How to Choose Editions


Fine Art Photography: The Complete Guide


Lesson Info

How to Choose Editions

So editions this is where things start to get fun because you get to really mold your process now and how you're going to offer your prints and exactly what your business will be like. I think it's really exciting at least. Hopefully you do too So you can have open editions or limited edition prints And this is just a choice that you'll make. So an open edition will be more affordable in general whereas a limited edition will be more expensive. And hopefully that's pretty obvious as to why, if you have an open edition meaning you can sell as many prints as you want at any sizes that you want You're never limited well then they're not special as much as a limited edition where you're not going to sell more than a certain amount so I shouldn't have said special that was really the wrong word they're very special either way because it's your image. But they're not as what's the right word give me a word for limited that's not saying rare thank you okay they're not as rare so that's why th...

ey're more affordable. And then the opposite is true of limited edition the more you limit your edition meaning you're limiting the number of prints that will ever be out there in the world it's going to be more expensive for that naturally. So then the number of editions this is a little bit confusing now, so we're moving into the confusing realm of editioning and pricing but the first choice is open edition limited edition and maybe already you guys are like I know what I wanna do I know the direction I'm gonna go in. Do any of you guys feel like you don't know you're just like nah I have no idea which one I want to do and that's okay, that's okay let it digest a little bit, and even I would really suggest going into galleries or spaces where prints are sold and seeing is this artist selling open edition prints or limited edition and what price point are they at and is that sustainable for me because the more you have open edition prints you're probably gonna have to hustle to sell larger quantities of them to make the same amount that you would for a limited edition print. Just something to consider when you're thinking long term about making a living from selling your prints. So the reason why I say this is confusing is because we're not only talking about open versus limited we're talking about the number of editions okay so if you have open editions and you're like I'm doing open edition I don't care I'm going to sell as many as I want in as many sizes as I want then what I have written below here does not matter. Cause you're not doing limited editions but if you want to if that's a consideration for you, then you'll want to think about how the larger number of your edition size I'm gonna make this very clear in just a second the more affordable it will be. So if I have this image right here and this is my one of my ten inch prints and I have this hanging on a gallery wall to sell, this is an edition of 15 meaning that I will print this exact image at this exact size 15 times and no more than that. So that's my edition number here 15 on this size print. So if I have 15 available that might have a lower price point versus the same exact print at the size where you're only selling five of them. So the larger the number of the edition, the more affordable the print is for the art buyer. The smaller the number the more expensive it is. And golly we're gonna talk about this even more. So these are my editions and my sizes and you can see that here. 10 inch print edition of 15, 20 inch print edition of and it keeps going down as the size gets bigger which is really standard here to have the bigger the print the smaller the edition size on that print. And the idea being that if it gets bigger you should be able to put a higher price tag on it and the way that you're helping yourself do that is by having a smaller edition size. This is all very difficult for me to wrap my head around so hopefully it's not difficult for you and you're doing okay there at the end of the day if we go back to this framed print here if I were to sell this image in all of my sizes lets just say I miraculously sold out of every single edition that I have at every single size that would mean that I will have sold 37 prints of this image okay. So it's not only important to think about your sizes of your editions here individually but also what is it add up to to the total size or I'm sorry the size of the edition so that's 37 for me. So for my general works I will sell 37 of this image at various sizes to sell out of that image completely. And that's a really important thing to think about which I completely overlooked when I was setting my editions You know when I was getting my advice everyone just said oh just set it by the sizes and I had four sizes and I chose numbers that seemed reasonable and then I had a portfolio review where I sat down with a gallery and she said do you realize that you offer 37 prints of this image and I was like nope I did not ever think about that even once and I regretted not thinking about that I regretted that I didn't take into account what those numbers add up to because I probably would have lowered my editions slightly but again the good thing is that when you put out a new body of work you can change your editions for that new body of work and that's always something to think about. So for my new series I have the two sizes and my eight inch size is editioned out of three and my 42 inch size is editioned out of two it's a total of five prints in case anyone can't do three plus two five prints total for every single image in that series. And that's very much limited from 37. Which is quite a large number especially if you have a high volume of prints that you offer which is a totally other thing to consider when you're editioning is do you have a small portfolio of images that you offer for print or do you have a huge portfolio of images that you offer for print? And it can be really hard to limit yourself in terms of what you offer for print because if somebody emails you and they say oh I saw this image way in the depths of your social media and I really wanna buy it it's not gonna be easy to say oh I don't offer that one for sale because the only reason why you're not is simply to limit the number of prints that you offer in the long run. So that can be a little bit of a test of willpower I think to say no to people if they want to buy a certain image but it is something to consider in terms of how you're pricing your work is how rare are my images not just with the edition number but how many total images am I offering to print for people? So something to consider.

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. :)