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Set Design Arrangement

Lesson 41 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Set Design Arrangement

Lesson 41 from: Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

41. Set Design Arrangement

Lessons

Class Trailer
1

Class Introduction

19:06
2

Storytelling & Ideas

27:34
3

Universal Symbols in Stories

03:19
4

Create Interactive Characters

02:16
5

The Story is in The Details

04:13
6

Giving Your Audience Feelings

05:49
7

Guided Daydream Exercise

04:20
8

Elements of Imagery

02:19
9

The Death Scenario

01:47
10

Associations with Objects

03:01
11

Three Writing Exercises

06:39
12

Connection Through Art

30:35
13

Break Through Imposter Syndrome

07:40
14

Layering Inspiration

23:13
15

Creating an Original Narrative

07:42
16

Analyze an Image

04:12
17

Translate Emotion into Images

04:31
18

Finding Parts in Images

06:02
19

Finding Your Target Audience

04:05
20

Where Do You Want Your Images to Live?

12:01
21

Create a Series That Targets Your Audience

32:43
22

Formatting Your Work

06:08
23

Additional Materials to Attract Clients

07:24
24

Which Social Media Platforms Will be Useful?

04:17
25

How to Make Money from Your Target Audience

11:27
26

Circle of Focus

07:55
27

The Pillars of Branding

06:18
28

Planning Your Photoshoot

09:05
29

Choose Every Element for The Series

07:38
30

Write a Descriptive Paragraph

09:37
31

Sketch Your Ideas

17:27
32

Choose Your Gear

02:50
33

How to Utilize Costumes, Props & Locations

26:18
34

What Tells a Story in a Series?

13:06
35

Set Design Overview

01:43
36

Color Theory

19:50
37

Lighting for the Scene

12:05
38

Props, Wardrobe & Time Period for Set Design

06:00
39

Locations

04:31
40

Subject Within the Scene

07:26
41

Set Design Arrangement

05:46
42

Fine Art Compositing

03:46
43

Plan The Composite Before Shooting

10:29
44

Checklist for Composite Shooting

18:52
45

Analyze Composite Mistakes

12:11
46

Shoot: Black Backdrop for White Clothing

10:42
47

Shoot: Black Backdrop for Color Clothing

08:36
48

Shoot: Black Backdrop for Accessories

08:17
49

Shoot: Miniature Scene

09:59
50

Editing Workflow Overview

01:57
51

Add Fabric to Make a Big Dress

08:35
52

Edit Details of Images

08:09
53

Add Smoke & Texture

10:47
54

Blend Multiple Images Into One Composite

24:58
55

Put Subject Into a Miniature Scenario

17:55
56

Location Scouting & Test Photoshoot

22:10
57

Self Portrait Test Shoots

22:30
58

Shoot for Edit

04:21
59

Shoot Extra Stock Images

10:01
60

Practice the Shoot

25:07
61

Introduction to Shooting Photo Series

03:33
62

Shoot: Vine Image

10:40
63

Shoot: Sand Image

09:50
64

Shoot: End Table Image

04:59
65

Shoot: Bed Image

06:18
66

Shoot: Wall Paper Image

05:54
67

Shoot: Chair Image

08:02
68

Shoot: Mirror Image

06:57
69

Shoot: Moss Image

05:48
70

Shoot: Tree Image

07:33
71

Shoot: Fish Tank Image

04:09
72

Shoot: Feather Image

09:00
73

View Photo Series for Cohesion & Advanced Compositing

07:35
74

Edit Multiple Images to Show Cohesion

36:55
75

Edit Images with Advanced Compositing

29:33
76

Decide How to Start the Composite

09:35
77

Organize Final Images

21:37
78

Choosing Images for Your Portfolio

08:19
79

Order the Images in Your Portfolio

16:28
80

Why do Some Images Sell More Than Others?

