Fine Art Photography: The Complete Guide

Lesson 72/138 - Shoot: Feather Image

 

Fine Art Photography: The Complete Guide

 

Lesson Info

Shoot: Feather Image

This is the final image that I have to capture today and I'm doing so back in the barn. I really wanted to use this space because of how far back this room goes, but we had to make a few adjustments here in order to create an image that would visually be pleasing to look at, so what we've done is we've put some trash bags and tarps against the windows in the back to block the light so that there's really beautiful light coming in in the foreground and nothing in the background which means that I can have really beautiful light fall off in this space, which I think will be interesting because it's already architecturally fascinating with the beams on the ceiling and the walls and I think that's going to make a really interesting shot here that's very rustic in a sense, but also really elegant. Which is kind of what we're going for for this picture, because we have a whole bunch of ethically sourced feathers and these feathers are going to be laying in a pile all around our subject. She'...

s also going to be painted white, just to show a little bit of the sort of less than human quality that I want her to have where these feathers will have fallen off of her and what's left is this raw, white skin underneath with good texture from the paint. So we're going to get this started because we have a lot of work to do painting our model and getting the feathers in place. But just on a technical note, I am going to be shooting this at F2 so that I do have that amazing depth of field here, really shallow, as we've been doing for this whole series. So why don't I have you come on over, and we're going to paint your body white, and we're going to get some feathers in place in just a second, thank you. So I've got this body paint here, and I'm gonna try to be really careful with it. (chuckles) And I'm gonna have you generally in position, you don't have to totally assume your position, yep, right where those bags are, right in the center. And I'm actually gonna have you face away from me, which is a theme of the day. I feel really bad because I always have to say to models, oh, face away from me, I don't wanna see you, but I do, but just not exactly. So I'm going to start to put this white body paint all over you, I'm gonna move your hair to the side, I'm gonna start, my hands are really cold on your back, and hopefully we'll get you nice and painted really fast here. I'm just gonna slip off my wedding ring and well, that was a bad idea. And I'm pouring the paint into my hand and then I'm just going to, okay, there we go. Get started. All over the place. (chuckles) This is a very fun process. I definitely don't have any complaints having to do this today. I'm getting my outfit all messy, but that's okay, because isn't that what clothes are made for? Or at least what washing machines are made for. So this image is the final one that I'm shooting but probably won't be the final one in the series. This one is going to be probably somewhere in the middle, and it's important to think about the order in which you're going to display a series. In this case though, this isn't quite as dramatic as the first or the last image should be, and I think it's going to fall somewhere in the middle. I was actually talking to Rachel earlier and she was saying that she is not only extremely bendy but also very creative with her poses so we're going to see what we can do here to create a really sort of fallen bird look to this image. So the idea is going to be that she has lost all of her feathers, and here she is just sort of rejected on the floor, not knowing where to go from here. So now that we've got this paint on, which is looking very cool, I'm just gonna get it kinda up at your hair line. Let's see a pose that we might assume here, so what you did with your legs earlier was super cool. I don't remember what it was exactly. Facing away from me to start. Yep. I really like this, and I'm just going to get your leg now if you don't mind, so I'm just paying attention now to what the camera is going to see. And I think it'll be just right around here. I just met Rachel today, but now I'm going to touch her bum if that's okay (chuckling). Do you mind? Okay there we go. Just get in there. And make sure that what the camera sees will have paint on it. And I think this looks good, I'm just gonna wipe the excess on the leotard here. I think that looks good, I'm gonna put a little bit more on the leotard just for continuity just to be able to see the right color running through this whole picture. And then I'll be ready to shoot as long as I can hold my camera, because I've made my hands very dirty. So, okay, I'm sorry, i'm just getting in between my fingers so that I can clean myself on you. Just so mean. But I promised everyone cupcakes after this, so everyone will have cupcakes, eventually, one day. All right, so I'm going to pass that over there, grab a little wet wipe which is super handy. And then I'm going to put the feathers all around here. And once I'm clean, gonna open these up. And I just want fluffy feathers so I know that I probably don't have enough for what I wanted to do here. So I'm simply going to put them where I can and maybe photograph them a few times extra to make it look like there's more than there really are. This is 300 feathers. This was 100 of the 300. Actually it's looking pretty fluffy. We were all a little bit worried that it was going to be a really lackluster affair with these feathers, but this is looking really good. And I'm just going to make sure that they're in a circular pattern all around. I like some of them being on her, some of them not. And one last pack. So I think this side could use a little bit rounding out through here. Again I'm not worried about the front, so I'm just going to fill the frame where I can and we'll let it taper off a little bit to the edges for balance. Right there, this is where I want the last feathers. Okay perfect. Okay, and I think it'll be nice to have maybe a couple feathers coming toward the camera. And maybe one even really close to the camera. So that's what I'm going to keep in mind, thank you. I'm going to get my position here, and what I'm looking for is just some good depth of field, shallow depth of field here, so I'm just making sure that I'm as close as possible to my subject. I'm going to change my settings, so I am at ISO 200, and 200 for my shutter speed. Okay, Rachel, I'm going to have you actually pull your elbows down, yep, just like that. And then arch your back toward me even more. Oh, you've got it. She is fantastic (grunts). Okay, now I'm going to have you do even softer in the arms, like your arms are just about to fall off because you're a bird (chuckles). Logical, right? Okay, and then right arm down even lower, and then if you can pull that elbow back toward me a little. Yeah, just like that. Good. And now, yep, perfect, that's exactly what I was going to ask you to do. And this is a really fun image because I was able to work with Rachel as a performer and ask her what would you do in this space? And is that in alignment with the story I'm trying to tell, and it very much was. So I'm just taking a couple extra images here of the barn space, making sure that I have all the images that I need all around. And this is looking pretty good. Fantastic. And you can relax. So that is the final image of the series, but of course, not in order. So I think things went pretty well today. We went really quickly, we got everything that we needed, and most importantly, I feel like I have the base shots for every single image that we created. The good thing about that is that if I have to add little things in later like cracks in the floor or a tree in the room or whatever I may need, I can probably get those things off set or off location. So that's what I'm going to rely on doing to be able to finish this series. I'm super excited about the images and I hope you are too, and we're going to take a look at how they're put together and also how to market and sell the images as well. So thank you for joining me for this photo shoot.

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

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.

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. :)