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Fine Art Photography: The Complete Guide

Lesson 106 of 138

Interview with Soren Christensen Gallery


Fine Art Photography: The Complete Guide

Lesson 106 of 138

Interview with Soren Christensen Gallery


Lesson Info

Interview with Soren Christensen Gallery

Speaking of galleries, we have got a lovely gallery here, to talk to us. And by here, I mean through the internet. So, I am bringing in Leslie Spillman, who just runs the show at the Soren Christensen Gallery in New Orleans. And I have been represented by the Soren Christensen Gallery for the last probably four years, or so, maybe even a little bit longer, and have a wonderful relationship with them. And it just seemed like the perfect choice to bring Leslie on, and ask her a few questions about galleries. Because, I am not a gallery owner, and so let's talk to somebody who is. So, let's talk to Leslie. Ah! Hi! Hi Brooke! Oh! (laughs) It's so good to see you. Thank you so much, for doing this. Thank you, for having me. Oh, I'm so pleased. And everyone is going to be so excited, to hear what you have to say. It's just really, really an honor that you're gonna be here to talk to us about all these questions, that we all are dying to know the answers to. So, if your ready, I'll ju...

st jump in. Go for it. Okay. So first question. How frequently do you look for new artists? Okay, so I feel like my answer to this question might be a little unique to my specific gallery. But, we have 35 artists currently on our roster, which is a really giant roster of artists for any gallery, I would say. So, to be honest, we don't go seeking out new artists very often. We have a sort of a core base, that we've had for many, many years. We do always review submissions and occasionally make room for the right work. Or, occasionally we find something, usually on social media, like how we found your work, that we simply can't live without. And then we will seek out that artist. But, truthfully, we don't go looking all that much because we have so many artists already. Okay, cool. Well, that's really good to know. And I think that a lot of emerging artists, are often a little bit hesitant to reach out to galleries, for the reason that your explaining. Which is, there is already a core group of artists with that gallery. So do you ever put out the word saying that now you're looking for submissions, or do you go to portfolio reviews, or anything like that? We do occasionally do some portfolio reviews. In fact, for PhotoNOLA of this year, I'm one of the people doing the portfolio reviews. I would say for artists who want to approach galleries, I think it's really smart, even if there's a large established roster. Or even if they seem to work with the same artists year in and year out. I think it's important to familiarize yourself with the roster of the gallery that your submitting to. Every gallery is different. Some galleries like a lot of similar work, or they have their own niche. You know, very contemporary, or highly representational, or all photography, or not much photography. I think you should be aware, because typically it's one person, like myself, or two people that sort of are responsible for the general aesthetic of the gallery. So I think you want to make sure that your work isn't in stark contrast to that aesthetic. That's great advice, and echoes what we've been talking a little bit about here. So, thank you. If you receive a submission from somebody, what information do you prefer to receive? A website link, images attached, CD, bio, etc.? Sure, a website is awesome, because a website tells me a lot of things. That this is an artist with their stuff together. Also, everything that you're talking about, a CD, a statement, great examples of the work, maybe even previous installations. That's all gonna sort of be contained within that one site. So if you have a website, and you've got it together, that's your number one tool, as an artist reaching out to a gallery. I will always look, I will open JPEG's, I will do some googling, if there's not enough information there, if I'm interested in seeing. But it's always great to have everything kind of right there, contained. And it also just makes you look really pro. And especially this day and age, with the sort of accessibility of website building tools. I feel like for emerging artists, that's the most important thing. You need to have your website together. That's great. I feel like I just learned a huge lesson right now. Because I was just thinking, oh, I could add this to my website, oh, I should add this. So, that is, oh, that was so good! Also, one more really important point, because it's the thing that when I do have this conversation, when I'm responding to submissions. If I'm interested, the very next question I'm gonna have, and it seems tacky, but this is a business, we need to know what price point we're looking at. So, if I fall in love with your work, and then I get your price sheet, and everything is $10,000 to $20,000, that might make the decision easier for me, you know. So I think it's important to let a gallery know, when you're showing them the work, at least a range of the price point. Because they're going to want to know. Yeah, good. And we just did lots of work today, didn't we, with pricing? So that is perfectly timed advice. So if you are looking at portfolios, if your at a review say, what makes a portfolio stand out to you? I think... overall, there are nice things that you can have that make a portfolio appear very slick. But the number one thing, I mean font and layout and all of that is great, but you really need to have faithful images of your work. If you're a photographer, obviously, this is easier, but you wanna make sure the resolution is ideal and all of that. But a lot of times, otherwise good submissions or work that you can tell... I've been in this business 15 years, so I can tell with crappy images, even if their crappy images, if something is actually probably really great in person. But it's a great way to get yourself passed over, if you don't have good faithful images of the work. And here at the gallery, it's pointless for me to put images on our website, of works that I know look nothing in reality like the paintings. It's the number one indispensable tool for selling your work, is quality images. Number one. But, also, I would like to see something that I don't see all of the time, you know. And the easiest way to do that, is to really focus on your own voice as an artist, and really make sure that that comes through. What sets you apart, from other things that I might be seeing? I will tell you candidly, we get submissions every single day. We get them in the mail, we prefer digital. But we get them daily. So it's really important, to