Fine Art Photography: The Complete Guide


Fine Art Photography: The Complete Guide


Lesson Info

Printing Your Series

And let's take a look at a few details that you might wanna consider. Now, when I calibrate my monitor. Calibration is when you set the colors and tonality of your monitor, to be true to print. And when I calibrate my monitor, I personally use X-Rite ColorMunki Display software, that's just me. And you might have another software that you like, and that's okay too, but I really like X-Rite, and it's super simple. I mean most monitor calibration will be fairly straightforward, depending on how advanced it is. But this one's really user friendly. Plug it in, I set this device on top of my screen, it reads the colors, it does a blinky thing for five minutes, and then it's done. So, it's really, really, simple, I only do it about once a month. And that's it. So, I always my monitor. Might be a good idea to ask what your printer uses. Just say, what software do you use, to calibrate your monitor, and then see if you can match that to your printer, and then you'll have few problems, probably...

, when you're sending your files off, to get printed. And then, do you have a laptop versus a home computer, how are you working, make sure that you're calibrating each device, and recognize, that, if you have let's say a laptop, that's just not as powerful, not as good as your desktop, it may never match, with the colors, it may never match with the tonality, exactly. So, I would say, make sure that you have a computer that is capable of showing true colors, and then edit from that device, more than you would a cheap laptop, probably. I had a cheap laptop, and my colors looked crazy desaturated all the time. And then it was really hard, because I was editing for that device, versus another device. Something else that I wanna point out though, is not just going to print, and making sure the your images look how we want in print, but from one device to the other, I actually really like having a device that is not calibrated, so that, whenever I'm done, I finish an image, I've got my edit, I feel really good about it. I can then send it to my email, or send it to that device somehow, and look at it on my uncalibrated device, so that I can see potentially what other people will be seeing, if they're not calibrated. Now, this is not something that you have to do, but, I get really freaked out, knowing that some people have really desaturated monitors, and some people have really saturated monitors, and I just generally wanna know. Maybe to find a happy medium, or just to be aware that this image is going to look drastically different on different screens. How do we choose a paper? We're gonna get ourselves some paper. And in order to that, there are many, many factors that you wanna consider, and I'm actually going to open up a sample pack of paper here. And, this is, I asked for a sample pack a paper from Breathing Color, because that's my paper company, so I use Breathing Color, and I thought that would be nice just to share a little bit. No. Okay, and so let's take a look. We've got a number of things inside this packet, and they send a bunch of things, such as this is an aluminum print, which isn't going to show very well on camera, but they're just showing a sample of everything that they offer, different ways of printing. And then, they send basically every single paper that they offer as a sample. So, if I open this up. I have got access to tons and tons of different papers. Oh, they're very nice, printable side up. That's for me, a note for me, who does not know how to print anything. And within this, I can feel all the different types of papers, I can see the different levels of texture, and they have each one labeled. So this is pure smooth, and I can that this is a less textured paper, than the one that I'm using personally. And each one, I can just go through, pull it out, look at the name, and test. And then, see what the difference are. This one has a different weight on it, has a little bit more texture. It's like, I can't really bend it, just flop away here. And so, that's really good to test. And then we have a bunch of other papers in here, that are more cotton-y, that's a word now. And, a little bit more canvas. So these are going be just a whole different thing. So, they're super textured, you can see this one's called Silverado. And it just gives you a really good sense of what it feels, how bendable it is, how dentable it is, how scratchable it is, and these are really important things to consider. Because, once you choose your paper, you're pretty much stuck with your paper. So, even though it feels really bad, to take a paper and to go like that with your nail, and see it how it scratches, or to sort of like dent it and see how it dents, which it just won't, pretty much. Dent, I'm denting it, there we go, I dented it. So, it's good to do though, just to see how destructible it is. If you are going with a glossy paper, for example, you're probably gonna have an easier time denting it. Or scratching it, or bending it. Whereas something like this is just a lot thicker. So, this is really fun to play with. And I'll pass this around to you guys in a bit, so you can actually touch and feel it, but I would really recommend, ordering a couple of sample packs, just from a couple of different companies. And touching it, and feeling it, and test printing on it. And you should be able to bring a sample pack to any printer, and say, "Can you please run a couple of my images through the paper, "that I have, so we can see what's best?" Okay. Now, the other thing with sample paper, when you're getting some test prints done, when you're choosing a paper, is always consider that different images will print differently. So, if you're starting to think to yourself, "Hmm, how do I choose the right paper, "I've got my sample pack, what do I print on it?" I would recommend printing a range of things. Two to three different images. A really, really dark image, a really light image, a really saturated image, just to see how color picks up, how darkness picks up, how lightness picks up on the different papers, and see how that goes. Now, do the same thing for printing methods as well, if you're not sure what type of printer to go with. Try the same thing, but we aware, that something dark might print a lot differently than something light, versus something that's saturated. So, how're we choosing paper? We're looking at sizes, size of the paper, how big does the paper come? Flat versus rolled, is the paper going to come in a roll, or is it only available flat? That could change the pricing of the paper. The texture of the paper. Most important one in my opinion, based on the size. If it's really small, you're gonna see more texture, so just be aware, that when you are testing paper, you might wanna do something tiny just to see if it's too much texture on such a small print. The weight of the paper. How heavy is it, and you saw me flapping like a bird, so, is it, is it less destructible or more destructible, based on the weight? The color of the paper. And we've discussed this, such as bright white, white, I forget all the ones that there are. Yellow white, no, that's not one, I'm just kidding. But, all these different colors, I think there were like five or seven named ones, but we did talk about that. Eco-friendliness of the paper. So, is it sustainable? Is it not? Where is this paper being sourced from? Is it available to your printer? So, is it compatible, is it some that can be shipped easily to whoever it is you're using? And the price. Is it expensive paper, or not? And this is something to consider, in case you're on a budget, or you just don't, you can't afford all that paper, something to consider. Now, we have talked about c-type prints vs giclee prints. So, we'll just run over that one more time, in case you're getting yourself prepared today. So, printing method, what you're gonna think about is the cost of the printing method, which we have talked about the c-type prints, tend to be a little bit more costly. Longevity, giclees tend to have more longevity. Is it eco-friendly or not? The c-type prints as we know, is a wet type of printing so that's going to be less eco friendly. Does it have a greater color spectrum, one over the other. Giclee tends to have a greater color spectrum. What is the availability of it? Can you find a printer that will do giclee, can you find a printer that can do c-type. That's going to make a big difference. And then time until delivery, now I find that neither one nor the other has a big enough margin, that it's going to really sway me, one way or the other. But something to consider.

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.


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
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