Fine Art Photography: The Complete Guide

Lesson 23 of 138

Additional Materials to Attract Clients

 

Fine Art Photography: The Complete Guide

Lesson 23 of 138

Additional Materials to Attract Clients

 

Lesson Info

Additional Materials to Attract Clients

Shifting gears slightly here, in your ideal world, if you could just make your own perfect world, where to you want your images to end up? Really, I mean, they could go anywhere. Right? You could be like, you know what? I want my images to end up on this wall at Creative Live. Well, how can we make that happen? It doesn't have to be something that's already been done. It can be something totally new, something unique, something that you've just thought of. And oftentimes those are the best ways to work, aren't they? Because you're not trying to do what other people have done. You're just going out there and making it up. So what's going to attract that client? What is it that's going to attract the person that is going to put your work where you need it to go? I mean, aside from being a street artist, and you go out there and you just put your prints wherever you want them on the sides of buildings. Who is going to help you do this? What is attracting that particular client? I want to ...

talk about ways that you can attract that client. So, very specifically, what is that client interested in? Exactly what are they looking for? Put yourself in their shoes. And how do you want to reach them? What is authentic to you? We'll talk about that in just a moment. This is a question that I think we don't ask ourselves enough. Is your art actually a good fit for that client? Or are you forcing something that just doesn't quite fit? It's like Cinderella, with the shoe? And you've got this glass slipper, and all the step sisters are trying to slam their foot into it, and its just not made for them. Because their foot doesn't fit the shoe. So they have to either make a different shoe, or move on. And that's what we have to do as artists. If our work doesn't fit a specific medium, my work is terrible for book covers. Let's say that they were super crowded and distracting to look at and didn't have enough room for text and were not croppable, but I was like, dernit, I'm gonna get my work on a book cover. Then I either need to redesign how book covers are designed, by maybe not doing anything to the picture and just adding a solid space for text above, or I need to move on and say, okay my images just don't fit on book covers. So I need to find a different way of achieving my goal, which is to could be anything. Could be to have your work associated with stories, it could be to license your work. But maybe it just fits in a different format. So always think, is your art actually a good choice for that client? And what makes it a good choice? How do you know, exactly, if its going to work out? Of course one is, yes you can always just try. You can always just try and see if they like it, see if it works, and I would never discourage that, ever in a million years. That's why I have a career, cause I just started emailing people and hoping that it worked. But it doesn't always work. So how can you start to tune into when something is going to fit? I would argue that, for example, resolution is something to consider. Literal resolution of your images. If you want billboards in Times Square, is your art good enough? Is your art literally big enough to put on a billboard? Maybe yes, maybe no. Maybe you start to create for that particular thing. Sometimes smaller works are better. I've been into galleries that only show teensy tiny little prints. I even went to one gallery where they had magnifying glasses hanging next to each one. That's their thing. Their thing is you take the magnifying glass and you look at the work, and that's what they sell. Would your photos work for that? Could you be in that gallery that only shows tiny little works? Does it fit, does it work? Maybe yes, maybe no. Text placement, et cetera, we've talked about that a bit already. Then we've got what additional materials would your client be interested in. Maybe they would wanna see behind the scenes things. Maybe they would wanna see, gosh what else is there? Videos of your process. Maybe they would wanna see an artist statement. Maybe they would wanna see poetry. What else could they be interested in? What would they wanna see? This is about diversifying your content. Really taking what you do and saying, okay, yes I create art. And some people will stop there, and that's okay. Some people will say, you know what? I'm an artist. And to me that means I just do what I want. I'm not interested in diversifying my content. Fine. Because there are plenty of people who have put their work out there without any explanation, no words to accompany it, no videos of how they did it, nothing. And they go to amazing places with their art. But then there are others of us who that has not happened to. Where we didn't just put our work on Facebook and suddenly we're millionaires. (laughs) Unless, did that happen to you guys? Oh, me neither. So okay, I get it. So diversifying your content can be super important. So like I said: artist statement, showing your props in wardrobe, for example. This is an interesting one. Sometimes when I have exhibitions, if I've used an interesting wardrobe or prop, sometimes I'll actually put that in the gallery space and show people and say, Look! We created this dress, and it was really hard. And this is what came of it. And here's the picture that it was in. And don't you think that' more immersive of an experience for people? When they can be like, oh wow! That's the actual dress that's in that photo! I have been to so many exhibition openings where I've said to people, Oh yeah, I'm the person in that photo. And they're like, whoa! They can't believe it. And then they're so much more likely to engage with that image. Once they think that something is really interesting about it that they didn't know before. These are just a couple of examples of my personal ways of having accompanying materials for my art. So if somebody were to contact me and say, hey, I'm interested in a photo of yours. I would love to know more about your prints. Well, boom! I've got this graphic that I can send them that tells them about my prints. So I have pretty much all the essential information: what type of a print it is, what paper it's on, what sizes, additions and prices, where its signed, things like that. So they know. They know all the information. And its just a really quick, simple way of sharing that. Then I've got this one where if somebody contacts me and they're like, Brook, I'd love for you to speak at this event! Boom! I've got this graphic. Which this one doesn't actually say much of anything. But there are a lot more pages to it, I promise. I've got graphics, and I think its really good to have these things prepared. Even if you're sitting there, like, I've never even had a client. I don't even need these things, because who am I gonna send it to? Well trust me, its really good to have, really good to advertise with, and it makes you look so professional, right? If a gallery comes to me, and I send them this, if they're like, hey, I'm interested in showing your work. And I'm like, Boom! I've already got this made. And here it is. And I'm responding one minute after you've sent that email. Well, I love doing that. But people think I'm crazy. People always write back like, you have time to write to my email? And I'm like, oh no. That was a mistake. Have you ever done that? I don't know. So anyways, its really good to have things like this that you can send to people. And I highly recommend it.