think about how you might stand out. I get that, it's important! I think the number one way to do that is with really good work, and great images of that work. Yeah, do you think that you would prefer to see images that are more polarizing, that have a bolder, really just expressive opinion about something? Or, something that's a little bit more, accessible to a wider audience? You know, I think that really depends on the work. Because, some things are not for everyone. And like I said, we have 35 artists on our roster here. I have artists who sell very, very well and quite frankly, are easy to sell and can kind of go anywhere, and do have a bit more mass appeal. My favorite work that we represent, is some of the work that's a little harder to sell. Somethings that are darker, or edgier, or make you think, or make you feel emotion. I would say, whatever is most gratifying to you as an artist, that's what you should pursue. I think it's also important, maybe, to have a range. So if you do have a series of work, that is a little moody, or edgy, or stronger, or highly political, that you also have an ability to show another side of your artistic yourself. And we have artists who work in multiple series, that are ongoing, that do that very thing. Interesting. So would you say that you would put an emphasis on an artist having a cohesive series, or just a cohesive body of work, that wasn't necessarily made for a series? Yeah, I would say for sure emphasis would mean a nice, concise series is wonderful. But I think a broader range, of really good work, that's cohesive, is preferable. I can speak from curating, our PhotoNOLA exhibitions for example. Each photographer that I've worked with, has had, like yourself, has had multiple series that they work in. Or there's like a lot of images to choose from. And when it comes to that, when there's lots of different series, I think it's kind of nice to show the range of what an artist can do. So a lot of times, I'll select multiple works from each series. But I think, you know, you can't understate how important it is to at least have one really good series. So, rather than have a lot of different things, if it's not a really strong body of work altogether, I would say focus more on really one good series. Because, really, you're gonna be showing a body of work anyway, rather something that's more retrospective. Neat. So, if you had to say, this is a big question, but what do you think is one of the biggest pitfalls among emerging artists? You know, I thought a lot about this, and I think one of the biggest pitfalls is not understanding the relationship between the gallery and the artist. Commodifying one's work can be a real icky, and uncomfortable thing, for an artist. I say this as an artist myself. So it's really, and a lot of artists I find, prefer not to have to think about that money aspect, right? And so it's in this way, that the gallery and the artist really have this wonderful symbiosis. But I think it takes a lot of trust, from the artist and the gallery, to sort of be able to step back, provide the work, and then sort of relinquish some of the control. And trust that the gallery really knows what they're doing, in terms of the business side of things. Yeah, that's great advice. And that's what we're hoping to focus on during this class as well, is just bridging that gap between the gallery, that seems so far away and so difficult to attain. How do you work with them, and how do you know you're doing the right things? So we're definitely gonna keep talking about that. I would also say too, that the number one biggest downfall beyond that sort of navigating that relationship, is presentation. And I'm sure you've been speaking about that a lot. I can't tell you how many times I've seen really beautiful work, that just has such simple craftsmanship issues, like framing, and things like that, print quality, that really detract from the sellability, and the overall beauty of the work. And I think a lot of times, because emerging artists are usually working under budgetary constraints, and things like that, you have to be really careful and sometimes creative, about how you can present your work and make it look as high-end as possible. I like that. So if you had to give a quick tip, sorry I'm going off script, but. Nah, for sure. Can we get a quick tip about what is an easy way that an artist can make their work look a little bit more high-end. Would you say, just keeping the framing simple? Or, what do you think about presentation? Definitely simple framing. A frame goes a long, long way, and I would definitely not overdo it. And every artist has different ideas about what ideal framing is. But you have to think about making it as, sort of, widely appealing as possible. But you also don't want your framing to distract from what is being framed, which is the most important part. So, do think that the photographic medium is harder to sell than others? I will tell you, decidedly, yes. Photography, and we represent lots of different media at this gallery, photography is definitely a hard sell. Any photographer who has worked in the medium professionally, or in a gallery setting, or has even, unfortunately, spent a lot of time talking to other artists who work in other media, there is a perception sometimes that photography, when it comes to value, that it doesn't have the same value. Especially photographs involving humans, involving the figure. I don't know what that is, it's a very strange thing. It's the same thing really with paintings too. Paintings with the figure are harder sell, than maybe abstractions or landscapes, or whatever. But, photography is definitely a harder sell, for that reason. And I don't know if it's the idea that there can be multiples of something. I'm not really sure exactly what it is, because some of the photography that we have is some of my favorite work. But people either are about fine photography, or their not. And there are a lot more people who will put up the money for a canvas, or a sculpture versus a photograph. And it's regrettable, but it's true. Yeah, I mean, I feel it, I know that. And I know all the other photographic artists that I've talked to, have said the same thing. So it makes sense, in some distant way that's really sad to all of us here. But we get that. It's like a respect for the medium. I don't really know what that is, and I've experienced some real snobbishness from other artists, about this sort of medium in general, of photography. And I think also the accessibility of digital photography in the last few years, has kind of added to that, idea, that perception for people. So would you then say that a series or body of work that is more physically intensive, or maybe has some alternative process done to it after the printing, would