Fine Art Photography: The Complete Guide

Lesson 39/138 - Locations

 

Fine Art Photography: The Complete Guide

 

Lesson Info

Locations

So here we have a number of different things to think about, the first and foremost being the story. Location is huge for storytelling, isn't it? Depending on where a person is, you could think so many different things about that person. And I've chosen images here that have very definite locations that, in my opinion, or at least in my attempt, aid the believability of the image, give us a time period in some cases, and provide atmosphere. And if your location can do all those things, well then half of your storytelling is done. I mean, a good location is everything for an image. So here we have this old room, I don't know exactly when it was built, I'm not sure. It was in Spain and I took an illegal picture of it and now here it is in this photo. And there we have it. So, it looks old. You could say that that room is 50 years old, who knows? Maybe it was just a cement building that's been aging over time. Maybe it's 500 years old. We really can't say, unless you're an archeologist. M...

y sister is an archeologist, I'll ask her. Okay, and then I have these two images that were taken in Iceland. Pretty obvious which two, I would say. Not that one, yeah. And both of these images taken in Iceland give a very specific feeling to the work. In fact, it's a completely recognizable feeling. So we have this one where I'm in the water with the icebergs, and, of course, color comes into play here, matching the color of the ice to the dress. Of course, lighting comes into play, things like that. But really the location is key here. I couldn't have just been in any lagoon (laughs) you know, swimmin' around. It wouldn't have been the same image. What happens here is that the location tells the story of the image. Some more examples again in Iceland, just matching the shape of the body to the location, and then in a lot of these we have props that were in the location to begin with that completely tell the story. I felt when I saw this room with this bed in it that I could have done anything in there and it would have had a story. And this is my exact problem with locations. I hate locations that already tell me a story. They're super exciting, right? Like you go to a place and maybe you're in a French chateau and it's amazing and you're just like, "Oh my gosh, I could take a picture of anything and it would be great." Except, is that great? If you could take a picture of anything and it looks good? Because then every other person who goes to that place is gonna take a picture and think, "Oh this is great, I have a picture that looks great." And then everyone has the same picture. And I think that this is kind of an issue with photography is that we see something that looks so cool and it already looks good and it already has a story in it, but it's what we do with that story that makes it ours. And locations can be really deceptive sometimes, 'cause you think it's already great, so what am I gonna do? But there is something that has to be done, and that is whatever you wanna say in that space. Just again, these examples of images that I created recently where I made my own space. So there was blank nothingness, there was literally nothing, and then I had to fill it with something. And it's a really good exercise to just ask yourself. If I had nothing, if I had one blank room, what would I do with that? What would I fill it with? If I could fill it with anything in the world, what a fun idea to think of. Like what pops into your mind right now if you just think, I have a blank room, a blank white room with whatever lighting you like coming in that room, and you could put anything in it, anything. Would it be a dinosaur? No, no dinosaur fans? I did that. Balloons, very interesting. I would not do that, see? This is great. A forest in a room, why not? You have all of space and time at your disposal. What would you do? Clouds in the room. Super interesting. Greenland. (laughs) The whole country in your room. I love it. 'Cause I didn't say how big your room was, you guys, see? See? She got you on that one.

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

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. :)