so something to keep in mind is blending one thing into another rather than a hard eraser. And seeing if that works for you, I'm going to just fill in the top. And then that will be the very last thing that we have to do here. Like just like that Thio, create the frame. All right, so we've got the frame, but we don't have everything that we need in the frame. The first thing that I need to dio is get rid of this rope that's coming down so I won't be able to erase it because what's underneath is just a blank wall. So I have to clone Stamp that as well, which shouldn't be too difficult because we have plenty of Walter work with here and I'm just going thio make it very simple on myself. Go straight down. Okay, so we've got the rope. Now we need to switch the arm because we have a remote in the arm. So let's go ahead and find another arm should be right there, and I'm going to just select what I need of that. So just about that much, copy it and paste it. Make it the right size, as we hav...

e been doing, and this needs to be rotated slightly to fit the other arms position. But that's okay. Not a big deal to rotate something like that just a little bit. And then I'm going Thio. Ah, go ahead and erase that, uh, hard line. That's all around it. Good. And make sure my opacity is up. It's okay if you blend one into the other a little bit. We can always adjust as needed so we can click on that move, tool. And just really make sure that we are going where we want with e with the arm. So e think that looks pretty good just there. Okay, so now we have rope on both, and I'm going to find the street ropes. Now that we shot, we shot there we go. Couple of ropes and I'm even just going to use the ones that were already going to the wall. So let's go ahead and use those two images and all we need is the rope going into the wall. Now I'm going to go over really fun technique to make it look extra special. We're gonna open that up, and with our lasso tool. We're going to select them by law sewing, going to try to get the shadow in there as well, so that we don't have to recreate that. Okay, and it's gonna be bigger again. It's hard to tell because it's a rope, but it's gonna be bigger, so make sure that that works. We're gonna go probably somewhere around there. Let's go in and blend first. I'm thinking about I probably need a higher hardness on this because I do want it to look like it's going straight in. Can't have anything touching my hand. So that's the area that has to be really erased. The rest of it doesn't weaken. Take the hardness back down and use that nice soft brush to erase. I'm going right up to the shadow, not up to the rope. So wherever the shadow is, that's where I'm going to erase it, too. And this rope is a little bit bright for the spot that I said it in. So let's just go ahead and darken that rope down Good. It doesn't need much, just a little bit great, and the shadow needs to continue because you can see here that I cut it off right there, and we'll see if we could bring it back. But I think that we can't. Probably So let's see. Oh, we did great. So we brought that shadow all the way down. Okay, lets go get the other one. Before we look at how to actually insert this into the wall, we're going to get this one. And this one has a nice wide shadow. So really go wide on that one and paste it in. Always make sure you paste on the top layer so that it doesn't clip to the other layer below it. Okay? Making it smaller, Moving it up. I think that looks pretty good. And let's start to erase this one as well. Again. A soft, fuzzy brush wherever possible, right? I mean, why make more work for yourself? I certainly don't enjoy that. Okay. Again avoiding where the shadow is. I'm trying to keep that shadow. I don't want to do more work. Okay, good. And again, this one's a little bit too bright, so just darkening it down. This one also ended up a little bit more yellow. Sometimes this happens with composites, where the image is just has a different color cast on it. So if you see that, go ahead and fix that. If it's too yellow and blue, that's gonna make it blend even better. Okay, we've got the rope going. I think that looks pretty good. So now let's figure out how to make it look like it's going into the wall and the way that I want to do that. Let me fix up this rope very quickly before we move on, because I want to erase that little black spot on there. There we go. The way that I want to do that to make it look like it's going into the wall is to create a three D effect on the wall to really make it look like the wall is popping out to take in the rope. This is super fun, so I'm going to do that by, uh, going in and duplicating and merging all of my layers. So this is where you have to say, Am I ready to do that? Well, no, I'm not ready to do that because the Shadow doesn't quite work on the floor, So let's go ahead and extend the shadow out on the floor so that everything blends a lot better than it is right now. Okay. And make sure that we're on, uh, just the background. We don't need to worry about anything but those background layers to make sure that the shadow falls on the background just like that. And if this is a little bit too harsh, which I think it is towards the top of it, it's okay, just a just. And I think that this is really a good mind set to develop when it comes to editing. Because editing could be very brutal. It can be really hard. And in order to make it a little bit less daunting, it's really nice to think of it as individual little baby steps right now. The next little baby step is that the floor is too bright, so let's darken the floor down. Nice. All right. I think that for the sake of moving on, we're ready, Thio duplicate and merge all of our layers, which I will do now. I'm gonna come in here, take a look at this little spot where the rope hits the wall and this is one of my favorite things to do is to create a three D effect on something where there wasn't one, and this is such a great lesson because anything three D is that way because of light and shadow. There's a light that hits something, and then a shadow that's created when something is three dimensional. So that's what we're gonna do here is go into our Dodge tool. Make sure that we have just a tiny little Dodge tool exposure on mid tones, and we can keep it to somewhere in the 20% range. You just want to create a little half circle on the wall, right where it's going to go in just like that. Now that hit the rope too much. So let's back it up. Okay, in history, I'm gonna back it up and try again. This time, let's change the range to shadows and see if that helps. I'm also making it a little bit smaller, Um, just to make sure that we get the right there. I think that's gonna work a lot better. So let's go with shadows instead of highlights and making sure there's kind of like a little highlight there. Then we can go into the burn tool and exposure could be again in the 20% range and create a shadow on the other side. So the goal here is to create this natural fall off so that it almost looks like there is a bulge in the wall just like that same thing on this side, just wherever the lights coming from. In this case, from the left, I'm going to use the Dodge Tool on shadows to create a little bulge just there. And then I'm going to use the burn tool on the other side to create the shadow. There we go. So now we have these two little entry points on the wall, which I think is much more effective, so it really looks like it was there, Okay.

Class Materials

Bonus Materials with Purchase

Worksheets.pdf

Student Practice Images (large 1.9gb zip file)

buy this class

$00

Buy Class

Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

79.7K Students

99% Recommend this Class

00 Student Work

0 Video lessons in HD
00h 00m of class content
Exclusive bonus content
Lifetime access, anywhere, anytime
Streaming access on desktop and mobile browsers
Download and offline access with class purchase
Offline sync with our iPhone & iPad apps
100% satisfaction guarantee

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.

SEE INSTRUCTOR'S CLASSES

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

2,000+ classes ranging from fundamentals to advanced techniques.

Editing Composite Shoot #3- Advanced Compositing

Editing Composite Shoot #3- Advanced Compositing

Lesson Info

51. Editing Composite Shoot #3- Advanced Compositing

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

Editing Composite Shoot #2- Compositing Hair

Editing Composite Shoot #2- Global Adjustments

Editing Composite Shoot #3- Blending Composite Elements