16:03
81

Analyze Student Portfolio Image Order

11:42
82

Framing, Sizing, Editioning & Pricing

02:19
83

Determine Sizes for Prints

16:44
84

How to Choose Paper

13:56
85

How to Choose Editions

07:18
86

Pricing Strategies

18:59
87

How to Present Your Images

13:26
88

Example Pricing Exercise

09:39
89

Print Examples

08:23
90

Licensing, Commissions & Contracts

04:44
91

How to Keep Licensing Organized

06:07
92

How to Prepare Files for Licensing

07:28
93

Pricing Your Licensed Images

12:33
94

Contract Terms for Licensing

12:07
95

Where to Sell Images

04:55
96

Commission Pricing Structure

08:23
97

Contract for Commissions

12:17
98

Questions for a Commission Shoot

08:45
99

Working with Galleries

08:58
100

Benefits of Galleries

07:39
101

Contracts for Galleries

10:32
102

How to Find Galleries

05:22
103

Choose Images to Show

08:53
104

Hanging the Images

03:38
105

Importance of Proofing Prints

08:04
106

Interview with Soren Christensen Gallery

21:59
107

Press Package Overview

04:35
108

Artist Statement for Your Series

18:20
109

Write Your 'About Me' Page

09:04
110

Importance of Your Headshot

03:55
111

Create a Leave Behind & Elevator Pitch

20:19
112

Writing For Fine Art

04:44
113

Define Your Writing Style

14:49
114

Find Your Genre

06:41
115

What Sets You Apart?

02:25
116

Write to Different Audiences

05:10
117

Write for Blogging

39:57
118

Speak About Your Work

14:21
119

Branding for Video

07:37
120

Clearly Define Video Talking Points

14:27
121

Types of Video Content

31:45
122

Interview Practice

13:22
123

Diversifying Social Media Content

22:32
124

Create an Intentional Social Media Persona

24:48
125

Monetize Your Social Media Presence

18:46
126

Social Media Posting Plan

04:01
127

Choose Networks to Use & Invest

02:57
128

Presentation of Final Images

19:13
129

Printing Your Series

09:16
130

How to Work With a Print Lab

13:39
131

Proofing Your Prints

10:11
132

Bad Vs. Good Prints

03:32
133

Find Confidence to Print

10:50
134

Why Critique?

06:55
135

Critiquing Your Own Portfolio

10:39
136

Critique of Brooke's Series

16:18
137

Critique of Student Series

40:07
138

Yours is a Story Worth Telling

02:09

Lesson Info

Set Design Arrangement

So we've got a few different wardrobe options here. And, my particular wardrobe is not very diverse. I have a very specific style, and in fact, I thought that what I was wearing would be really different, but it's not, it looks just like all these things. I tried to wear this to a wedding, but I was vetoed on that one. So, I've got a bunch of dresses here, and I also have a couple examples of props. And the point that I want to make here, is this... This really matters. This, versus this. Which, is still warm actually, this is tea. This is a teacup. Did you know? 'Kay. So we've got two very different props, and if I had said to you, okay guys, we're going to do a photo shoot, I need a teacup, somebody bring me a teacup. What is your idea of a teacup? Somebody might bring me this, someone might bring me this. You don't know, and you have to be so specific about what goes with what. So, same thing with keys. I have had this happen on a number of occasions, where I've said to someone, do ...

