Shoot: End Table Image

Lesson 64 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Lesson Info

64. Shoot: End Table Image

Show Transcript

Next Lesson: Shoot: Bed Image

Lessons

Class Trailer

Yours is a Story Worth Telling

02:09

Show All Lessons

Lesson Info

Shoot: End Table Image

This photo shoot, we're doing with an end table and vines and this is going to be very simple. The idea being that vines are creeping up all around the end table and then we've got our very delicate subject perched on top, as though this is the last place of refuge against all of the nature that's creeping into the scene. So, this one's going to be quick and simple, I hope. Of course, things can always go wrong, but we'll give it a try. So, this is going to be the outfit and it's a veil. It's just a wedding veil that I picked up for a few dollars. And I'm going to use this as sort of a delicate wrapping of a dress around the waist for this particular image. The other thing that we need to do is creep the vines up. So, I simply want to affix these vines in some way, just so that they're sort of coming from afar. And then maybe attaching to our little end table. We can do that by maybe some of this. We can do some wrapping, if we want to. But this looks pretty good. And this is something...

that I can get later, so I don't actually need to have this all set yet, because I will be able to come in and photograph these vines separately, just creeping up the dresser. We don't need our subject for that. We don't have to keep anyone longer than they need to be here for that. So, I'm going to go ahead and just place a few of them in this space. And I wanna make sure that I'm paying attention to the sides, the angles of this, so that we have some on the back, some on the front. Just like this, so they're coming from all angles. But, aside from that, this is clearly a much simpler image than some of the others. So, we're going to get our subject in here, wrapped up, and we're going to do this really fast. So, we'll get those out of the way. We're gonna have Kristen come on back in. And I'm going to wrap you in this as you sit on our little spot here. Yup, so you'll be facing that direction. In fact, you can face that wall directly. And I'm going to wrap you up in this. There we go. It's super long, so that's going to be perfect for just getting her all nicely wrapped. Oh, maybe a little more. We don't want to see the headpiece, do we? That would be weird. And I'm gonna have your one leg up. Maybe your left leg. Exactly, and the other one can dangle. And I'm just going to try to put this somewhere, as I look at this scene. So, right now, what I'm looking for is where am I going to put this extra fabric? I don't want it to cover the vines. So, I think I'm just going to let it come off the back, just like that. Looking super, super delicate here. I definitely want to see some of your arms. So, we can take this arm up and maybe to your face, as you let your face down. Perfect. I love her face. But I don't like faces in general in my pictures. So, I'm just gonna make sure there are a few hairs covering. Just everything super delicate in this photo. So, I'm gonna see how this looks, just from my camera's perspective. And we'll see how it goes. Okay, I like how this looks so far. We did the work already to get rid of the background and anything distracting, so it looks really dark. And I'm going to go ahead and just focus on my subject and get a good test shot here. Okay and I think I can actually underexpose even more, so right now, I'm at f/2, as I'm sticking with throughout my entire series. I'm at ISO 100 and I'm moving to about for my shutter speed, because we have so much natural light coming in the front here. So, I'm gonna go ahead and just take a couple more photos. And let's get one more pose with your other leg up on the desk, as well. Perfect, yeah. Oh, that was perfect. You're holding it in just the right spot. I really like how this is just delicately sort of cascading down. So, you can stay in exactly the same pose as you were. Maybe even take your forehead right down. Yeah, just like that. That looks completely beautiful. Very, very delicate. And I like this one maybe even more than the last one. My focus was already set, so I'm just getting a couple of photos around the space. And I think that that looks beautiful. So, I am going to leave this as it is, because that was simple and elegant and I think that it will be a nice understated image to counter some of the more Photoshopped images in this series. So, let's move on to the next one.

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

buy this class

$00

Buy Class

Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

79.7K Students

99% Recommend this Class

00 Student Work

0 Video lessons in HD
00h 00m of class content
Exclusive bonus content
Lifetime access, anywhere, anytime
Streaming access on desktop and mobile browsers
Download and offline access with class purchase
Offline sync with our iPhone & iPad apps
100% satisfaction guarantee

Brooke Shaden

Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear.

SEE INSTRUCTOR'S CLASSES

topics covered in this class

Fine Art Digital Photography

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.

2,000+ classes ranging from fundamentals to advanced techniques.

Shoot: End Table Image

Shoot: End Table Image

Lesson Info

64. Shoot: End Table Image

Lessons

Class Introduction

Storytelling & Ideas

Universal Symbols in Stories

Create Interactive Characters

The Story is in The Details

Giving Your Audience Feelings

Guided Daydream Exercise

Elements of Imagery

The Death Scenario

Associations with Objects

Three Writing Exercises

Connection Through Art

Break Through Imposter Syndrome

Layering Inspiration

Creating an Original Narrative

Analyze an Image

Translate Emotion into Images

Finding Parts in Images

Finding Your Target Audience

Where Do You Want Your Images to Live?

Create a Series That Targets Your Audience

Formatting Your Work

Additional Materials to Attract Clients

Which Social Media Platforms Will be Useful?

How to Make Money from Your Target Audience

Circle of Focus

The Pillars of Branding

Planning Your Photoshoot

Choose Every Element for The Series

Write a Descriptive Paragraph

Sketch Your Ideas

Choose Your Gear

How to Utilize Costumes, Props & Locations

What Tells a Story in a Series?

Set Design Overview

Color Theory

Lighting for the Scene

Props, Wardrobe & Time Period for Set Design

Locations

Subject Within the Scene

Set Design Arrangement

Fine Art Compositing

Plan The Composite Before Shooting

Checklist for Composite Shooting

Analyze Composite Mistakes

Shoot: Black Backdrop for White Clothing

Shoot: Black Backdrop for Color Clothing

Shoot: Black Backdrop for Accessories

Shoot: Miniature Scene

Editing Workflow Overview

Add Fabric to Make a Big Dress

Edit Details of Images

Add Smoke & Texture

Blend Multiple Images Into One Composite

Put Subject Into a Miniature Scenario

Location Scouting & Test Photoshoot

Self Portrait Test Shoots

Shoot for Edit

Shoot Extra Stock Images

Practice the Shoot

Introduction to Shooting Photo Series

Shoot: Vine Image

Shoot: Sand Image

Shoot: End Table Image

Shoot: Bed Image

Shoot: Wall Paper Image

Shoot: Chair Image

Shoot: Mirror Image

Shoot: Moss Image

Shoot: Tree Image

Shoot: Fish Tank Image

Shoot: Feather Image

View Photo Series for Cohesion & Advanced Compositing

Edit Multiple Images to Show Cohesion