Fine Art Photography: The Complete Guide

Lesson 48/138 - 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 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


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.

a Creativelive Student

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. :)