 - Selective 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 Samsara Shoot #2 - Selective Adjustments

So now where we painted is a little bit less noticeable. I want to do the opposite, though, for my subject. I want to really bring out the face quite a bit here and possibly right down through the chest and some of these, um, little wrinkles on the robe. So let's see if we could do that. So we're just doing the opposite now. 100 pixel feather, and we're going to see if we can brighten up the subject's face because that's really the important part of this image. And look how much that pops when we Brighton and add contrast so much and it draws so much attention there. Now, I wanna make sure when I went in with this other curves layer of the very first one to make the outside edges darker, I left a lot, uh, bright in between the fingers. So as you notice little issues, you have these adjustments that you're using so you can use the layer masks on them and go back in and adjust as needed. So that's what I'm gonna do is just bring some of that darkness back in through the fingers so that w...

e can really create an interesting, uh, sense of the subject standing out from the backdrop. Good. That looks so much better Already. Can even bring it in there where it's a bit light. Wonderful. Okay, now I feel like we're really working here, because now I can create, uh, a lot more highlight and shadow. So let's go in and create more contrast in our curve. Bye. Pulling up on the highlights and down on the shadows. Oh, look at how gorgeous. Oh, I love I love. Okay, I'm really excited about this. This area through here is quite bothersome to me because it's not really dark enough. So again, just manually darkening and lightening wherever you see that it could benefit. So I'm gonna actually do this whole section here, right? Click. I'm even gonna go further. Just like that. Right? Click and feather. Let's say 80 pixels. Why not? Because I can always bring it back if I want. And I'm going to darken through that area. Wonderful. That looks a lot better to me. Like I said, you can always bring it back. So I see here it could benefit from bringing that back a little around the fingers again. I'm not so great at sectioning off fingers. It would seem just bringing it back through there and even through this whole area, that could benefit from some darkness. All right. Oh, see, I went too far. It's okay. Just bring it back, all right? I love where this is going so much. I'm just saving it so that I can make sure we have a copy. Wonderful. And I want to start to pay attention now to color. So let's go In overall hue saturation, I'm going to take down the hue in saturation and then add color back into the image by adding some yellow good and adding some red. Wonderful. So that's going to start to match a little bit better now, in order to create this cohesion in the Siri's, certain elements have to happen. The color had toe happen. The crop is okay. I don't have a lot of images cropped in tight, but I wanna work on that. So this is where it's really great to think about having diversity within your syriza about having the opportunity to cut in close or pull out further, and when you have a lot of visual consistency in your Siri's. It's okay to do stuff like that because you're working in the ability Thio have that flexibility in terms of how you frame things and where you take risks.

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.



Class Materials

Bonus Materials with Purchase

Worksheets.pdf

Student Practice Images (large 1.9gb zip file)

Ratings and Reviews

Student Work

Related Classes

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!