you have a key that I could photograph, and then I get this. And this is not a good looking key, is it? Maybe you think it is. I think this is a good looking key though. You know, something really old and timeless and beautiful. And, the fact is, that it doesn't matter which one you like more, but you have to choose really specifically. I wish that I could convey how many times I have looked at people's portfolios, and they'll tell me, okay I want, I want to make images that are, you know, that can go on book covers, that can go on young adult fiction book covers. And then I look at their work, and they've got people wearing jeans in the pictures, you know, jeans and a t-shirt. It's like, I get that that's the easy thing to do, but does that actually work for what you're trying to do here? And often it doesn't. So, we've got keys, we've got books, for example. A normal, everyday book, that you would find in Barnes and Noble, versus, this beautiful thing that we found. I just love this, I know. And the pages are worn, and it's just beautiful, and these kind of details make a big difference. Even, let's just say, I'm gonna do a photo right now, and I'm gonna take these book pages and rip them out, and throw them around the room, and that's gonna be part of the photo. I'm not really gonna do that, 'cause this is my book, and I don't wanna do that, but let's just say we were gonna do that. Look at what a difference it would be, to have these pages, these modern book pages that are crisp white, and nothing's ever happened to them, versus this book, which has the most perfect yellow pages in it. I just love them. So how do we choose props, and wardrobe, and location to all go together? We're in this room right now, which is very lovely, but, uninspiring, perhaps, to us sitting here, in terms of doing a photo shoot. So what if I did have to, what if I did have to do a photo shoot here? What are my options? Well, my options are probably to look down at the floor, in terms of the way that I like to shoot, right? And the background that I like to have. So, I would probably, so let's just say, I love books, I just need to say that, I'm not trying to be disrespectful to books, just in case. So if I'm going to create a scene here, you know my reaction is going to be okay, cover this newness as much as possible. 'Cause I'm not into that. So I'm going to lay these book pages all over the place, and you know, I'm gonna try to create something that covers the whole floor a little bit, makes it look dirty. Maybe I'll bring in some dirt for this image. Maybe I'll have somebody in one of these dresses, just curled up on the floor with the book pages. An easy way to create a scene that is, I was going to say timeless, but let's just say, not of our time, of a different time, because these are not from our time, and these pages are not from our time, and the floor could conceivably not be from our time. What a great way to do that, in this space. To limit the background that you see, to get rid of the noise, to start with the blankest slate possible, because that's what set design and image design is, is thinking of it from the ground up. From having absolutely nothing, absolutely nothing. What are you going to put in that room? What are you going to do? What does your room look like? My room looked like this new series that I created recently, with the yarn on the floor, and the wax on the floor, and things like that. Your room would be totally different, and the way that we would shoot this would be different, but what we need to think about, is what's the difference between these wardrobes? What does this color mean, versus this white color? What does this teacup mean, versus this teacup? Which I think is really just a glass, I don't think this is a teacup at all. I think I've been tricked. So what does it mean? How does it work together? And, are you doing everything possible to make sure that your image tells the story that you want it to tell? And if you are, then, fantastic. And if you are not, there are so many ways that we can do that, and we're going to be looking at that a little bit later on in the class, as well, in terms of how to actually build a photo shoot from the ground up, to be able to communicate what we want to communicate.

Class Materials

Bonus Materials with Purchase

Guided Daydream & Writing Exercises Workbook (Lessons 1-11)
Creating an Original Narrative Workbook (Lessons 12-18)
Finding Your Target Audience Workbook (Lessons 19-27)
Planning Your Series Workbook (Lessons 28-34)
Set Design Workbook (Lessons 35-41)
Compositing Workflow Checklist (Lessons 42-49)
Editing Workflow Checklist (Lessons 50-55)
Location Scouting Workbook (Lessons 56-60)
Stock Image Downloads for Practice (Lessons 61-72)
Organizing Your Portfolio Workbook (Lessons 77-81)
Pricing & Editioning Your Work Workbook (Lessons 82-89)
Writing Contracts & Licensing Images Workbook (Lessons 90-98)
Gallery Best Practices (Lessons 99-106)
Pitch Package Workbook (Lessons 107-111)
Writing Your Brand Workbook (Lessons 112-117)
Marketing Workbook (Lessons 118-122)
Social Media Workbook (Lessons 123-127)
Printing Methods Checklist (Lessons 128-133)
Self Critique Workbook (Lessons 134-137)
Bonus Materials Guide
Syllabus
Image Edit Videos

Ratings and 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.

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.

Student Work