Editing Composite Shoot #2- Global Adjustments
Brooke Shaden
Lesson Info
49. Editing Composite Shoot #2- Global Adjustments
Lessons
Class Introduction
07:25 2Overview of Brooke’s Journey
20:13 3Your Timeline is Nonlinear
05:37 4Using Curiosity and Intention to Build Your Career
03:26 5What Factors Dictate Growth
08:24 6Organic Growth vs. Forced Growth
05:18 7Niche Branding
04:57 8Brooke’s Artistic Evolution and Timeline
24:27How Can You Get Ahead if You Feel Behind?
10:02 10Ideation and Conceptualization to Identify Meaning in Your Art
05:54 11Idea Fluency
10:33 12How to Represent an Idea
07:01 13How to Innovate an Idea
07:07 14Creating a Dialogue With Your Art
05:48 15Conceptualization For a Series vs. a Single Image
03:43 16Transforming a Single Image Into a Series
03:12 17How to Tell a Story in a Series
03:28 18How to Create Costumes From Fabric
07:20 19Brooke’s Most Useful Costumes
02:19 20Using Paint and Clay as Texture in an Image
02:56 21Create Physical Elements in an Image
10:22 22Shooting for a Fine Art Series
05:45 23Conceptualization: Flowery Fish Bowl in the Desert
04:08 24Wardrobe and Texture
04:54 25Posing for the Story
05:32 26Choosing an Image
01:23 27Conceptualization: Rainy Plexiglass
11:34 28Posing for the Story
04:17 29Creating Backlight
02:37 30Photo Shoot #1 - Creating a Simple Composite
17:51 31Photo Shoot #2 - Creating a Dynamic Composite
06:31 32Photo Shoot #3 - Creating a Storytelling Composite
07:40 33Shooting the Background Images
06:14 34Editing Samsara Shoot #1 - Working With Backgrounds
24:35 35Editing Samsara Shoot #1 - Retouching the Subject
04:20 36Editing Samsara Shoot #1 - Color Grading
02:45 37Editing Samsara Shoot #1 - Floor Replacement Texture
15:24 38Editing Samsara Shoot #1 - Final Adjustments
03:21 39Editing Samsara Shoot #2 - Cropping and Editing Backgrounds
05:25 40Editing Samsara Shoot #2 - Selective Adjustments
03:55 41Editing Samsara Shoot #2 - Adding Texture + Fine Tuning
03:21 42Editing Composite Shoot #1 - Compositing Models
06:58 43Editing Composite Shoot #1 - Expanding Rooms
02:17 44Editing Composite Shoot #1 - Selective Color
02:47 45Editing Composite Shoot #1 - Selective Exposure
04:04 46Editing Composite Shoot #2- Masking Into Backgrounds
10:45 47Editing Composite Shoot #2- Creating Rooms in Photoshop
06:11 48Editing Composite Shoot #2- Compositing Hair
05:07 49Editing Composite Shoot #2- Global Adjustments
04:49 50Editing Composite Shoot #3- Blending Composite Elements
05:00 51Editing Composite Shoot #3- Advanced Compositing
08:46 52Editing Composite Shoot #3- Cleanup
03:34 53Materials for Alternative Processes
06:20 54Oil Painting on Prints
05:41 55Encaustic Wax on Prints
03:09 56Failure vs. Sell Out
05:14 57Create Art You Love and Bring an Audience To You
03:35 58Branding Yourself Into a Story
05:40 59The Artistic Narrative
05:26 60Get People to Care About Your Story
03:36 61Get People to Buy Your Story
11:36 62Getting Galleries and Publishers to Take Notice
03:41 63Pricing For Commissions
06:43 64Original Prints vs. Limited Edition Prints vs. Open Edition Prints
02:11 65Class Outro
01:00 66Live Premiere
16:14 67Live Premiere: Layers of Depth 1
04:41 68Live Premiere: Layers of Depth 2
07:12 69Live Premiere: Q&A
16:10 70Live Premiere: Photo Critique
47:33Lesson Info
Editing Composite Shoot #2- Global Adjustments
Okay, so we've added all this hair. So what are we gonna do to the room now? Okay, let's think about that. We're going Thio, perhaps dark in this area down here because it's still quite bright. But now I'm going to start to work on top of all the layers instead of tea, each layer individually. So from the top, I'm just going Thio say, Okay, you're too bright. Book. Let's darken it all down and feather it. We'll say 150 pixels, right on top of all the layers. We're going in and darkening, darkening that area. Now let's say we want to brighten up this area just like that and what we're doing is choosing where the light's gonna go. You're choosing if you want to look at the feet are at the head. And typically we don't wanna look at the feet unless that's the point of it. So we'll start there. I did a nice big 300 pixel feather and just brightening it up through that area. Now we can finesse this more. Of course we will, but let's go in and do one overall adjustment and see how that looks ...
just adding Maybe some darkness, some contrast to the image. And now you can see when we start to add contrast, where it doesn't look quite right. For example, here we just have this strip that's a little bit bright. Let's darken it. It doesn't have to be any more complicated than that, right? You see something wrong? Fix it. No big deal. So I'm going in and feathering 100 pixels. Then we'll just darken it down if it doesn't look quite right there. Perfect. Now we'll go over here. It's too bright. It's too bright. So let's dark in it. No big deal, right? Like that. Okay. And feather it, 90 pixels. I don't know. I'm making this up and darkening that down so much better, right? Oh, so much better. Okay. And wherever you see there's a problem. Fix it. So I'm gonna add a vignette through there because I think that that wall is still too dark. I'm gonna make that really big 400 pixels. He only did 90 pixels, so we'll do it again. Just dio there 300 pixels to compensate and darken it down just in that area. You know, we'll keep going like that. You know, you just keep going. Wherever you see, it's kind of wrong or something is up. Just fix it, fix it as you can. Selecting and darkening or brightening whatever it calls for at that moment. I think this looks pretty interesting. At this point. I wanna actually darken my subject. So I'm gonna go ahead and do that by clicking on, uh, curves layer pinned to my subject on Lee. And just take those highlights down because I do think that that was a little bit much. And this is where we're having problems with color specifically because my skin is pretty orange and my hair is also pretty orange. So I'm gonna take the color away from this. And as I do that, I'm going to focus on making sure that I neutralize what's happening here. So I'm just going into hue saturation. We're gonna take the saturation down, but I want to keep it on the dress. So on that hue, saturation layer, let's bring back the dress by just coloring black and bringing it back, and I'm leaving it a little bit. I'm only going 60% on this because I wanna make sure that it doesn't stand out too much. I like the antique look here. So I'm gonna try to keep that antique look, and I think that looks good. I did say we would go back to the shadow, so let's create a little bit more of a harsh shadow coming out to that side and feather that about 40 pixels and bringing that down. Okay, there shadows extended a little bit more, So that looks nice. There definitely issue still in this edit. We have this straight line here that's driving me nuts, but it's okay. It's not a big deal. It's something that you can find and fix. You know, it's right there. That's where it is. You click the layer on and off to see if you can find the problem and then go in and fix it. Definitely gonna do that at 100% opacity to make sure that the line goes away for good, and I can see that there's the same problem on this one. So always turning your layers on and off is extremely helpful to figuring out what needs to happen in terms of cleaning up your edit and making sure that it's really flawless. So that's where I'm going to stop with this edit right now so that we can edit the ropes. And I think that once we edit the ropes, it's gonna bring everything together, so that's what I'm gonna jump into next.
Class Materials
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