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
03:14 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
Live Premiere: Layers of Depth 1
So I'm going to move on to this image. And I wanted to show you just a little breakdown of the editing of this because I start each image with with an image that doesn't necessarily work. It doesn't necessarily fit into the Siri's yet. It's just a raw image, right? So this is the probably the funniest behind the scenes photo ever. I Okay, so, listen, I was in my garage. I painted my face with red paint, which did not come off very easily at a pink face after that. And I had my husband just pour paint over my face. I had this black piece of fabric and I cut a hole in it and I just stuck my head through. And that's why I looked like a cone head here because I didn't really cut it as well as I could have. I think so. It just made my face of really weird shape. Oh, it's so funny. Okay, so that's what I did. And then you'll see these different images pop in because I shot different, um, faces and they were all red. You can see. Okay, so I've got, like, the basic structure of this image the ...
most unflattering image ever. But roll with it because the Siri's is meant to be grotesque. Okay? And eso I got it all structured, all lined up, and then I d saturated everything because I wanted to create this really natural sort of like the color of my skin dripping off of me, which is so disgusting. But I love it. And then I just allowed the center one to be read. And this image is all about death masks and the practice of making a mask of your face. Either after you die or before your diet, you're quite posh, so that is the inspiration for this image. And I'm just putting all the layers back on because, as you can see, it's becoming more and more yellow more and more in alignment with this color palette that you see here. And that's why I have this grid of images for every Siri's that I make. I always put every image into a grid so I can see the images next to each other so that every single one of them I can see how they flow, how they work. If the colors air right and then I adjust from there. So that's how I created this image moving on to this one. This wasn't much simpler edit, but I want to show you the nuances of how these things can work sometimes. So here we have the subject laying in a bunch of roses that I went out and got for this purpose and e d saturated and I opened her eyes even more because I thought I was going to go with open eyes for this picture. Well, spoiler, I didn't, so I closed them. I ended up adding different eyes on there, and I loved this image, but it obviously doesn't work yet. If you go back and look at this, it just doesn't fit. And the reason was that I had all this extra stuff that you could see so it wasn't dark. She's wearing her normal clothes. Didn't want that to be the case. So I started to put a bunch of different elements in Thio, essentially get rid of what I didn't want to see and then enhanced the colors and the darkness so that it was cohesive within the Siri's. I might have edited this image differently if it wasn't for the Siri's. So that's how it ended and people say all the time. How do you know how to edit something for the Siri's? Well, this is how I put it into this context. And I say, Is it different enough yet still fit within the context of the work? So Final One that I wanted to share here is I've got this really funny sort of before image where I'm just laying down nothing exciting happening. Close my mouth and then we're going to see again that darkening of the surroundings. I'm a fairly lazy shooter. I don't mind saying it so darkening in Photoshop. And then I took a picture of a bowl that I had in my house to create this, um, little round of my neck there, which is so bizarre, but it worked really well and then same thing on the other side just to create this open vase type of look here, and I loved making this image for the Siri's. The whole Siri's is about, um, death and grief, and this image is inspired by the idea of a reliquary. A reliquary is a vessel that holds a relic, so I wanted to show the reliquary being the human body and the relic being nothing, that the soul has already left the body.
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