Photo Shoot #2 - Creating a Dynamic Composite
Okay, so I feel really good about that set of images. That was all One image. Essentially. So we've got the main shot of the candles, and then we've got the dress on. We've got the hair and that's it for that shot. So now I'm going to do my full hair picture. And I just mentioned that I, you know, you gotta obey the laws of physics. Hair wouldn't be standing straight up, right? But if you are knowingly bending the laws of physics and you are positive that that's what you want to do because that's the surreal part of your photo, then go for it. So for this picture, my hair is gonna be spread all the way around, Uh, the backdrop here, which will be a wall eventually. There's a little trick to this, and that is that either I need to take my main shot with my hair pulled up so that I get a really clean neck. I wanna make sure that you see my neck, because if I take a picture of myself standing like this, but then in another shot, my hair is up like that, it's going to make no sense So that...
's what I am trying to dio is to make totally sure that it makes sense. So if you're bending the laws of physics, then you have to still figure out if it's going to work to the person's mind, that's viewing it. Let's go see if we can get our main shop for the hair pictures, and this is going to be, ah, little bit more challenging to get that main shocks. I won't just be standing still. My hair is going to be moving, but we'll see how it goes, all right, I'm just going to stand as though this is a wall, because it will be eventually and it's pretty sturdy. But it moves, so as long as I don't crash into it, it should be okay. I do want to make it look like my hair is climbing up the wall, so I wanna make sure that my hair connects with the backdrop when I flip it up. This is going to be really important for natural shadows that will fall on the backdrop later on and editing. So I don't have to recreate that because when you think about compositing often you think about shadows. Something in an image is not grounded. It doesn't look like it's really there unless there it's creating a shadow somewhere on the surrounding. So I wanna make sure that the hair is touching the wall and it's creating natural shadows. So let's see about this official Maine shot. I'm going to go from the side, Okay? We'll see how that looks. Now. That was not, um, particularly good is a main shot, I think so. We'll call that a test shot because I wasn't really posed, and I can see that I have some motion blur here. So I'm going to adjust my settings to go up from 2 50 for my shutter speed, going to go up Thio 400 here and take my eyes so up to compensate to about 2000. So let's do another shot. And the problem with what I just did was that I wasn't posing my body. I was just focused on the hair, and this is the difficulty of self portraiture is that you have to think about all the different components at once, so I think I'm going to try one more time. But I'm going to try to pose my body how I want it. I need to think about what that's going to be. So I want my arms out. Do I want them in? Do I want TEM hidden? What am I going to Dio? So I'm going to try to keep my arms in so that they're hidden to start and we'll just see how that looks. And I caught my hair in my armpits, so I'll try again. We'll see. Okay, we got one decent shot, maybe even two, so it looks pretty good. I'm going to a just a couple of things. I'm gonna keep my feet together because my feet were definitely not quite so graceful in that shot. So I'm gonna make sure that I keep my feet together and we'll try again. This time, I will keep my arms out, or at least one so that there's a little bit more context of the body and reset the camera, and it's going to do this a few more times. Okay, Now, what I'm not doing very well is getting my hair to hit the backdrop. So I'm gonna really fling it this time. I'm not gonna worry about my body as much. Did you see how it really hit that time? That's what I want. And we'll do it from the other side because we're going to create a big fanning effect. Okay, let's check those. Oh, they look good. And I think we have enough to cover the entire area. So I'm pretty happy with ease. The only thing that I didn't get is one really good leg shot. So I'm going to try to get one perfect leg shot, which should be easy, because I just have to stand there, and then we should be pretty well finished with that that image. So I'm going to just tiptoe here with my really dirty feet, okay? And maybe I'll get some dress while I'm at it. I like to just get us many shots as I can when I think of it, because you never know when you're gonna want to use it. Might as well pose my feet at the same time. Okay, I think we got it. So that's going to be image number two
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.
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.