Fine Art Photography: The Complete Guide


Fine Art Photography: The Complete Guide


Lesson Info

Shoot for Edit

It's really important when you are getting ready for a photo shoot to remember that there is an editing option. So if it's not possible to get everything in one go during the photo shoot, you should always have backups just in case, when you get into editing, you'll have some options, you'll be able to put everything together, if it didn't go quite perfectly the first time. I know for me, it is a very common issue that I'm either running out of time or running out of patience, and maybe you have experienced one of those two things as well. So when I shoot this actual image, I'm not going to have a lot of time. We're going to try to get a ton of pictures in a very short period of time. So I want to make sure that I get all of the extra shots possible so that I have them for the edit later on. One really good example is this moss picture that we're going to do, where we've got moss on the wall, and the idea is that we're going to have our model just right in the corner here of this room.

We're going to have the moss completely surrounding her on the walls on either side, sort of crawling up her body and then moving away from her on either side, but it's kind of tedious to try to get that much moss up on the wall. It takes a lot of tape, and a lot of patience with it not falling off, 'cause you can see it's very delicate here. So I need to be sure that for every single setup that I do, I have alternate images that I can add in later and post for compositing just to be able to put the whole image together. So worst case scenario, I get here to do the photo shoot, and the moss, we just don't have time to stick it all up on the wall, so what I might do is just put one piece up on the wall, and take a little step back, and photograph that moss, just get a few shots of it, so I'll get one picture of it just like that, and then I'll take the rest of the moss, and just continue to layer that in, just like this, and I don't even need to take the time to tape it to the wall. I can just have somebody hold it for the time being, and then photograph that moss, and just hold it in different positions all over the place, maybe higher, maybe lower, so that later on, I have all of these images where the moss has different lighting based on the position. For example, I might put it on this side so that it's in different light, in different angles, different perspectives, and then I really, really quickly have all of those shots that I can edit in later, and that's going to be really good for me because it's very unlikely that I'm going to be able to come in here and have all the moss in exactly the right spot. It's much better to have a blank canvas with these blank walls and our model in position here, than to come in to this space with it all setup and maybe something doesn't look quite right later. It's good to have that blank shot of the walls without the moss, just to be able to layer in another spot later. So that's what I'm thinking about here with this moss. So you can see that we have these blue pieces of tape on the wall, it says moss on either side, and that's what we're doing all around this space so that as we continue to shoot these pictures, we have these little blue pieces of tape telling us exactly where we need to go next, and what is going in this space. So that's going to help us to shoot really, really fast, make sure that we get everything done in exactly the right order because, like I mentioned, we're pretending that this is for a client, like somebody needs these images, and I need to prepare to have everything go wrong and still have everything go right in the end. So that is my goal, and that is why I would be shooting for the composite. It is possible to do it all here, in one go, at the same time, but just in case it doesn't work out, always have backups, always shoot for the composite as well as the final scene as great as you can make it. So that's the goal, and I'm going to be shooting lots of images for compositing later on, just in case.

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