Fine Art Photography: The Complete Guide


Lesson Info

Press Package Overview

This is all about the press package which is a whole bunch of different things and will mean something different to each person depending on your particular business and what you want to be putting out there into the world. So, it's important to note that maybe some things that we're gonna talk about, you'll leave behind. Maybe other things you'll keep, and it all depends on the business that you wanna build. And I'm gonna go over what materials you'll need for what and when and how and why and all of that. But a press package is very important. First thing you're probably going to think is I don't need a press package because I don't have any press to give my package to, right? So that's like an important thing to consider is why would I even need this. Well in my experience it's really good to have something like this already made for when that opportunity does come or for creating your own opportunities. You know, we all think that we have to sit around and wait for this big magazin...

e to email us and feature our work. No, send in your press package to people ahead of time, then see what it gets you. And that's what I love to do in my business is make a plan, do it ahead of time, give it to the people who might need to see it, and then hope that I get hired later. That's how my fine art business works. So press package. Let's talk about what that entails specifically in a press package. One thing will be the Artist Statement, and this is a very, very important part of the press package. If you are not used to writing a lot, this will be incredibly difficult, and I'm just saying that right up front because I want you to know that I recognize the difficulty in this. It's not something that will probably come with the first thing that you write. You'll probably have to do a number of passes on this. Maybe show it other people, see how that goes, but an artist statement is your statement as an artist. That solves the whole mystery doesn't it? So what you're going to be doing is writing about your art in an intelligent, thoughtful way so that somebody who wants to know what you're all about will know based on this document that you're going to send them. How to write captions for your images, another thing that we're going to talk briefly about. So, this will come up mostly. Let's say that you're submitting to a juried show, and they want you to write like one or two sentences per image that you're submitting which is very, very common with awards, trade shows, things like that. And you're gonna need to know how to do that. What are they looking for and how can you put that together and have it ready prepared ahead of time. An About Me is what you're going to need. Some call it a biography. That annoying little blurb that you have to put on your website that no photographer wants to write, ever. Do you all have About Me pages written? Do you think that they're awesome? Me neither, I get it. It's really hard, and we're gonna talk about that in depth. A CV which is your artist resume. Understanding what needs to go on there. Making sure that it's nicely presented, that it's not too long which is the problem that some of us have, and that it's not too short which is the other problem that some of us have. So what to put on there to get a happy medium. Head shots, it seems like a really obvious thing, but there are different types of head shots that are appropriate in different scenarios. So it's good to know how you should have your picture taken. Have any of you guys ever shot your own head shots? I'm so antisocial that I won't even ask anybody to shoot my head shot, and it's a problem. So, if anybody out there wants to shoot my head shot, please help me. But I'll show you the ones that I've done so far. And then I have this thing called a Leave Behind which is something that you would leave behind. I know, I know, it's really fancy. So, you'd wanna leave this behind with a client or a potential client. For example, a gallery, a publisher, a magazine. Any meeting you might have something really good and solid to leave behind. An Elevator Pitch. You're not gonna like this, but I'm gonna make you do it. An Elevator Pitch is something that's part of the press package insofar as you need to know what to say when you're in this situation where you could give somebody a press package. Okay? So if they're like, do you go up to someone, you're like, hi, my name is So and So, and I do this thing. What are you gonna say? What is your pitch gonna be to them to get them to really be interested in who you are and what you do and what you have to say?

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.


Class Introduction
Storytelling & Ideas
Universal Symbols in Stories
Create Interactive Characters
The Story is in The Details
Giving Your Audience Feelings
Guided Daydream Exercise
Elements of Imagery
The Death Scenario
Associations with Objects
Three Writing Exercises
Connection Through Art
Break Through Imposter Syndrome
Layering Inspiration
Creating an Original Narrative
Analyze an Image
Translate Emotion into Images
Finding Parts in Images
Finding Your Target Audience
Where Do You Want Your Images to Live?
Create a Series That Targets Your Audience
Formatting Your Work
Additional Materials to Attract Clients
Which Social Media Platforms Will be Useful?
How to Make Money from Your Target Audience
Circle of Focus
The Pillars of Branding
Planning Your Photoshoot
Choose Every Element for The Series
Write a Descriptive Paragraph
Sketch Your Ideas
Choose Your Gear
How to Utilize Costumes, Props & Locations
What Tells a Story in a Series?
Set Design Overview
Color Theory
Lighting for the Scene
Props, Wardrobe & Time Period for Set Design
Subject Within the Scene
Set Design Arrangement
Fine Art Compositing
Plan The Composite Before Shooting
Checklist for Composite Shooting
Analyze Composite Mistakes
Shoot: Black Backdrop for White Clothing
Shoot: Black Backdrop for Color Clothing
Shoot: Black Backdrop for Accessories
Shoot: Miniature Scene
Editing Workflow Overview
Add Fabric to Make a Big Dress
Edit Details of Images
Add Smoke & Texture
Blend Multiple Images Into One Composite
Put Subject Into a Miniature Scenario
Location Scouting & Test Photoshoot
Self Portrait Test Shoots
Shoot for Edit
Shoot Extra Stock Images
Practice the Shoot
Introduction to Shooting Photo Series
Shoot: Vine Image
Shoot: Sand Image
Shoot: End Table Image
Shoot: Bed Image
Shoot: Wall Paper Image
Shoot: Chair Image
Shoot: Mirror Image
Shoot: Moss Image
Shoot: Tree Image
Shoot: Fish Tank Image
Shoot: Feather Image
View Photo Series for Cohesion & Advanced Compositing
Edit Multiple Images to Show Cohesion
Edit Images with Advanced Compositing
Decide How to Start the Composite
Organize Final Images
Choosing Images for Your Portfolio
Order the Images in Your Portfolio
Why do Some Images Sell More Than Others?
Analyze Student Portfolio Image Order
Framing, Sizing, Editioning & Pricing
Determine Sizes for Prints
How to Choose Paper
How to Choose Editions
Pricing Strategies
How to Present Your Images
Example Pricing Exercise
Print Examples
Licensing, Commissions & Contracts
How to Keep Licensing Organized
How to Prepare Files for Licensing
Pricing Your Licensed Images
Contract Terms for Licensing
Where to Sell Images
Commission Pricing Structure
Contract for Commissions
Questions for a Commission Shoot
Working with Galleries
Benefits of Galleries
Contracts for Galleries
How to Find Galleries
Choose Images to Show
Hanging the Images
Importance of Proofing Prints
Interview with Soren Christensen Gallery
Press Package Overview
Artist Statement for Your Series
Write Your 'About Me' Page
Importance of Your Headshot
Create a Leave Behind & Elevator Pitch
Writing For Fine Art
Define Your Writing Style
Find Your Genre
What Sets You Apart?
Write to Different Audiences
Write for Blogging
Speak About Your Work
Branding for Video
Clearly Define Video Talking Points
Types of Video Content
Interview Practice
Diversifying Social Media Content
Create an Intentional Social Media Persona
Monetize Your Social Media Presence
Social Media Posting Plan
Choose Networks to Use & Invest
Presentation of Final Images
Printing Your Series
How to Work With a Print Lab
Proofing Your Prints
Bad Vs. Good Prints
Find Confidence to Print
Why Critique?
Critiquing Your Own Portfolio
Critique of Brooke's Series
Critique of Student Series
Yours is a Story Worth Telling


  • 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.
  • 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.
  • 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. :)