Class Description

Creating a great photo for a client is one thing - but turning your passion and ideas into a series that is shared, shown, and sold is a whole different business. If you do it right, you’ll be shooting what you love all the time. Learn how to choose which ideas to create, how to turn your concept into a production, and steps to getting your work seen and even sold in Fine Art Photography: A Complete Guide with Award-Winning Photographer, Brooke Shaden.

This is an all-inclusive workshop that provides the tools you need to run a successful and creative business as a fine art photographer. You’ll learn creative exercises to find and develop your ideas, how to create an original narrative, how to produce your own photo series, post production techniques and skills for compositing and retouching, how to write about your work, ways to pitch to galleries and agents, and how to print your pieces so they look like art.

This workshop will take you on location with Brooke as she creates a photo series from scratch. She’ll walk through every step for her photo shoots including set design and location scouting, she’ll cover techniques in the field for capturing your artistic vision, post-production and compositing techniques, as well as printing and framing essentials.

She’ll round out this experience by discussing all of the details that will help make your career a success like licensing, commissions, artists statements, social media plans, gallery prep, and pricing your work.

This comprehensive course is a powerful look into the world of fine art photography led by one of the world’s most talented photographers, Brooke Shaden. Included with purchase is exclusive access to bonus material that gives exercises and downloads for all of the lessons.

Lessons

  1. Class Introduction
  2. Storytelling & Ideas
  3. Universal Symbols in Stories
  4. Create Interactive Characters
  5. The Story is in The Details
  6. Giving Your Audience Feelings
  7. Guided Daydream Exercise
  8. Elements of Imagery
  9. The Death Scenario
  10. Associations with Objects
  11. Three Writing Exercises
  12. Connection Through Art
  13. Break Through Imposter Syndrome
  14. Layering Inspiration
  15. Creating an Original Narrative
  16. Analyze an Image
  17. Translate Emotion into Images
  18. Finding Parts in Images
  19. Finding Your Target Audience
  20. Where Do You Want Your Images to Live?
  21. Create a Series That Targets Your Audience
  22. Formatting Your Work
  23. Additional Materials to Attract Clients
  24. Which Social Media Platforms Will be Useful?
  25. How to Make Money from Your Target Audience
  26. Circle of Focus
  27. The Pillars of Branding
  28. Planning Your Photoshoot
  29. Choose Every Element for The Series
  30. Write a Descriptive Paragraph
  31. Sketch Your Ideas
  32. Choose Your Gear
  33. How to Utilize Costumes, Props & Locations
  34. What Tells a Story in a Series?
  35. Set Design Overview
  36. Color Theory
  37. Lighting for the Scene
  38. Props, Wardrobe & Time Period for Set Design
  39. Locations
  40. Subject Within the Scene
  41. Set Design Arrangement
  42. Fine Art Compositing
  43. Plan The Composite Before Shooting
  44. Checklist for Composite Shooting
  45. Analyze Composite Mistakes
  46. Shoot: Black Backdrop for White Clothing
  47. Shoot: Black Backdrop for Color Clothing
  48. Shoot: Black Backdrop for Accessories
  49. Shoot: Miniature Scene
  50. Editing Workflow Overview
  51. Add Fabric to Make a Big Dress
  52. Edit Details of Images
  53. Add Smoke & Texture
  54. Blend Multiple Images Into One Composite
  55. Put Subject Into a Miniature Scenario
  56. Location Scouting & Test Photoshoot
  57. Self Portrait Test Shoots
  58. Shoot for Edit
  59. Shoot Extra Stock Images
  60. Practice the Shoot
  61. Introduction to Shooting Photo Series
  62. Shoot: Vine Image
  63. Shoot: Sand Image
  64. Shoot: End Table Image
  65. Shoot: Bed Image
  66. Shoot: Wall Paper Image
  67. Shoot: Chair Image
  68. Shoot: Mirror Image
  69. Shoot: Moss Image
  70. Shoot: Tree Image
  71. Shoot: Fish Tank Image
  72. Shoot: Feather Image
  73. View Photo Series for Cohesion & Advanced Compositing
  74. Edit Multiple Images to Show Cohesion
  75. Edit Images with Advanced Compositing
  76. Decide How to Start the Composite
  77. Organize Final Images
  78. Choosing Images for Your Portfolio
  79. Order the Images in Your Portfolio
  80. Why do Some Images Sell More Than Others?
  81. Analyze Student Portfolio Image Order
  82. Framing, Sizing, Editioning & Pricing
  83. Determine Sizes for Prints
  84. How to Choose Paper
  85. How to Choose Editions
  86. Pricing Strategies
  87. How to Present Your Images
  88. Example Pricing Exercise
  89. Print Examples
  90. Licensing, Commissions & Contracts
  91. How to Keep Licensing Organized
  92. How to Prepare Files for Licensing
  93. Pricing Your Licensed Images
  94. Contract Terms for Licensing
  95. Where to Sell Images
  96. Commission Pricing Structure
  97. Contract for Commissions
  98. Questions for a Commission Shoot
  99. Working with Galleries
  100. Benefits of Galleries
  101. Contracts for Galleries
  102. How to Find Galleries
  103. Choose Images to Show
  104. Hanging the Images
  105. Importance of Proofing Prints
  106. Interview with Soren Christensen Gallery
  107. Press Package Overview
  108. Artist Statement for Your Series
  109. Write Your 'About Me' Page
  110. Importance of Your Headshot
  111. Create a Leave Behind & Elevator Pitch
  112. Writing For Fine Art
  113. Define Your Writing Style
  114. Find Your Genre
  115. What Sets You Apart?
  116. Write to Different Audiences
  117. Write for Blogging
  118. Speak About Your Work
  119. Branding for Video
  120. Clearly Define Video Talking Points
  121. Types of Video Content
  122. Interview Practice
  123. Diversifying Social Media Content
  124. Create an Intentional Social Media Persona
  125. Monetize Your Social Media Presence
  126. Social Media Posting Plan
  127. Choose Networks to Use & Invest
  128. Presentation of Final Images
  129. Printing Your Series
  130. How to Work With a Print Lab
  131. Proofing Your Prints
  132. Bad Vs. Good Prints
  133. Find Confidence to Print
  134. Why Critique?
  135. Critiquing Your Own Portfolio
  136. Critique of Brooke's Series
  137. Critique of Student Series
  138. Yours is a Story Worth Telling

