I'm going to leave that for now. I know that it's not quite right, but we'll come back to that as we go. And I do wanna kind of look at this area here, but I wanted to rely on the hair, but I don't feel like I can. So I'm just going to manually grab that area and feather will say 200 pixels and make it darker. Now that's layer, too, so make sure you're on the right layer. Take that curve, pin it down good and just and just make it a little bit darker. So there's a natural transition. You can always click on that adjustment layer and erase it where you don't want it. So if it hit the hair okay, you don't want it. There may be softened that you can always finesse it just a bit, so let's go see if we can find some shots of hair and see if we could build that up for this particular image. Okay, let's take a look. I really like some of these, like that one's really hitting the wall wherever they really hit the wall. I love that. So I'm going to definitely use some of those images. And this ...

is not the kind of picture where you could take hair like this and flip it because the lighting has to be the same. So keep that in mind as we go, wherever the hair falls naturally is where it should go in the final picture. I think that's probably a pretty good one to continue the Ark. So let's see about that. Once we get this open, we're just going toe lasso it and copy and paste it so big lasso Copy faced again. We have to shrink it down. Okay? And that looks pretty good. Proportions seem not bad. You can always use your arrow keys to nudge it into place. And I'm just lining up my back wherever my shoulder hits in the right spot. That's where I think it should go, Okay? And we're going to try a layer mask. I'm actually gonna pull this all the way up to the top layer there, and I'm going to use my fuzzy brush on the adjustment there so that we can just softly, softly blend it in. Just like that. I can see that it was a little bit darker than the other. So we can either make the bottom layer darker or the new layer brighter. Let's make the new layer brighter. And breaking that up just a bit. Perfect. So now we can see that that's really flowing. Now let's go get more hair. And now we're going for the It's sort of upper to upper left. So if we see any that fit that description, we're gonna take it. They think this one looks good. Yes, it does look good. I hope it fits, though, because it has to fit right? Okay, lets take it. Grab that hair, copy it and paste it. We're going Thio, make it a little smaller and see if that'll fit. I might even rotated a little just a little because you can't go too far with these things, but just a little bit should be okay without messing up the perspective. Okay, Now let's see if we can again do the same thing on DSI. How that looks and get rid of any harsh lines. Okay? And then we'll do another one facing the other way. We might only need one more. We'll see. Don't quote me, but maybe I'm not sure which one's quite the best for this, because I don't think we got any really good shots for that side. But I think this one might give us the most room. So let's seem okay, and that's going to cover up any errors that we have on the other side. I hope that is the goal and paste it in and you can always play with size with hair. It's like I might leave this one a little bit larger. Uh, just like that. And then I might even play with warping it to make it cover more ground, since we don't quite have enough images. So going into warp and just allowing the hair to come up a little bit more, um, in that area, you know, just playing with it to see what creates the best shape here. Okay, final time that we're going Thio erase like that, Okay. And then just making the brush smaller so that attach is and this one can stand to be a little bit brighter as well. So I'm going in with my curve, pinning it down, making it brighter, and that's okay if it messes with the wall. I mean, we can always go in with that mask and just get rid of it where it's too bright. If it was already blending really well, then just get rid of that brightness right on the edges, and that's okay, too. We might even go in with a lower opacity on the edges there, something like that.

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Brooke Shaden

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.

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topics covered in this class

Fine Art Adobe Photoshop Post-Processing Photo Editing Digital Photography

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!

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!

Søren Nielsen

Thank for fantastic motivating an very inspiring. The story telling and selling module was very helpful - thanks from Denmark

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Editing Composite Shoot #2- Compositing Hair

Editing Composite Shoot #2- Compositing Hair

Lesson Info

48. Editing Composite Shoot #2- Compositing Hair

Lessons

Class Introduction

Overview of Brooke’s Journey

Your Timeline is Nonlinear

Using Curiosity and Intention to Build Your Career

What Factors Dictate Growth

Organic Growth vs. Forced Growth

Niche Branding

Brooke’s Artistic Evolution and Timeline

How Can You Get Ahead if You Feel Behind?

Ideation and Conceptualization to Identify Meaning in Your Art

Idea Fluency

How to Represent an Idea

How to Innovate an Idea

Creating a Dialogue With Your Art

Conceptualization For a Series vs. a Single Image

Transforming a Single Image Into a Series

How to Tell a Story in a Series

How to Create Costumes From Fabric

Brooke’s Most Useful Costumes

Using Paint and Clay as Texture in an Image

Create Physical Elements in an Image

Shooting for a Fine Art Series

Conceptualization: Flowery Fish Bowl in the Desert

Wardrobe and Texture

Posing for the Story

Choosing an Image

Conceptualization: Rainy Plexiglass

Posing for the Story

Creating Backlight

Photo Shoot #1 - Creating a Simple Composite

Photo Shoot #2 - Creating a Dynamic Composite

Photo Shoot #3 - Creating a Storytelling Composite

Shooting the Background Images

Editing Samsara Shoot #1 - Working With Backgrounds

Editing Samsara Shoot #1 - Retouching the Subject

Editing Samsara Shoot #1 - Color Grading

Editing Samsara Shoot #1 - Floor Replacement Texture

Editing Samsara Shoot #1 - Final Adjustments

Editing Samsara Shoot #2 - Cropping and Editing Backgrounds

Editing Samsara Shoot #2 - Selective Adjustments

Editing Samsara Shoot #2 - Adding Texture + Fine Tuning

Editing Composite Shoot #1 - Compositing Models

Editing Composite Shoot #1 - Expanding Rooms

Editing Composite Shoot #1 - Selective Color

Editing Composite Shoot #1 - Selective Exposure

Editing Composite Shoot #2- Masking Into Backgrounds

Editing Composite Shoot #2- Creating Rooms in Photoshop