Now I want to also fix this arm up because I think that was a bit thick. Azaz. Well, I'm just doing the same thing. Selecting it just like I did for the leg, right? Clicking and feathering 50 pixels seemed okay and then choosing a curve adjustment layer, making it darker and adding contrast. And that looks so much better to me. See how much more texture you see in this arm, which I particularly like because of all these little cracks that you see in the skin, which is what I was going for. I really love that. So taking a fresh look again, what do I see? What looks good. Um, I noticed that I still don't really like how much the leotard stands out. So let's just practice. This is the next step to get to where I wanna be. I'm just every single time I do a single adjustment, I pull out and I say, What's the next thing that needs to happen? Okay, so I'm going to select the leotard all around her because I want to make it a little bit less bright. Let's see if we can achieve it. And if not t...

otally fine. It's just the next thing that might look good. We'll keep it with 50 pixels curves, same thing as the leg in the arm. But this time we're going the other way. We're gonna actually brighten it up just a bit now. If you go from the mid tones as I'm doing, it's going to Brighton everything up, which I don't mind. But let's try going a little bit from the shadows. So you see how it's softening everything so that the black points aren't really is black anymore. Then maybe we'll bring up from the mid tones as well. And when you turn that off and on, it made her body actually stand out a little bit more so that there is something that we see inside of this, and I think that's really exciting. Another thing that you might do to smooth the transition here is to create a new layer and to use your brush tool and just select the color of whatever you're trying to blend on top and see if you could just go in with a low opacity to get rid of that transition there, so just in option and as you're painting. You can also change the mode. So, for example, if I click on Darken and then I start to paint, it's going to affect whatever is darkest there. So that's another kind of good way to go if you're looking to just sort of blend one thing into another. I just took my opacity down so that it's a little bit less harsh, but you can see what that did. Just that layer there created a softer transition between the skin and the body suit, and I'll worry about that more a little bit later. But right now I want to focus on two things. One is the color super important right in this whole Siri's, and the other one is how much the leaves and the flowers stand out. Right now, I am in love with the way that they look. Let's zoom in and take a look this pink and orange and yellow. They all go together in this amazing transition that fits pretty well with the color theme that I have going on in Samsara, so I'm probably not gonna mess with that too much. I wanna preserve it, knowing that the Onley area that I really want color in is inside the glass bowl. I'm going to select the glass bowl. Just like again. Not not very perfectly. Just select around it. Right? Click and feather. Well, do 40 pixels. Maybe this time, Uh, yeah, I think that'll work. Okay. And I'm going Teoh, right? Click and select in verse. Now, I am going into huge saturation for an adjustment layer. Let's back out here so we can see the whole image and let me reset our view. So we're not crooked, alright? And in that hue saturation, I'm gonna take down the saturation of everything. But inside that bowl and what this is doing is it's eliminating any color that was outside of that. There wasn't a lot to begin with in terms of really saturated colors, so we don't have a huge change here, But it's enough. It's taking away the warmth of the skin. It's taking away the blue of the leotard that came out. Um, and it's just neutralizing everything. And I really like doing this because now I'm going to add color back on top of everything

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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 Samsara Shoot #1 - Retouching the Subject

Editing Samsara Shoot #1 - Retouching the Subject

Lesson Info

35. Editing Samsara Shoot #1 - Retouching the Subject

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