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Adjusting Images With Composite Shots

Lesson 26 from: Fine Art Conceptual Photography from Shoot through Post-Processing

Bella Kotak, Pratik Naik

Adjusting Images With Composite Shots

Lesson 26 from: Fine Art Conceptual Photography from Shoot through Post-Processing

Bella Kotak, Pratik Naik

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Lesson Info

26. Adjusting Images With Composite Shots

Next Lesson: Color Theory


Class Trailer

Class Introduction


Artistic Vision and Inspiration


Personal Projects


Creative Motivation and Defining Your Story


Organizing Your Inspiration


Building A Character


Creating Wardrobe and Props


Location Scouting


Lesson Info

Adjusting Images With Composite Shots

How is the view? That's beautiful. Right? Yeah, those files are beautiful. Look at the smoke. And you can see her peeking through, and what we could also do is take her face and apply it to one of the-- Beautiful, and let's have you change it up a little bit more. You can do whatever you want at this point. In fact, you know what? We're gonna have Christina sort your unicorn crown a little bit because it's going off. And in case it does happen we can also fix it later. Yes, so I feel like I'm confident that when Christina adjusted her crown earlier, there's actually a picture of her crown so if I like an expression in one photo and her crown is all askew, then I'll just grab that crown from another photo. And we're gonna take a shot of that crown independently as well, just to double check. Well, I think we can just go through the files and see, okay. But these shots are beautiful. I'm very happy with what we have. I have a feeling the final photo is going to be som...

ething that's got all the greenery down there as well as like bits of smoke as well. It's going to be really evocative. And very different. So, again, we were saying that not everyone has, you know, access to a scene like this, but you can make it at home can't you? Like, it's not too difficult. It costs, I think Tania you could tell us a little bit about it if you wanted to? Yeah, it's basically a one by three lumber frame so, you know, 99 cents a stick at the lumber store and some chicken wire and then a piece of burlap on top of that and then the original, I mean the live greens are the most expensive part. So there's a layer of fake stuff at the base and then there's just two day's worth of wiring greenery onto the chicken wire. So it's labor intensive but not that expensive or difficult. So yeah. Brilliant! Thank you so much! You're welcome. Yeah. And then the fog machine is something you can always rent as well. So really, don't feel like a beautiful picture is out of your grasp or out of your reality when really, it really was as simple as some chicken wire and some greenery. Right. Okay, right. I'm gonna try and get this picture. We've got the, right. Let's do this. One, two, three. Last few shots let's get some expression. Lovely. You can change your hands. Let's get some options here. Beautiful. And change them again. Beautiful. And change them again. And turn your body this way. Good girl, you got this. Wonderful, and you can close your eyes for that one. Beautiful. And one more time. Let's just change it again. Bring your arm, like keep it soft and gentle, all together. Lovely, and lovely. And let's change it one more time. This time keep your eyes open and your head up. You're doing very well considering this isn't a very natural pose to begin, is it? (laughs) Okay, one, two, three. Wonderful, drop both your hands down now. This time just have them down a bit more, further, bit further, and yeah. Eyes closed and head up. Lovely. At that point I'm thinking about lines leading up. If her arms are down, we're following them up aren't we? Turn your body a bit more in. Let's see, let's actually curl your body in. We've got a couple more minutes and we're going to try to curl your body all the way in. So bring them up a bit more. Your legs a bit more higher. There you go. Beautiful and let's see how that looks. In fact, do you know what (mumbles)? Yes? Could I quickly get you to bring that dress in where her ankles are? Here? Yeah, so bring it in. See this bit over here? Yes, just there. Like that? Not too much. Just bring it out again. A bit more. Okay. So leave it like that. All right. Yeah, pull it in and look up. I love that! You can see I'm having some fun now, right? See we're getting some options for our final photo. Yeah. Beautiful! Great, and we've just got the last few shots. Bring your other hand in. Oh, actually I really like that. You can stay exactly as you are. You can keep your eyes closed. Let's do that. One, two, three. Fantastic! And Casey, we're gonna set of a smoke bomb. If you want to bring that in a little bit more. Curl your legs in, I love it. Yes, that's it. I really want you to feel you're cocooned, you know? Great! Christina, if you're there, quickly grab some of that foliage and just wrap it around her shoulders 'cause I can't come down. Thank you so much. Yeah. Just any loose foliage, just make wrap it around, come over her body just a little bit more. There you go. Okay. Perfect. Whatever you ladies can manage. Now that's too much actually. (laughter) Just cover her all. Okay, (mumbles). Yeah. I like that. Yeah, that's much better. There you go. Thank you. Okay, one, two, three. Go. Wonderful! Close your eyes. Fantastic! Wonderful. Okay, alright. You can bring that other hand in now. Your left hand. Yeah, there you go. One, two, three. Alright! Great! All these photos of smoke, I can bring them into the final photo that I decide to use. So we're basically not looking at the whole frame itself but using the smoke to compose it. Yes, so as I use it I look at the face, I look at the hands, I look at the body, and I'm looking at the lighting, and they don't necessarily have to be in the same photo. So, I don't know if that makes sense but essentially what I am trying to do is keep an eye on the elements of the photos that I really like and make sure that I have them in individual photos even if I don't have them in the same photo. If I don't happen to catch them in one photo, not a big deal, I'll catch them in another photo and I know that I can bring them back into a final picture when I composite that photo together. Later in post production. So basically, you might decide that you like a curled up photo for the body and that you like an expression from another one because she was in the same general location, we can take that expression and build that photo so that we then later can look at the smog and put that as a final piece of expansion. Yes, and the lighting has stayed consistent and the angle of her face has stayed in the general area where it should really need to be as well. Okay! Perfect. Last shot for luck and we're done? Okay, last shot. One, two, three. All done! Yeah. Thank you very much. (clapping)

Class Materials

Bonus Materials with Purchase

Practice PSD File - Sleeping Beauty
Pratik Naik Retouching Actions
The Royal Collection - Fine Art Actions
Practice PSD File - Location Shoot (~700mb)
Practice PSD File - In Studio Shoot (~1.3gb)

Ratings and Reviews


Great class and great instructors. Genuine and informative. Practical tips to create stunning images. Seeing them work through the process from shoot to finished image was great and I loved that they shared the thought processes behind the creative decisions. Definitely recommended!


Truly a remarkable duo. Bella is so down-to-earth and humble for a photographer with such a strong beautiful and ethereal voice. Her explanations of her process really inspired me--I was sketching concepts throughout the class. Pratik's process really opened my eyes to "smart" retouching--understanding what can be done in fewer brush strokes and slimmer PS files. All in all a really unique and inspiring class that makes me excited to realize my next conceptual shoot. They're also adorable together!

Mai Her

I've gained sooooo much from this I can't even contain my appreciation and excitement! So much inspiration and so much generous advice and tips to help me! Thank you so much Bella and Pratik and Creative Live!

Student Work