Reviews

April S.
 

I tuned in for most of Brooke's lessons in this course and watched some of them more than once as they were rebroadcast. First I want to say that Brooke is a very good instructor. Her easy-going, friendly, down-to-earth, somewhat quirky manner cannot be mistaken for unprofessional. She is very prepared, she speaks well (not a bunch of hemming and hawing), she is thoughtful, she is thorough, she is very relatable and at ease, and she is definitely professional in her presentation. I really thought when I first tuned in that it would mostly be background noise while I was at work, sound to keep me company. Not because I didn't like Brooke but I really didn't think I was into fine art photography nor did I think I cared about the business side of things much. Not now anyhow. I was really wrong. Brooke sparked a deep interest in me to delve into fine art photography, to consider creating images for myself, from my imagination. In fact, I realized that this was something I'd been thinking about for a couple of years though I hadn't put a name to it (the idea of creating pre-conceived images based on my own creative goals). I gleaned many little treasures from her about image sizes, working with printers, different types of paper, selling, interacting with galleries, and so much more. I may not need all of what she taught right now because I'm definitely headed in another direction at the moment, but she planted ideas and information in my head that I know will be useful at some point. Things I may not have thought of on my own, but that seed is in my head now so when the time comes, I'll know. I'd really like to buy her course but at the moment, with the holidays right around the corner, it's not in my personal budget. I'm grateful to have caught the live and rebroadcast lessons though, and her course is on my list to own. I think it's a great reference to be consulted over and over again, not watched once and forgotten. Kudos Brooke for really putting together an excellent course.

Ron Landis
 

I'm retired now, but spent decades in the people and training business. Brooke is extraordinary! Even though this course is extremely well organized and she's left nothing unattended, she moves through it with friendly conversational manners and without a sense of it being stilted. It's as though we are all her friends, not students, as she shares her heart and passion with us. What a joy it is to listen to her. And what a clear, unambiguous command of her subject. Wow! She explains it with such ease using explanations and techniques that won't overwhelm artists just starting their portfolio or the Photoshop-squeamish among us; but despite its simplicity her resulting art is breathtaking and beyond original. I wish more of my professors at school were as engaging. This was by far my best buy at Creative Live yet.

a Creativelive Student
 

What an amazing 20 days this is going to be! Brooke is so enthusiastic and has such a lovely manner. What a bargain for all of the information Brooke will be sharing with us. So excited. Thanks Brooke and Creative Live. :)