have an easier sell or better value to it, potentially? Yeah, potentially. But you also, and I think in this day and age a lot of photographers, because there are so many amazing photographers really pushing the limits of the medium. So I think that kind of creativity definitely helps. Just for an example, we have an artist, who was our PhotoNOLA artist last year, who does beautiful, sort of, old world looking prints. And she presents them without glass. She does a matte varnish directly on the surface of the print, so that they can be presented without glass, and her backgrounds are very, very dark or black. And she always felt like that sort of reflective glass kind of took away. And we got so many comments about the presentation of that work, and people coming in and asking. It gave them a sort of a painterly quality. People would come in and ask, "Is that a photograph, "is that a painting?". And she did very, very well. I will say this though. There are plenty of collectors of photography who are definitely purests, and film is not dead. But also, just more traditional photographic presentations. I think there are still people who are purests in that sense, who really want more traditional photography. That's good to know. I mean, I've often heard that galleries say, that if you can present your work really traditionally, and really simply, then that's often going to be an easier sell, than if you're trying to do things to it, just for the sake of selling. Right, really jazzy mounting styles, and like alternative shapes, and things like that. I'm with you, I think simple is best. I think whatever you're gonna do, do it as cleanly and with the best possible craftsmanship. When you're collecting artists for your roster, do you tend to choose artists because you love them personally, or more so, because you're thinking about the collectors that you already have under your belt, that are coming in? I will tell you, it really kind of takes all kinds, it's really both. Like I said, we have a very, very large roster. And I'm pretty aware at this point, of what our client base will respond to, and what they won't. So a lot of the time we are looking at work thinking, obviously we're not a museum, we're trying to sell these, thinking can we sell these, and who can we sell them to. But that's not to say that we don't ever break that rule too. I have an artist that we started representing about six years ago, who was completely different from anything else that we had, which actually will really attract me to work. And I thought to myself, I don't think we have any clients that will buy this work, and that turned out to be true. But the wonderful thing that happened, is that artist brought in a whole new client base, that we did not have. Because the work was really beautiful, and really unique and different. So, for us, although some galleries seem to be different, for us, we just don't like redundancy in the roster. I would prefer to have a little something for everyone. We have seasoned talent, emerging talent, we have photographers, traditional 2D painters, sculptors, installation artists. We've really tried to go for diversity in the roster, because I think that's really how you make the most sales. Rather than focusing more narrowly on one type of work. It makes sense to me. So then, when an artist is approaching you, what do you expect that artist to already have, in terms of experience, in terms of number of images that they're bringing to the table? So, experienced doesn't matter as much if the work is strong. In fact, pretty much nothing else matters, if the work is really strong. So, I would say, you wanna have a nice body of work. If we're talking a photographer, I heard you say earlier about ten images per show, and that's a great number of images. But I think, for an overall body of work, you wanna have more, obviously, than what you would be sending for a show. I would say at least 20 or 30 images, for that gallery to consider. Yeah, that's great. We've been talking about narrowing our portfolio to 30 really strong images, so that's perfect. Yeah. We will continue to try to do that as the class goes on. So before I say goodby, any final words of wisdom that you would like to leave us with? Yeah, I think it's really important for artists to be confident in their work. I think it's really important for you to know the value of your work. But know it really well. I think another mistake that emerging photographers make is with the pricing of their work, either pricing it way too low, which can really be as counterproductive as pricing it way too high. And I think that it's a little difficult, especially for a lot of artists, like I said, commodifying one's work is kind of an icky thing. And you almost have to be able to separate yourself a little bit, once you make the work. If you decide you wanna be an artist who sells in a commercial space, I think it's really important to kind of, obviously, you wanna keep a connection to the work, but also... relinquish a little bit of control to the gallery, and let them do for you what they should do. Great, thank you so much Leslie. It was such a great honor Thank you Brooke. to talk to you. I'm so grateful. I appreciate it. Yeah, thank you, so much! So, gosh, galleries. There is just so much to talk about, and I'm so grateful that we had the chance to actually speak to a gallery owner. Because I know that a lot of different galleries are very different from one another, people have different opinions. But pretty much everything that Leslie just said, echoes what I have heard in general. From the portfolio reviews that I've had, from galleries that I've spoken to. And it's just really gratifying to know that, look they're real people. And sometimes they pop up on our television screens and we can talk to them. But they are accessible, and they're willing to work with artists in so many capacities. Whether it's by sending a simple email back to a submission, or going to a portfolio review to really give their in depth opinion, it's just really nice to know, that they're out there to work for the artist, and that many of them are artist themselves. So we're all on the same page, and if we can just find the right fit, to represent our work, then we can do so much more with the art that we have to offer the world. So, we talked about galleries. And we're gonna keep bringing that up as the class continues. But I'm really grateful that we had that chance, to just speak to a gallery, learn a little bit about how to work with galleries, and hopefully we're all gonna move forward and sell tons of images with our galleries.

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.


  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


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.