Print Examples

 

Fine Art Photography: The Complete Guide

 

Lesson Info

Print Examples

I wanted to show you some of my prints, since we're talking about printing and editioning and pricing and sizing and all of those things, and I just wanna give you a little example of what that looks like for me. And I think that it's really good to see papers and the sizes in relation to each other as well as to a human. So for context, I'm a bit over five feet tall, and this is how big a ten inch print looks. So this is my ten inch size, my smallest size that I offer. And I don't offer anything smaller than this because I felt like I would just lose too much detail. And that's a totally personal thing when you're choosing you're sizing and all of that good stuff. So I've got my paper here, and what you'll notice if I just take one of these is that it's a nice, thick paper. It doesn't really wobble around that much, it holds its shape no matter what I do, because it's really thick and it's really textured. And you're probably not gonna be able to see that from far away, but when I loo...

k up close, I can see the texture in the pigment, in the print, in the ink, and all of that. Particularly right in this top strip where it's really yellow, and it's just a flat yellow, I can see the texture really well through this region. So that's something that we're considering when we're choosing our sizes, and our prints, and our paper, and all of the things that go into that. So we've got sizes here, and this in contrast is my 20 inch size. So I go 10 inches to 20 inches, and you can see the difference. It looks like a little baby print, doesn't it in comparison? And it's just very, very small. So I wanted to take a second to talk about these sizes, and why I chose what I chose when I started. I really like this 20 inch size, because I feel like this is a reasonable size print to hang in a house. It's nothing gigantic where you would have to have a huge wall space for it, but I will say that I've learned a lot about markets both where I live as well as internationally, and they change. What people's expectations are, what their preferences are. So here in the United States, it's much more common for me to sell this size print, whereas in the gallery that I have in Amsterdam, it's very common that I sell my large prints there. And the whole reason is lifestyle, how people live. So they have, in Amsterdam, huge, tall ceilings in their houses, with big blank walls, where they can put giant pieces of art, where this is gonna look really tiny in that house, whereas something that's double the size is going to look much more reasonable. But here in the United States, as well as many other countries, you don't have that much space to put giant prints on your walls. And sometimes this depends on that gallery itself. So I will often go from one gallery in, say, New York City, where nobody has almost any wall space, to a gallery in Florida, where you have tons of big homes with big walls. I had a gallery in Florida that sold a lot of large prints because of the people that she was selling to and the types of houses that they owned, versus other locations where I sell this size or even smaller. Another really good thing to think about is I'm kind of having some trouble handling this print, right? I'm kind of like, ah! It's a little bit more more bendy, it's bigger, and I wanna make sure that I don't hurt this print. So I'm gonna put this back right there. But something to consider with these small prints is that they're very manageable, very manageable. I can take one of these prints, and I'm not very worried about damaging it, and it's not gonna bend, and it's easy to transport, so something that you might wanna consider is how you might display these prints in a gallery. For example, you would want to have this framed, this 20 inch print, because it's bigger and it's floppier and you can't handle it easily. This one, however, I have often had my prints just with a little backer board on it, a little whiteboard around the back, and I've had it sort of shrink-wrapped together, and just had them so you can sort of flip through them in a bin rather than on the walls. And that's really great, because it gives the illusion of discount, does in not? So if you go into a gallery, and you've got all these big prints on the walls, but then you have a literal bin on the floor, where you're flipping through the prints, then it's sort of like, oh, this is a smaller price point, you might be able to take it and go with that print. So it's just another way of thinking about it. One other thing that I wanna mention is the white border that you see. Here we have a one inch boarder on these prints. And these I think are either one inch or one and a half, but I think these are one inch as well. And then as the sizes go up, the border gets bigger, just to accommodate how big and floppy the print is. So if I have a 40 inch print, I'm gonna want a bigger border on that, so that the white border is more secure when you frame it, and it stays put where it's going to go. So it's also a visual thing. The bigger the border the nicer it's probably going to look, same with matting and all of those options. And the final thing that I wanna bring up with these prints is the actual signing of the prints. So I've got a pencil here, this is just a totally normal pencil, and a lot of people are shocked to learn that I sign my prints in pencil. But using pen is ... I'm not gonna say it's at all a bad thing, you can definitely sign with whatever you want, if you wanna use a Sharpie use a Sharpie, although I don't know how, I can't endorse that method of signing. But pencil is traditional, pencil is what most people use to sign their prints, and pencil is what I use to sign my prints. There have been some debate about using pens, and using inks, in terms of will the ink bleed over time, and sort of sink into the actual print that you're trying to sign, and all of that. So I use pencil. It's traditional, it's simple, it's easy, and I would recommend going in that direction with it. Now in terms of signing these prints, I'm just going to take this one and show you where I would sign this print. So here I have the image, and we've got the ink going to the edges right around here, which is 20 inches. So the 20 inches is not from one side of the paper to the next, it's where the actual ink falls. So that's 20 inches. And then we have the border, and there are a lot of ways you can do this. You don't have to do this in one standard way, but the way that I would do it is to sign the bottom, right-hand corner, and number the bottom, left-hand corner, and that's how I do it. So if I'm going to sing this print, I'm gonna sign it right here, and I'm just going to put my signature right on the bottom there. And then I would number it over here, which I'm not going to do right now` because I don't know which number this is, and I would have to look at my special document to know, which I'm not going to do at this moment. Especially because, if something happens to this, then I've just wasted my time numbering it, and I'm not gonna be able to sell it, and I'll have to destroy it. So instead I'm going to leave it unnumbered, but signing is okay. Other options here would be not only signing and numbering, but also maybe putting a title, maybe in the middle of it in quotes. You might add the date or the year that it was created. These are all options that you might wanna put on the print itself, and that is completely up to you, what you want to do with that. So I've got these two sizes here, and clearly what you're missing are my other two sizes. So I didn't bring any super gigantic prints with me because that's very difficult to do. So I did not do that, but I've got these prints here and I hope that it's interesting to at least see what the different sizes look like, where to sign it, and how you might wanna handle selling these prints.

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