Skip to main content

Shooting the Background Images

Lesson 33 from: Creating a Fine Art Series

Brooke Shaden

Shooting the Background Images

Lesson 33 from: Creating a Fine Art Series

Brooke Shaden

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

33. Shooting the Background Images

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

Shooting the Background Images

we're over here at this wall because the thing that we're going to do with the pictures that we just shot is to kind of transpose them against this wall. Like I said, if we just shot against a backdrop, then there wouldn't be any context. And you have to have context to really understand the story of the image. This is where location comes in. In representational art, we have to represent a location by showing a location. Otherwise, it's just the either of darkness, and there's nothing there to ground us. So here, I'm going to be shooting this wall as a plate. Ah, plate is just a blank shot that you put something into. So I'm not shooting myself here because I already shot myself on the back drop. I'm just going to shoot this wall so that we can put the backdrop up there against the wall. We're going to do that very simply. And for this shot, I don't need the camera to be vertical, so I'm just gonna go ahead and turn it back the horizontal, and we're going to frame this up pretty simil...

ar to how we did the other shots. I'm not going to change the height of the camera. That way, everything is still at the same angle, so we shouldn't have a perspective issue at all. And I'm just going thio, get as much of the wall as I can. Really, really simple. I'm just gonna get it in focus right there and take a quick shot of the wall. It's really simple, not a lot going on. I just photographed the wall and I focused down at the baseboard, and I'm gonna lock my focus now to manual focus on my lens. And then I'm going to tilt up just to get the blank wall with just a little bit of the floor showing that's going to give me enough wall to tilt up with the reason why I just locked My focus. There is because the camera doesn't know what to focus on when there's just a blank white wall in the shot, so it's going to keep searching for focus. So I locked it off just to take that one picture. So I've got the baseboard on the floor and the wall, and eventually it's just going to be me standing in the space. But with a dark wall instead of a white wall. So that's how I'm dealing with that. Now I want to make sure that I get some sort of depth, some interest in the shot. So it's not necessarily just one strip of a wall, which would be totally fine. But I want some options. So I'm going to move the camera over here and I'm going to shoot this corner of the wall. So I'm moving my camera over so that I'm not just rotating it at the corner, and I'm going to shoot this wall here with the hope that it gives some visual interest to the shop. So I just focused again on the baseboard, and I'm going to quickly take that picture and then same thing, manual focus with a tilt up to get that shot. Now, what I've done here is I've essentially allowed myself to take the corner of the wall and flip it so that it looks like we're looking into entire room, so that's gonna be the gold there. Now, the final thing that I want to do is just a really fun bonus self portrait, because I got inspired when I started looking at the space and I love this archway. So I want to do something where I'm peering around the archway. But then my body disappears inside of the arch. So let's just see how it looks to do a really quick, fun self portrait in this space. I'm going to move my camera ever so slightly to get more of that archway, and then I'm going to again go vertical because I'm photographing myself and I will be vertical in the frame. So I'm making sure to get enough of the wall and myself, but not too much so that it doesn't look like I'm really tiny in the frame. And I'm just keeping all of my settings from before. So not doing anything in particular with that. All right, making sure I'm on auto focus very good and finding my remote. Got it. And let's see how this looks. This is just a fun little bonus, because I absolutely love when I have the opportunity to be inspired by a space. This has nothing to do with a Siri's right now, and it's important to know that while I love the idea of conceptualization off a really specific Siri's, that really takes a lot of care in all of the images involved. It's also really nice to play and have fun. And to just be inspired by your space. The more you study your own creative process, and the more you think about what themes and what ideas are important to you, the easier it will be toe walk into any space and find your voice in that space. So this is mine. My little version of playtime with many years of conceptualization under my belt. So I'm going to go over here to take this photo and I'm just gonna have fun. Bye. Posing by peering around the corner. We'll see how it goes for the first time. I'm not so sure. Okay, let's check. Okay, Not bad. I look a little clunky, so I'm going to try another pose. Just trying to be a little bit more elegant. It's not my thing, but I'll do my best. Get all my hair off. Okay? Yeah. Okay. Let's see. Not bad. I like that quite a bit. So I'm going to leave it there. I hope that you enjoy these images and that you have fun editing them. I can't wait to see what you dio And remember, the next time you're shooting it can be fun. It can be playful. And especially if you think about compositing from the beginning, all the way through editing, you're going to have a much easier job of it, so have fun.

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