Edit Details of Images


Fine Art Photography: The Complete Guide


Lesson Info

Edit Details of Images

I've got this image here, which was quite a funny picture to put together, not so much out of laziness like the last one, but this is a rather (laughs) shocking image to start, because I did it in my office and had just natural light coming in from the front, where I had a window and I could have done this outdoors of course, but there was no real need, because the end image was going to be in space and where you know, I don't really know where the best spot is to photograph somebody in space, except on a black backdrop with some sort of overall diffused light, unless you have a certain lighting structure, that you're trying to attain, but I did to just soft light, so I'll show you how this image was put together and some things are going to be a little bit funny, but we'll see how it goes. So I've extended the ladder upwards, that was the first thing, I wanted it to go either to the top of the frame or out of the frame, just so that it really moved through nicely and then I did my rea...

lly awesome technique of painting a color in the background, I sampled the color that was in this fabric, that I had and then I just started painting and this is what I was talking about earlier, I actually made a mistake in this image, that I would go back and redo, which was that I didn't have my hair on the black backdrop and I could not isolate my hair from that background, so I actually went in and just cut it out, I just cut around it, knowing that that was not something that people would be looking at in the image, it was sort of up and away, so that it didn't distract from anything and I do soften that later on, but it was a consideration after the fact and should have been before. So here we have this really funny thing, which looks like I just totally missed an entire piece of dress down here, I knew that that would be covered up, so I just drew a line all around my subject and this is an interesting case, because when you're thinking about how you wanna form your images, you're often thinking about color and I did think about color ahead of time, but I didn't have a dress that had the right feeling, except for this blue dress, so I ended up using it and went through quite a process to be able to turn it red, I don't know if any of you guys have ever tried to turn a really light color a totally different color, but it's super difficult to do and it takes a lot of patience with selections and coloring, so that's what happened there and then I have my clouds, so I've got the clouds and I obviously did not photograph them in outer space, I photographed them from an airplane, as one would and then simply, if you can sort of look at this Layer Mask here, I just erased at the back really lightly to blend those clouds in, so that it looked like it naturally faded into darkness and then we've got some shading here to make it look more believable, okay and then I've got my little star picture, I really need to photograph more stars, I think my constellations are getting a little bit predictable, so that's on my To Do list and then some more shading, so from here on out, you can see the colors are where I want them generally, very close to how the image finishes, so these are all finishing touches, which is texture, which I photographed and then all of these little things, that in some ways are very teachable, for example, why would you wanna do a vignette to draw attention to your subject, but others really have to do with your own personal style, one example is this second sort of coloring here, where I'm adding a color into the vignette, that you can see there, I don't know if that's obvious or not, but there's a red color that mimics the dress and those little, tiny details, oh, that's my little star, I love that little star, those little details make all the difference, so this was how the image ended and you can see it went quite a distance from where it started, which was in my office, looking very lazy, as they tend to do. And this image is one of my creepier pictures and we've looked at a couple of these already, so this is good just to be able to walk through this process. Compositing does not have to be so many elements put together, I think that it can easily be just a couple little things in the same space and this is a good example of that. So here we are with the main picture and you can see that I'm expanding my frame, so I took extra images, so that I had all of that, there's my (laughs) painted black, you can see a theme emerging here and these were extra pictures, that I shot, just adding them in to either side, okay and then you can see the beginnings of the rip in the back and all of these elements that you just saw are obviously not created in this order, so I did not go through and be like, hm, I'm gonna add in this shading, because I think that I'm going to put the rip in the back right there, no, what ended up happening was I put in this zipper situation that we have, as you can see it emerging and then I had to go below the zipper with my layers to create shadows, so that it only showed up on Layer four, if that makes sense and we'll talk more about this in just a moment. So if I continue on here, you can see lots of little, tiny changes, so many little changes and then we have the zipper mostly in place there and you can see little things, for example, look at my hand on this fabric, it doesn't look like it's really there yet, because there is no shading and that's why I wanna emphasize in Photoshop, that I would say that at least half of compositing is knowing how to create shadows, because that is what makes something believable or not, so I'm just creating the shadows under my hand, creating that believable look and as we go, you can see it becomes more and more believable, based on the shading, so this is a really good image to look at for that and again, these are little steps, that aren't as teachable as other things, but when you see this happen, you see that I'm sort of painting right over all of the fabric down at the bottom, because it was really distracting, 'cause it's the brightest thing, it has a lot of contrast, so I'm just literally painting over that to get rid of some of that contrast. Okay, and then we have some color changes and some highlights coming in and this was, I think the most important step in this image, which was desaturating everything but the skin underneath, one, because it furthers the concept, because if it was like this, then it's not quite believable, you don't really see the separation, but the concept is really aided by these changes here, because this skin is now looking old and disgusting and the skin underneath it looks new and fresh, you get a different perspective of what might be happening here, sort of a shedding of the skin situation. So I'll just zoom through the rest of these changes, which are now all cosmetic from this point on, brightening, darkening, shading, all of those fun things, we've got the texture, which always will come at the top, you'll usually see that at the top of my Layers, because it's one of the last things that I do and then I get a little bit indecisive and I make a few more changes and then it finishes there. So any questions on this one? It's pretty straightforward, when you start to peel back the layers, but you can see how many tiny, little thoughts go into creating that photo.

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.


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


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. :)