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Shoot: Black Backdrop for Accessories


Fine Art Photography: The Complete Guide


Lesson Info

Shoot: Black Backdrop for Accessories

And I think that this is looking pretty much how I want it to look, but we're going to add a couple of things here to this scenario. And this is where things get complicated. Now, if I were just making a dress out of fabric, then I could be like, "Okay, strike a pose." And then she'll be like, you know like whatever you would normally do, obviously, and then we could be done. I could just take the fabric and, like I said, photograph the fabric in different ways. But I want to make this an artistic picture, as I have embarrassingly claimed. And so we're going to do this in several pieces. And I'm going to explain why we're doing this in so many pieces, okay? So one of the reasons is because we've got this fabric and it, it could go with the rest of the scene. The candles and the veil that we're going to bring in, but I want you to imagine that we've got this fabric here and I'm gonna put this over your head eventually. And if we've got the fabric and the dress all moving all over the pl...

ace, what if I don't like the veil in one shot, but I do like the dress underneath in another shot? I would rather have the pieces of the dress separately, the veil separately, and then try to get it all together. If it works all together, great. If it doesn't, I want each individual piece to be able to add in later. So, I'm going to do this separately. And the first thing I want to do is get our main pose. Which is going to be really simple, cause I just need you to hold some candles and just stare out the window. So it's going to be really easy. So I'll have you just, the candles are all broken and weird. I'm going to have you hold those candles. Perfect. Oh my god, they're so weird. Okay. Just try to hold them together, if you can. You can hold it higher up, if you want, also. Yeah. Okay. And I'm not even lighting them yet, because we're going to try not to catch everything on fire at the moment, so we're going to keep them unlit first. And you can come straight onto me. Good. And then just direct your gaze out the window. Perfect. And I'm going to have you close your eyes even, as long as you don't get dizzy closing your eyes. Some people do and it's really hard to stand still closing your eyes. Great! Got it. Okay. So we've got our main shot, and this is going to be the shot that everything gets built off of. Now, I'm going to add the veil just to see if we can get everything going at once. So this is going to be weird, cause it's like really gross and heavy and odd, but here you go. Aww, you're married. Okay. So this is going to be the next shot that I'm going to get and I'm just letting this fabric come off to the side. And we're gonna just poof that down there. Okay. There we go. And let's have you take your arms out of this, and that way we won't catch anything on fire. Yeah, I like this. Okay, does anyone have a lighter? Thank you. And I'm gonna light these candles and your job is don't catch anything on fire. I should have inspected my candles. And we have hair that's like burning now, and now it's going to stink. Yuck. Come on. I have often lit candles later on in Photoshop, so if that's what you need to do, then that's what you need to do. But I think that is, it's really nice to have it practically done in camera one, because then you don't have to fake anything, but also because it's going to add a little glow to our subject. (laughs) These poor candles. Yeah, that's right. Just get rid of that dinky one and that's perfect. Oh, that's good. Yeah. Okay. We've got this. So let's do one more shot here looking out the window, and can you bring them any closer without catching yourself on fire? Perfect. Okay. Good. Yeah, I like how this is looking. Okay. Fantastic. So we've got, oh, they kind of went apart, yeah. I'm gonna, hold on, let me just kinda (laughs) There we go. Good? Okay. (laughs) These poor candles. Can you hold them a little bit lower for me? Yeah, that's it. That's exactly right. And I'm just focusing on the hands right now. Perfect. Okay. So I'm going to probably use this as my main shot. Just looking at it, seeing how it's going. So let's blow those candles out. Okay, I'm gonna do it. She was like, "I'm not responsible." Yeah, there we go. Okay. I'm gonna take them from you, but now we need to get all of these extra shots. This is gonna be our room. Thank you. (laughs) And so what I want you to do is just take this veil and if you can, just flick it out that way a little bit. You can take one little step over to the side. There we go. That way it doesn't go off onto the white or anything like that because this is transparent. So, we cannot afford to have this on a white or busy background or anything like that. It's okay if I switch my distance a little bit to accommodate this because my focus isn't shifting and the background will not change in this picture, so this will all stay the same. So I can move back to get that fabric. I'm just going to refocus. And whenever you're ready, I'm ready to capture the fabric. Perfect. Good. And let's do one more. Grand! I like it. Okay, well you know what? I love how it's falling behind you. Would you take another step over that way? Yep. I can't use left and right, because I just don't understand things, but perfect. Okay, I love how that was falling on you. So now let's go ahead and remove the veil and in fact, you can even remove the fabric, if you can do that in a decent way. (laughs) Oh, I'll come unclip you as well. Oh good, the clip was the easy part. Okay. I'm like holding it up in case you need a, okay good. So now if you wouldn't mind just assisting me for a second here, I'm going to have you just take this and fling it up that way and bring it back to your body a little bit. So there you go. I usually hold it from a corner, just so that there's more fabric moving outward. Okay. Yep, go that way with it to start. And I'll let you know when. Okay, perfect. Yep, got it. And just keep going. Good. And I'm just going to get a bunch of images here. That was a good one. Okay. Okay, and now out toward me. Oh, that was really good though. Okay. Oh, these are nice. And I actually think the reason is because the fabric is quite heavy, so it's falling really, really well without any wrinkles. And then out to that side, so if you would step a little bit over toward the window. Good. Yep. And it's important that you get it from all angles like this so that the lighting remains consistent. You have to make sure to really move from one side to the next and cover all the ground that you think you're going to need to cover. Great. Okay, we definitely got that. That looks really awesome. So we've got the veil, let's just go through a little check list. We've got the veil, we've got the fabric, we've got our subject, the candles were lit. I think we have everything that we need, so let's move on to our miniature scene.

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