Edit Details of Images
I've got this image here, which was quite a funny picture to put together, not so much out of laziness like the last one, but this is a rather (laughs) shocking image to start, because I did it in my office and had just natural light coming in from the front, where I had a window and I could have done this outdoors of course, but there was no real need, because the end image was going to be in space and where you know, I don't really know where the best spot is to photograph somebody in space, except on a black backdrop with some sort of overall diffused light, unless you have a certain lighting structure, that you're trying to attain, but I did to just soft light, so I'll show you how this image was put together and some things are going to be a little bit funny, but we'll see how it goes. So I've extended the ladder upwards, that was the first thing, I wanted it to go either to the top of the frame or out of the frame, just so that it really moved through nicely and then I did my rea...
lly awesome technique of painting a color in the background, I sampled the color that was in this fabric, that I had and then I just started painting and this is what I was talking about earlier, I actually made a mistake in this image, that I would go back and redo, which was that I didn't have my hair on the black backdrop and I could not isolate my hair from that background, so I actually went in and just cut it out, I just cut around it, knowing that that was not something that people would be looking at in the image, it was sort of up and away, so that it didn't distract from anything and I do soften that later on, but it was a consideration after the fact and should have been before. So here we have this really funny thing, which looks like I just totally missed an entire piece of dress down here, I knew that that would be covered up, so I just drew a line all around my subject and this is an interesting case, because when you're thinking about how you wanna form your images, you're often thinking about color and I did think about color ahead of time, but I didn't have a dress that had the right feeling, except for this blue dress, so I ended up using it and went through quite a process to be able to turn it red, I don't know if any of you guys have ever tried to turn a really light color a totally different color, but it's super difficult to do and it takes a lot of patience with selections and coloring, so that's what happened there and then I have my clouds, so I've got the clouds and I obviously did not photograph them in outer space, I photographed them from an airplane, as one would and then simply, if you can sort of look at this Layer Mask here, I just erased at the back really lightly to blend those clouds in, so that it looked like it naturally faded into darkness and then we've got some shading here to make it look more believable, okay and then I've got my little star picture, I really need to photograph more stars, I think my constellations are getting a little bit predictable, so that's on my To Do list and then some more shading, so from here on out, you can see the colors are where I want them generally, very close to how the image finishes, so these are all finishing touches, which is texture, which I photographed and then all of these little things, that in some ways are very teachable, for example, why would you wanna do a vignette to draw attention to your subject, but others really have to do with your own personal style, one example is this second sort of coloring here, where I'm adding a color into the vignette, that you can see there, I don't know if that's obvious or not, but there's a red color that mimics the dress and those little, tiny details, oh, that's my little star, I love that little star, those little details make all the difference, so this was how the image ended and you can see it went quite a distance from where it started, which was in my office, looking very lazy, as they tend to do. And this image is one of my creepier pictures and we've looked at a couple of these already, so this is good just to be able to walk through this process. Compositing does not have to be so many elements put together, I think that it can easily be just a couple little things in the same space and this is a good example of that. So here we are with the main picture and you can see that I'm expanding my frame, so I took extra images, so that I had all of that, there's my (laughs) painted black, you can see a theme emerging here and these were extra pictures, that I shot, just adding them in to either side, okay and then you can see the beginnings of the rip in the back and all of these elements that you just saw are obviously not created in this order, so I did not go through and be like, hm, I'm gonna add in this shading, because I think that I'm going to put the rip in the back right there, no, what ended up happening was I put in this zipper situation that we have, as you can see it emerging and then I had to go below the zipper with my layers to create shadows, so that it only showed up on Layer four, if that makes sense and we'll talk more about this in just a moment. So if I continue on here, you can see lots of little, tiny changes, so many little changes and then we have the zipper mostly in place there and you can see little things, for example, look at my hand on this fabric, it doesn't look like it's really there yet, because there is no shading and that's why I wanna emphasize in Photoshop, that I would say that at least half of compositing is knowing how to create shadows, because that is what makes something believable or not, so I'm just creating the shadows under my hand, creating that believable look and as we go, you can see it becomes more and more believable, based on the shading, so this is a really good image to look at for that and again, these are little steps, that aren't as teachable as other things, but when you see this happen, you see that I'm sort of painting right over all of the fabric down at the bottom, because it was really distracting, 'cause it's the brightest thing, it has a lot of contrast, so I'm just literally painting over that to get rid of some of that contrast. Okay, and then we have some color changes and some highlights coming in and this was, I think the most important step in this image, which was desaturating everything but the skin underneath, one, because it furthers the concept, because if it was like this, then it's not quite believable, you don't really see the separation, but the concept is really aided by these changes here, because this skin is now looking old and disgusting and the skin underneath it looks new and fresh, you get a different perspective of what might be happening here, sort of a shedding of the skin situation. So I'll just zoom through the rest of these changes, which are now all cosmetic from this point on, brightening, darkening, shading, all of those fun things, we've got the texture, which always will come at the top, you'll usually see that at the top of my Layers, because it's one of the last things that I do and then I get a little bit indecisive and I make a few more changes and then it finishes there. So any questions on this one? It's pretty straightforward, when you start to peel back the layers, but you can see how many tiny, little thoughts go into creating that photo.
Creating a great photo for a client is one thing - but turning your passion and ideas into a series that is shared, shown, and sold is a whole different business. If you do it right, you’ll be shooting what you love all the time. Learn how to choose which ideas to create, how to turn your concept into a production, and steps to getting your work seen and even sold in Fine Art Photography: A Complete Guide with Award-Winning Photographer, Brooke Shaden.
This is an all-inclusive workshop that provides the tools you need to run a successful and creative business as a fine art photographer. You’ll learn creative exercises to find and develop your ideas, how to create an original narrative, how to produce your own photo series, post production techniques and skills for compositing and retouching, how to write about your work, ways to pitch to galleries and agents, and how to print your pieces so they look like art.
This workshop will take you on location with Brooke as she creates a photo series from scratch. She’ll walk through every step for her photo shoots including set design and location scouting, she’ll cover techniques in the field for capturing your artistic vision, post-production and compositing techniques, as well as printing and framing essentials.
She’ll round out this experience by discussing all of the details that will help make your career a success like licensing, commissions, artists statements, social media plans, gallery prep, and pricing your work.
This comprehensive course is a powerful look into the world of fine art photography led by one of the world’s most talented photographers, Brooke Shaden. Included with purchase is exclusive access to bonus material that gives exercises and downloads for all of the lessons.