Editing Samsara Shoot #2 - Selective Adjustments
Lesson 40 from: Creating a Fine Art SeriesBrooke Shaden
Editing Samsara Shoot #2 - Selective Adjustments
Lesson 40 from: Creating a Fine Art SeriesBrooke Shaden
Lesson Info
40. Editing Samsara Shoot #2 - Selective 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 Samsara Shoot #2 - Selective Adjustments
So now where we painted is a little bit less noticeable. I want to do the opposite, though, for my subject. I want to really bring out the face quite a bit here and possibly right down through the chest and some of these, um, little wrinkles on the robe. So let's see if we could do that. So we're just doing the opposite now. 100 pixel feather, and we're going to see if we can brighten up the subject's face because that's really the important part of this image. And look how much that pops when we Brighton and add contrast so much and it draws so much attention there. Now, I wanna make sure when I went in with this other curves layer of the very first one to make the outside edges darker, I left a lot, uh, bright in between the fingers. So as you notice little issues, you have these adjustments that you're using so you can use the layer masks on them and go back in and adjust as needed. So that's what I'm gonna do is just bring some of that darkness back in through the fingers so that w...
e can really create an interesting, uh, sense of the subject standing out from the backdrop. Good. That looks so much better Already. Can even bring it in there where it's a bit light. Wonderful. Okay, now I feel like we're really working here, because now I can create, uh, a lot more highlight and shadow. So let's go in and create more contrast in our curve. Bye. Pulling up on the highlights and down on the shadows. Oh, look at how gorgeous. Oh, I love I love. Okay, I'm really excited about this. This area through here is quite bothersome to me because it's not really dark enough. So again, just manually darkening and lightening wherever you see that it could benefit. So I'm gonna actually do this whole section here, right? Click. I'm even gonna go further. Just like that. Right? Click and feather. Let's say 80 pixels. Why not? Because I can always bring it back if I want. And I'm going to darken through that area. Wonderful. That looks a lot better to me. Like I said, you can always bring it back. So I see here it could benefit from bringing that back a little around the fingers again. I'm not so great at sectioning off fingers. It would seem just bringing it back through there and even through this whole area, that could benefit from some darkness. All right. Oh, see, I went too far. It's okay. Just bring it back, all right? I love where this is going so much. I'm just saving it so that I can make sure we have a copy. Wonderful. And I want to start to pay attention now to color. So let's go In overall hue saturation, I'm going to take down the hue in saturation and then add color back into the image by adding some yellow good and adding some red. Wonderful. So that's going to start to match a little bit better now, in order to create this cohesion in the Siri's, certain elements have to happen. The color had toe happen. The crop is okay. I don't have a lot of images cropped in tight, but I wanna work on that. So this is where it's really great to think about having diversity within your syriza about having the opportunity to cut in close or pull out further, and when you have a lot of visual consistency in your Siri's. It's okay to do stuff like that because you're working in the ability Thio have that flexibility in terms of how you frame things and where you take risks.
Class Materials
Bonus Materials with Purchase
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