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Posing for the Story

Lesson 25 from: Creating a Fine Art Series

Brooke Shaden

Posing for the Story

Lesson 25 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

25. Posing for the Story

Brooke will photograph three different poses, each one changing the story of the image, to demonstrate how pose can alter the viewer’s perception of the series.

Lessons

Class Trailer
1

Class Introduction

07:25
2

Overview of Brooke’s Journey

20:13
3

Your Timeline is Nonlinear

05:37
4

Using Curiosity and Intention to Build Your Career

03:26
5

What Factors Dictate Growth

08:24
6

Organic Growth vs. Forced Growth

05:18
7

Niche Branding

04:57
8

Brooke’s Artistic Evolution and Timeline

24:27
9

How Can You Get Ahead if You Feel Behind?

10:02
10

Ideation and Conceptualization to Identify Meaning in Your Art

05:54
11

Idea Fluency

10:33
12

How to Represent an Idea

07:01
13

How to Innovate an Idea

07:07
14

Creating a Dialogue With Your Art

05:48
15

Conceptualization For a Series vs. a Single Image

03:43
16

Transforming a Single Image Into a Series

03:12
17

How to Tell a Story in a Series

03:28
18

How to Create Costumes From Fabric

07:20
19

Brooke’s Most Useful Costumes

02:19
20

Using Paint and Clay as Texture in an Image

02:56
21

Create Physical Elements in an Image

10:22
22

Shooting for a Fine Art Series

05:45
23

Conceptualization: Flowery Fish Bowl in the Desert

04:08
24

Wardrobe and Texture

04:54
25

Posing for the Story

05:32
26

Choosing an Image

01:23
27

Conceptualization: Rainy Plexiglass

11:34
28

Posing for the Story

04:17
29

Creating Backlight

02:37
30

Photo Shoot #1 - Creating a Simple Composite

17:51
31

Photo Shoot #2 - Creating a Dynamic Composite

06:31
32

Photo Shoot #3 - Creating a Storytelling Composite

07:40
33

Shooting the Background Images

06:14
34

Editing Samsara Shoot #1 - Working With Backgrounds

24:35
35

Editing Samsara Shoot #1 - Retouching the Subject

04:20
36

Editing Samsara Shoot #1 - Color Grading

02:45
37

Editing Samsara Shoot #1 - Floor Replacement Texture

15:24
38

Editing Samsara Shoot #1 - Final Adjustments

03:21
39

Editing Samsara Shoot #2 - Cropping and Editing Backgrounds

05:25
40

Editing Samsara Shoot #2 - Selective Adjustments

03:55
41

Editing Samsara Shoot #2 - Adding Texture + Fine Tuning

03:21
42

Editing Composite Shoot #1 - Compositing Models

06:58
43

Editing Composite Shoot #1 - Expanding Rooms

02:17
44

Editing Composite Shoot #1 - Selective Color

02:47
45

Editing Composite Shoot #1 - Selective Exposure

04:04
46

Editing Composite Shoot #2- Masking Into Backgrounds

10:45
47

Editing Composite Shoot #2- Creating Rooms in Photoshop

06:11
48

Editing Composite Shoot #2- Compositing Hair

05:07
49

Editing Composite Shoot #2- Global Adjustments

04:49
50

Editing Composite Shoot #3- Blending Composite Elements

05:00
51

Editing Composite Shoot #3- Advanced Compositing

08:46
52

Editing Composite Shoot #3- Cleanup

03:34
53

Materials for Alternative Processes

06:20
54

Oil Painting on Prints

05:41
55

Encaustic Wax on Prints

03:09
56

Failure vs. Sell Out

05:14
57

Create Art You Love and Bring an Audience To You

03:35
58

Branding Yourself Into a Story

05:40
59

The Artistic Narrative

05:26
60

Get People to Care About Your Story

03:36
61

Get People to Buy Your Story

11:36
62

Getting Galleries and Publishers to Take Notice

03:41
63

Pricing For Commissions

06:43
64

Original Prints vs. Limited Edition Prints vs. Open Edition Prints

02:11
65

Class Outro

01:00
66

Live Premiere

16:14
67

Live Premiere: Layers of Depth 1

04:41
68

Live Premiere: Layers of Depth 2

07:12
69

Live Premiere: Q&A

16:10
70

Live Premiere: Photo Critique

47:33

Lesson 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

Worksheets.pdf
Student Practice Images (large 1.9gb zip file)

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!

Søren Nielsen
 

Thank for fantastic motivating an very inspiring. The story telling and selling module was very helpful - thanks from Denmark

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!

Student Work