Skip to main content

How to Prepare Files for Licensing

Lesson 92 from: Fine Art Photography: The Complete Guide

Brooke Shaden

How to Prepare Files for Licensing

Lesson 92 from: Fine Art Photography: The Complete Guide

Brooke Shaden

most popular photo & video

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

92. How to Prepare Files for Licensing

Lessons

Class Trailer
1

Class Introduction

19:06
2

Storytelling & Ideas

27:34
3

Universal Symbols in Stories

03:19
4

Create Interactive Characters

02:16
5

The Story is in The Details

04:13
6

Giving Your Audience Feelings

05:49
7

Guided Daydream Exercise

04:20
8

Elements of Imagery

02:19
9

The Death Scenario

01:47
10

Associations with Objects

03:01
11

Three Writing Exercises

06:39
12

Connection Through Art

30:35
13

Break Through Imposter Syndrome

07:40
14

Layering Inspiration

23:13
15

Creating an Original Narrative

07:42
16

Analyze an Image

04:12
17

Translate Emotion into Images

04:31
18

Finding Parts in Images

06:02
19

Finding Your Target Audience

04:05
20

Where Do You Want Your Images to Live?

12:01
21

Create a Series That Targets Your Audience

32:43
22

Formatting Your Work

06:08
23

Additional Materials to Attract Clients

07:24
24

Which Social Media Platforms Will be Useful?

04:17
25

How to Make Money from Your Target Audience

11:27
26

Circle of Focus

07:55
27

The Pillars of Branding

06:18
28

Planning Your Photoshoot

09:05
29

Choose Every Element for The Series

07:38
30

Write a Descriptive Paragraph

09:37
31

Sketch Your Ideas

17:27
32

Choose Your Gear

02:50
33

How to Utilize Costumes, Props & Locations

26:18
34

What Tells a Story in a Series?

13:06
35

Set Design Overview

01:43
36

Color Theory

19:50
37

Lighting for the Scene

12:05
38

Props, Wardrobe & Time Period for Set Design

06:00
39

Locations

04:31
40

Subject Within the Scene

07:26
41

Set Design Arrangement

05:46
42

Fine Art Compositing

03:46
43

Plan The Composite Before Shooting

10:29
44

Checklist for Composite Shooting

18:52
45

Analyze Composite Mistakes

12:11
46

Shoot: Black Backdrop for White Clothing

10:42
47

Shoot: Black Backdrop for Color Clothing

08:36
48

Shoot: Black Backdrop for Accessories

08:17
49

Shoot: Miniature Scene

09:59
50

Editing Workflow Overview

01:57
51

Add Fabric to Make a Big Dress

08:35
52

Edit Details of Images

08:09
53

Add Smoke & Texture

10:47
54

Blend Multiple Images Into One Composite

24:58
55

Put Subject Into a Miniature Scenario

17:55
56

Location Scouting & Test Photoshoot

22:10
57

Self Portrait Test Shoots

22:30
58

Shoot for Edit

04:21
59

Shoot Extra Stock Images

10:01
60

Practice the Shoot

25:07
61

Introduction to Shooting Photo Series

03:33
62

Shoot: Vine Image

10:40
63

Shoot: Sand Image

09:50
64

Shoot: End Table Image

04:59
65

Shoot: Bed Image

06:18
66

Shoot: Wall Paper Image

05:54
67

Shoot: Chair Image

08:02
68

Shoot: Mirror Image

06:57
69

Shoot: Moss Image

05:48
70

Shoot: Tree Image

07:33
71

Shoot: Fish Tank Image

04:09
72

Shoot: Feather Image

09:00
73

View Photo Series for Cohesion & Advanced Compositing

07:35
74

Edit Multiple Images to Show Cohesion

36:55
75

Edit Images with Advanced Compositing

29:33
76

Decide How to Start the Composite

09:35
77

Organize Final Images

21:37
78

Choosing Images for Your Portfolio

08:19
79

Order the Images in Your Portfolio

16:28
80

Why do Some Images Sell More Than Others?

