Photograph the Rabbit
Photograph the Rabbit
5. Photograph the Rabbit
Class Introduction03:01 2
Adding Fine Art Compositing to Your Business24:28 3
Background Plate Workflow22:54 4
Setting Up Studio for Shoot09:04 5
Photograph the Rabbit05:09 6
Mock Up of Rabbit in Photoshop™08:56 7
Photograph The Rabbit Costume34:34 8
Setting up the Studio to Shoot with a Green Screen03:41
Photographing the Child in Segments27:22 10
Photographing Hair in Motion29:46 11
Getting a Great Costume Shot11:21 12
Use Lightroom to Choose the Best Images13:07 13
Make Selections in Photoshop™15:08 14
How to Use Photoshop™ Brushes to Mask Out Images22:36 15
Crop Out & Add Costume to Rabbit27:41 16
Warp Techniques to Fit Costume to Rabbit20:31 17
Shading & Shadows on & Under Rabbit31:50 18
Change color of Rabbit Costume12:00 19
Remove Green Screen from Child Image08:22 20
Background Plate Workflow21:40 21
How to Create a Brush11:25 22
Add Layers to Create Full Looking Hair27:49 23
Add Shadows to Image05:57 24
Workflow: Group Rabbit & Child Images10:47 25
Match the Scene with Color05:31 26
Spill Light: Painting with Light to Blend09:46 27
Levels Adjustment Layers: Shading & Rim Lighting04:59 28
Finalize Image Workflow in Lightroom™08:36 29
Export Image in Different Formats15:44 30
Marketing Composite Photography to Clients17:13 31
Presenting Image to Client23:06
Photograph the Rabbit
I think we're ready for the live rabbit, so what I'll do is I'll turn this layer off, so we're hiding him. I'll go back into Lightroom, and now we're ready. So we want our white rabbit to be over that cross area, but one thing we will need before we pop that rabbit down is some gloves, because this will actually make it easier to cut out the rabbit and add a bit of fur. So by wearing white gloves while he's holding this little rabbit, or big rabbit, (laughs) he's quite large, wearing the gloves will help us to blend. Don't run away little white rabbit. (laughs) Now I'll say right now I haven't photographed a rabbit before, so this is my first experience, so I'm not exactly sure what she's going to do. Ideally, what I want is the legs to be dropped down and we'll just do it kinda like that, and I think what I'll have to do also is a couple of shots of the rabbit. So the rabbit's feet I'll photograph, and then I'll have the top half of the rabbit as a separate shot so that I've got a few...
options to blend together that work. Yeah, so I'll do it on the count of three, and then I'll get you to hold up your rabbit and have the legs drop down, sort of like she's running. It's gonna be a quick shot, so back to where I was, and one, two, three. (camera clicks) (camera clicks) (camera clicks) Excellent, and you can rest little white rabbit. We'll have a little rest, have a look at what we've got. So it's important to have your planning well in place because you don't want to draw out that process, with an animal, with a child, whatever you're photographing, you want it to be nice an quick. Now this shot here's quite good I think, we've got the rabbit with one leg up and one leg down, which will work really well for the running. The top half of the rabbit, because we were holding the rabbit up is a little bit sort of squishy, so I'm thinking I might even take a shot with her sitting on you, or just with less, I guess what I'm looking for is just a bit more free around the top. We're going to photograph the costume and have the hands separately, so I don't actually need the rabbit's arms, what I do need though is the rabbit's head nice and free and kinda looking around. So that's what I'm attempting to do, but she sort of needs to have the head up. So let's see what we can do here. It's a bit of an unknown at the moment. (laughs) (camera clicks) So I'm gonna take quite a few different shots and (camera clicks) (camera clicks) (camera clicks) (camera clicks) (camera clicks) I need to get up slightly higher because now the rabbit is up a bit higher, but that's okay, so I'm keeping the same perspective that I had before, and you know, I can move around even if I need to. I find with animals that you can't control, you need to be flexible and move to get the different angles. (camera clicks) (camera clicks) Okay, let's review what we've got. I think I may have got something in here, I want to see the eyes, I want to see the ears up. So loading through, some of those last shots I believe were. That one's not too bad. Yeah, I think we've got a couple there that will work quite well in the scene. You've gotta use your imagination (laughs) because here we've got two parts to it, so we've got the top half of the rabbit, the bottom half of the rabbit, and we're needing to blend that together, and then add a costume on.
Ratings and Reviews
I've found many great instructors at CreativeLive and Karen ranks right up there at the top! With her relaxed, thoughtful manner of presenting, I was immediately hooked. Her organization, clear explanations and demonstration, and on target response to questions are superb. This course covers an amazing range of skills and tricks of the trade. Whether you're interested in getting better shots to work with, better workflow at the computer, or better output at the end, Karen covers it all.
Karen is very talented and a great teacher and I enjoyed every minute of the course. But what I found to be the best part was seeing what an amazing person she is. The video of compositing the disabled children to make their dreams come true had me in tears. It has inspired me to use my talents to help others and not learn photo manipulation for self enjoyment. God bless you Karen.
This was such an amazing class! Karen is so talented, inspiring, and such an amazing teacher. Very forthcoming and open about all of her techniques. I'm so looking forward to jumping into compositing, I feel like this is definitely something my soul desires to explore and Karen has made it so easy and accesible through her beautiful course! Thanks so much Karen and CreativeLive!