Giving Your Audience Feelings

Finally, as far as storytelling goes, the best thing we can do is to make someone feel something. Right, I mean, if somebody doesn't feel anything when they look at an image, they're not very likely to interact with it, they're not very likely to care about it, and at the end of the day, they're not very likely to buy it. And we want to make sure that all of those things don't happen. We've got to make sure that do connect with it, that they do feel something toward it, that they want to buy it. Otherwise, I'm out of business. I know. It's like the craziest thing to talk about storytelling and talk about business at the same time. But we're doing it, I don't care. Introducing feeling visually is our job, in my opinion. Doesn't matte if you're photographing people, doesn't matter if you're photographing a mountain, what matters is that you make your audience feel. So what are ways that you can do that, visually. If you guys had to say. Well, the color is a big part of the feeling. E...

xactly. Evoking feelings, emotions, blues to warmer colors. Exactly. Yeah, they make a big difference. And lighting, I would say, is a big one. Something that we can all control no matter what type of image we're making, unless we're photographing black boxes. Even that I guess is something, absence of light. I feel like motion, motion is important. Yeah, motion is something, I mean, it's in the word emotion, so I feel like that's a pretty good clue. But it makes you feel like the person, the character, or someone is doing something actively, and that immediate draws you in to the story, which I think is probably the most important thing, that you feel like you're a part of that scene. So there are lots of ways that we can introduce emotion into an image. In this particular one, how does it make you feel, if you just had to say, immediately, just first reaction, how do you feel looking at this image, what would you say. Hopeful. Hopeful. Anyone else, or do you all feel the same. Sad. Sad. I like this game. (crowd laughing) Okay, so tell me why, each of you. Well, because she's holding the paint and the sky is red, I assume that she painted the sky, and I find that to be a really hopeful sort of thing, that you can change your surroundings to be whatever you want it to be. Great. I have to defend my choice now. I feel sad because I think the paint is dripping, and it's mute colors, even though the red is very vibrant, the rest of the scene is muted, and she's very muted, and she's walking away from the camera and I don't see who she is. Yeah. And I don't really know what's going on. So this was really interesting as an image. Because, I made it with those exact two things in mind. Okay? So I made thinking, I'm going to make an image that seems hopeful but has little details that maybe just takes you back from that for a second. And I'm not saying that there's a right or wrong, it's just what I wanted to do when I was making it. So I made this image, I had the paint dripping, which I thought was sort of creepy, just my opinion. And then something very interesting happened, which is that fires started raging across the United States and it was horrible and tragic, and I looked at this image totally differently after that. And I said, well what about my experience with an image like this, or how do we bring our experience into storytelling, and how might this image change drastically based on our experience. So maybe somebody whose just come out of that horrible thing that they've just had happen, they might look at this and say, well it looks like there's a wildfire burning. Maybe somebody else would look at this and say it's hopeful because she's creating her future, she's painting the sky. Maybe somebody else would say, yeah but that red is looking a little bloody, so maybe something terrible is going on here. Who knows. Emotion is not necessarily one thing. We should not aim to necessarily just say, this image is about this emotion, you should feel this way. No. We're using color, we're using light, we're using composition to evoke different things in different people. And so on with this images as well. Now we've got an image that looks very different from this one. Right, we've got oranges and reds to deep blues and sadness. I'm just gonna say it for you guys, it's not a happy picture. I don't think anybody would look at this, yeah this looks happy. And it doesn't look, I mean she looks kinda like a flower with the fabric moving, but it's dark blue tones, which already have this sort of sullen feeling to it, mixed with the way that her hands are positioned, it just looks very sad. And so this is a mixture of color and pose and editing to make it darker and more contrasty and gritty. And then this image, which I don't think that we can at all argue about the emotion that you feel with this one. I mean, I've had people come up to me, and like, were really genuinely upset looking at this image, people emailing me saying, I can't look at this, I hate that you posted this online. Other people saying, I hate it, but I love it. You know, different emotions from different people. I, this is my favorite image, perhaps that I've ever made, because of how viscerally emotive it is. And you don't even see a face. That's really important to point out. You don't even see a face. You don't have to have any particular thing to convey an emotion. It can be all about those elements that we put in to our work.

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

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

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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. :)

1,500+ classes ranging from fundamentals to advanced techniques.

Giving Your Audience Feelings