16:03
81

Analyze Student Portfolio Image Order

11:42
82

Framing, Sizing, Editioning & Pricing

02:19
83

Determine Sizes for Prints

16:44
84

How to Choose Paper

13:56
85

How to Choose Editions

07:18
86

Pricing Strategies

18:59
87

How to Present Your Images

13:26
88

Example Pricing Exercise

09:39
89

Print Examples

08:23
90

Licensing, Commissions & Contracts

04:44
91

How to Keep Licensing Organized

06:07
92

How to Prepare Files for Licensing

07:28
93

Pricing Your Licensed Images

12:33
94

Contract Terms for Licensing

12:07
95

Where to Sell Images

04:55
96

Commission Pricing Structure

08:23
97

Contract for Commissions

12:17
98

Questions for a Commission Shoot

08:45
99

Working with Galleries

08:58
100

Benefits of Galleries

07:39
101

Contracts for Galleries

10:32
102

How to Find Galleries

05:22
103

Choose Images to Show

08:53
104

Hanging the Images

03:38
105

Importance of Proofing Prints

08:04
106

Interview with Soren Christensen Gallery

21:59
107

Press Package Overview

04:35
108

Artist Statement for Your Series

18:20
109

Write Your 'About Me' Page

09:04
110

Importance of Your Headshot

03:55
111

Create a Leave Behind & Elevator Pitch

20:19
112

Writing For Fine Art

04:44
113

Define Your Writing Style

14:49
114

Find Your Genre

06:41
115

What Sets You Apart?

02:25
116

Write to Different Audiences

05:10
117

Write for Blogging

39:57
118

Speak About Your Work

14:21
119

Branding for Video

07:37
120

Clearly Define Video Talking Points

14:27
121

Types of Video Content

31:45
122

Interview Practice

13:22
123

Diversifying Social Media Content

22:32
124

Create an Intentional Social Media Persona

24:48
125

Monetize Your Social Media Presence

18:46
126

Social Media Posting Plan

04:01
127

Choose Networks to Use & Invest

02:57
128

Presentation of Final Images

19:13
129

Printing Your Series

09:16
130

How to Work With a Print Lab

13:39
131

Proofing Your Prints

10:11
132

Bad Vs. Good Prints

03:32
133

Find Confidence to Print

10:50
134

Why Critique?

06:55
135

Critiquing Your Own Portfolio

10:39
136

Critique of Brooke's Series

16:18
137

Critique of Student Series

40:07
138

Yours is a Story Worth Telling

02:09

Lesson Info

How to Prepare Files for Licensing

High resolution JPEG is typically what I will send my clients, unless they ask for something else. A lot of people, shockingly, when they license images don't know a lot about file types. And they don't know why I would send them a .TIF, or how they can use a .TIF. So it's just really good to have a standard file type and size that you will send to your clients. If they ask for something else, give it or don't give it. I've had people ask for the original PSD files with all the layers, in which case I'm gonna want to know exactly why they need that because they should not need that. There was one interesting case for a book cover that I think I have here, where the publishers had asked if I had the layered file for this because they wanted to add her hand over top of the lettering here. And they thought, well, if she's on a separate layer then they can do that really easily. And I wrote and said she's not because she was really there in that space. But they just thought if she was comp...

