Okay, so I feel really good about that set of images. That was all One image. Essentially. So we've got the main shot of the candles, and then we've got the dress on. We've got the hair and that's it for that shot. So now I'm going to do my full hair picture. And I just mentioned that I, you know, you gotta obey the laws of physics. Hair wouldn't be standing straight up, right? But if you are knowingly bending the laws of physics and you are positive that that's what you want to do because that's the surreal part of your photo, then go for it. So for this picture, my hair is gonna be spread all the way around, Uh, the backdrop here, which will be a wall eventually. There's a little trick to this, and that is that either I need to take my main shot with my hair pulled up so that I get a really clean neck. I wanna make sure that you see my neck, because if I take a picture of myself standing like this, but then in another shot, my hair is up like that, it's going to make no sense So that...

's what I am trying to dio is to make totally sure that it makes sense. So if you're bending the laws of physics, then you have to still figure out if it's going to work to the person's mind, that's viewing it. Let's go see if we can get our main shop for the hair pictures, and this is going to be, ah, little bit more challenging to get that main shocks. I won't just be standing still. My hair is going to be moving, but we'll see how it goes, all right, I'm just going to stand as though this is a wall, because it will be eventually and it's pretty sturdy. But it moves, so as long as I don't crash into it, it should be okay. I do want to make it look like my hair is climbing up the wall, so I wanna make sure that my hair connects with the backdrop when I flip it up. This is going to be really important for natural shadows that will fall on the backdrop later on and editing. So I don't have to recreate that because when you think about compositing often you think about shadows. Something in an image is not grounded. It doesn't look like it's really there unless there it's creating a shadow somewhere on the surrounding. So I wanna make sure that the hair is touching the wall and it's creating natural shadows. So let's see about this official Maine shot. I'm going to go from the side, Okay? We'll see how that looks. Now. That was not, um, particularly good is a main shot, I think so. We'll call that a test shot because I wasn't really posed, and I can see that I have some motion blur here. So I'm going to adjust my settings to go up from 2 50 for my shutter speed, going to go up Thio 400 here and take my eyes so up to compensate to about 2000. So let's do another shot. And the problem with what I just did was that I wasn't posing my body. I was just focused on the hair, and this is the difficulty of self portraiture is that you have to think about all the different components at once, so I think I'm going to try one more time. But I'm going to try to pose my body how I want it. I need to think about what that's going to be. So I want my arms out. Do I want them in? Do I want TEM hidden? What am I going to Dio? So I'm going to try to keep my arms in so that they're hidden to start and we'll just see how that looks. And I caught my hair in my armpits, so I'll try again. We'll see. Okay, we got one decent shot, maybe even two, so it looks pretty good. I'm going to a just a couple of things. I'm gonna keep my feet together because my feet were definitely not quite so graceful in that shot. So I'm gonna make sure that I keep my feet together and we'll try again. This time, I will keep my arms out, or at least one so that there's a little bit more context of the body and reset the camera, and it's going to do this a few more times. Okay, Now, what I'm not doing very well is getting my hair to hit the backdrop. So I'm gonna really fling it this time. I'm not gonna worry about my body as much. Did you see how it really hit that time? That's what I want. And we'll do it from the other side because we're going to create a big fanning effect. Okay, let's check those. Oh, they look good. And I think we have enough to cover the entire area. So I'm pretty happy with ease. The only thing that I didn't get is one really good leg shot. So I'm going to try to get one perfect leg shot, which should be easy, because I just have to stand there, and then we should be pretty well finished with that that image. So I'm going to just tiptoe here with my really dirty feet, okay? And maybe I'll get some dress while I'm at it. I like to just get us many shots as I can when I think of it, because you never know when you're gonna want to use it. Might as well pose my feet at the same time. Okay, I think we got it. So that's going to be image number two

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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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Photo Shoot #2 - Creating a Dynamic Composite

Photo Shoot #2 - Creating a Dynamic Composite

Lesson Info

31. Photo Shoot #2 - Creating a Dynamic Composite

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