Lesson Info
25. Posing for the Story
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
Posing for the Story
Okay, So I'm gonna take my camera over here to get in front. We haven't talked about pose yet. So that's what I want to talk about. Next is how we compose for the story here. And I think we're going to try a few different things. One of the things that we want to try for the pose is toe look really like you're just so worn out like you just don't You're dying of thirst of, like, the whole world dying around you. So we'll try something kind of on your side and just kind of hunched over like this. And if you need to hold the bowl, we hold the bowl, and if it can hang, then it'll hang. And, you know, we'll just see how it goes, and it's OK. Either way, it doesn't really make a difference. Okay, I'm going to rotate it, if you don't mind. There we go. Cool. Okay. All right. Oh, I love this pose just as it is. So I'm going to go ahead and captured that and, uh, let you know my settings here. So I am shooting with a Sony a seven or four on a 24 to 70 millimeter lens. And this is my go to came...
ra because it has so many pixels in it. So many megapixels. So I can shoot and print really large with this camera, and that is very ideal when it comes to selling prints. I'm on my to 70 for versatility right now so that I just have a little bit of wiggle room when it comes to getting further away or not. And I have been shooting a lot of Samsara on the 24 millimeters side of things to get a little bit of distortion just a little bit, which I think is adding to the abstraction of the Siri's. I really am digging this, so I really like it and I'm gonna take my first shot once I get it off my remote setting. Here we go. And what I'm noticing is two things. We've got a little too much clay happening on this whole side of your body, so I'm going to grab the sponge and you can relax. And if you need to take that off your head, you feel free. You know, you just get comfy. Don't worry about the flowers and I'm going thio dab some of the side of you because I think it's a little too thick. And once we get some of that, we can try the pose again. The sponge works wonders, though. Okay, Hendon depress against you. All right. That looks really good. I'm sorry. Is that hurting you and all the sponge? Okay, Alright. So let's take a shot like that. It's creating amazing texture. Perfect. Yes. I love love. Love this pose. Awesome. Okay, so this this looks pretty close to my vision. I'm just going to adjust my settings. So I'm adjusting my settings to be I'm at 2/50 for my shutter speed F 3.2 and isso 12 50. And that looks good to me. And I'm just gonna really play up the angle here by getting really low. So I'm gonna go as low as I can for the shot, which I love, because the angles of Anna's body are excellent right now. Super interesting. Okay, so now let's try a slightly different pose. And this time, let's go for almost something more hopeful. So instead of looking down this time, I want to kind of look up so you're really looking up to the sky and your hands can hold. That's exactly it. Oh, this is why I love working with models. It never happens. I'm always alone. This is so great. Okay? And I'm going to keep that low angle because I think that's working really well for this particular shot. Awesome. Can you bring the front of the fish bowl down so that it's covering your chin? Yeah, Exactly. Perfect. Oh, I love it. Okay, now we're gonna try one more post here, and what I'm doing is I haven't settled on the story of this image yet. I'm trying to figure out Is this image super sad where she's hunched over or is there hope So I've got varying levels of sadness toe hope So let's do something on your knees a little bit more. We're really coming up exactly. And oh, yeah, that's perfect. And then I'm gonna have you keep your legs where they are, But then twist your upper body that direction exactly like that. Oh, yea. Okay. Oh, it's so good. Okay. Um, can you take this front? Leg your knee toward me more? There you go. Exactly. Perfect. Okay. Very cool. Let's relax
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