osited in, that would be nice and easy to just plop the letters underneath her hand. That did not end up working out. And I have many more stories to tell about this as well, but not until later. As for sizing goes for what you're going to send your clients, I will typically just send the standard size that it's in. If my pixel count across the longways is 5616 pixel, then that's usually what I'll send them. Unless, I will say, unless it's only for digital use. I tend to think that if you have, let's say you're selling an album on iTunes and you want a graphic for your iTunes album cover, maybe to put as a graphic somewhere. There's really no need why you're going to have to have a 25-inch photo for that, there's just no need for it. So I'll usually size those images down for those clients who are only selling digitally, depending on the use. Sometimes, I sell images for backgrounds for websites for certain launches. And in that case, I'll size it bigger to fit the scale of the website, so then there's nothing weird, grainy, stretched, pixelated, anything like that. But I try to limit my size for digital use because I trust nobody, I trust nobody. I have had some bad experiences where I've sold images to a magazine, and I think that it's gonna be in print. And whoops I forgot to ask, it turns out it's only online and I've sent them these giant files. And then, there they all are to be downloaded by anybody who clicks on that magazine. So it's really kind of rough out there in the digital world when you're selling your images digitally. Just something to keep in mind, I will often send two files to my clients if they're doing print and digital. I'll send them one full-sized JPEG for print, and then another one that I'll say, "Please only use this for digital use." And this is something that you might want to put in a contract because if you don't, then they really don't have to do anything that you say, which is not good. So here is the expectation of your client when you're selling a digital file. They're either going to receive a high resolution file. So if they're not, for whatever reason, you need to be very upfront about that. And I have had files before where I make the deal, I say, "Great, I'm gonna send you this file." And then I realize that I don't even have a high resolution file of that image for whatever reason. Because of the great computer crash of 2009 or because of whatever reason I just don't have it. So you always want to be really upfront, and know exactly what you have to offer before you move forward with any deals. Then they're going to want to know that they can use that image in connection with promotional materials. And this is something that often we as the person selling the image might not think about. You know, you might think, okay, we've got a book cover, and I'm gonna sell this image for this book cover, and that's the only place it's gonna go. But if you think about it they need to sell this book, so they're gonna need to put this work out there in many different places, not just the book cover. So it's really good that they know that you know that they can use that image for promotional materials and things like that. And if you're uncomfortable with that, well, this is on your terms. You don't have to send that image. So you change the terms based on your expectation as well. We're gonna talk about exclusivity, and this gets really complicated, as we've already sort of dived into. Exclusivity is based on, in my opinion, these three things more often than anything else. Region, so are you selling to somebody with exclusivity in a certain region of the world. Sometimes it's really small, like just a city. Sometimes it's really big, like an entire continent. Just depends on what they want. How long they get that exclusive license for. One year, two years, three years, infinity, however long. And the medium, so is this going to be on an album cover? Is this going to be on a book, a movie poster, a ballet poster, whatever it might be? Make sure that you know those three things. All right, so if you're selling a digital only image. An image that you are selling to somebody who's not going to put it in print for any reason, this is typically what I'll do. I'll make sure that the pricing is lower because they're probably not going to have a wide distribution. If you think about a music artist who has a big label, and they're gonna put their album out to everywhere, in Target or whatever it is, then yeah, they're probably going to have a really big budget to be able to buy that image. If a band comes to me and they say, and this is always the starting line. "Love your work, but I don't have any budget." Which is key for like, okay, this is probably gonna be a digital run. Then, they're not gonna probably be able to afford a really high-priced image. So generally speaking, pricing is lower for digital only distributions. The resolution is limited, for me. You might choose otherwise, maybe you don't care if you have high resolution files out there. And I know many people who don't care about that. But if you do, I tend to send a 1200-pixel out there to them. I still keep it at 300 DPI, and that's about a 4-inch print. So if somebody were to download that image, they couldn't really print it that big. So it's probably a more manageable fraud situation [laughs] than something else which, oh, the bigger it is the worse it is in my opinion. So that's typically what I do for digital only releases. And then for print only, the pricing will often be higher because they have a budget to print that work in whatever medium it is. And the resolution is unlimited, so I'll send them the highest file size that I can, and that's usually pretty good. I've actually had people email me and say, "I don't know how to use Dropbox, "just send whatever file will fit through email." And I'm like, "Oh boy, where is this going." [Laughs] But aside from that, it's good to send that unlimited size.

Class Materials

Bonus Materials with Purchase

Guided Daydream & Writing Exercises Workbook (Lessons 1-11)
Creating an Original Narrative Workbook (Lessons 12-18)
Finding Your Target Audience Workbook (Lessons 19-27)
Planning Your Series Workbook (Lessons 28-34)
Set Design Workbook (Lessons 35-41)
Compositing Workflow Checklist (Lessons 42-49)
Editing Workflow Checklist (Lessons 50-55)
Location Scouting Workbook (Lessons 56-60)
Stock Image Downloads for Practice (Lessons 61-72)
Organizing Your Portfolio Workbook (Lessons 77-81)
Pricing & Editioning Your Work Workbook (Lessons 82-89)
Writing Contracts & Licensing Images Workbook (Lessons 90-98)
Gallery Best Practices (Lessons 99-106)
Pitch Package Workbook (Lessons 107-111)
Writing Your Brand Workbook (Lessons 112-117)
Marketing Workbook (Lessons 118-122)
Social Media Workbook (Lessons 123-127)
Printing Methods Checklist (Lessons 128-133)
Self Critique Workbook (Lessons 134-137)
Bonus Materials Guide
Syllabus
Image Edit Videos

Ratings and 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.

Angel Ricci
 

When the title says comprehensive, it means comprehensive! I loved every part of this course. It's inspirational, motivating, and insightful towards creating art work. Even if you are not necessarily considering a fine art specialty, the concepts discussed in this course are applicable to many areas! I find this super useful as a videographer and photographer and look to apply all of these exercises and concepts for my personal and business work moving forward. It is lengthy, but you will not regret a single minute. Brooke Shaden is an amazing artist and educator. I recommend keeping up with her work, presentations, and any future courses that may come in the future.

Student Work