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 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.

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

FOR ON-DEMAND ACCESS

Buy

“

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.

“

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.

“

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. :)