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Shoot: Mirror Image

Lesson 68 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Shoot: Mirror Image

Lesson 68 from: Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

68. Shoot: Mirror Image

Lessons

Class Trailer
1

Class Introduction

19:06
2

Storytelling & Ideas

27:34
3

Universal Symbols in Stories

03:19
4

Create Interactive Characters

02:16
5

The Story is in The Details

04:13
6

Giving Your Audience Feelings

05:49
7

Guided Daydream Exercise

04:20
8

Elements of Imagery

02:19
9

The Death Scenario

01:47
10

Associations with Objects

03:01
11

Three Writing Exercises

06:39
12

Connection Through Art

30:35
13

Break Through Imposter Syndrome

07:40
14

Layering Inspiration

23:13
15

Creating an Original Narrative

07:42
16

Analyze an Image

04:12
17

Translate Emotion into Images

04:31
18

Finding Parts in Images

06:02
19

Finding Your Target Audience

04:05
20

Where Do You Want Your Images to Live?

12:01
21

Create a Series That Targets Your Audience

32:43
22

Formatting Your Work

06:08
23

Additional Materials to Attract Clients

07:24
24

Which Social Media Platforms Will be Useful?

04:17
25

How to Make Money from Your Target Audience

11:27
26

Circle of Focus

07:55
27

The Pillars of Branding

06:18
28

Planning Your Photoshoot

09:05
29

Choose Every Element for The Series

07:38
30

Write a Descriptive Paragraph

09:37
31

Sketch Your Ideas

17:27
32

Choose Your Gear

02:50
33

How to Utilize Costumes, Props & Locations

26:18
34

What Tells a Story in a Series?

13:06
35

Set Design Overview

01:43
36

Color Theory

19:50
37

Lighting for the Scene

12:05
38

Props, Wardrobe & Time Period for Set Design

06:00
39

Locations

04:31
40

Subject Within the Scene

07:26
41

Set Design Arrangement

05:46
42

Fine Art Compositing

03:46
43

Plan The Composite Before Shooting

10:29
44

Checklist for Composite Shooting

18:52
45

Analyze Composite Mistakes

12:11
46

Shoot: Black Backdrop for White Clothing

10:42
47

Shoot: Black Backdrop for Color Clothing

08:36
48

Shoot: Black Backdrop for Accessories

08:17
49

Shoot: Miniature Scene

09:59
50

Editing Workflow Overview

01:57
51

Add Fabric to Make a Big Dress

08:35
52

Edit Details of Images

08:09
53

Add Smoke & Texture

10:47
54

Blend Multiple Images Into One Composite

24:58
55

Put Subject Into a Miniature Scenario

17:55
56

Location Scouting & Test Photoshoot

22:10
57

Self Portrait Test Shoots

22:30
58

Shoot for Edit

04:21
59

Shoot Extra Stock Images

10:01
60

Practice the Shoot

25:07
61

Introduction to Shooting Photo Series

03:33
62

Shoot: Vine Image

10:40
63

Shoot: Sand Image

09:50
64

Shoot: End Table Image

04:59
65

Shoot: Bed Image

06:18
66

Shoot: Wall Paper Image

05:54
67

Shoot: Chair Image

08:02
68

Shoot: Mirror Image

06:57
69

Shoot: Moss Image

05:48
70

Shoot: Tree Image

07:33
71

Shoot: Fish Tank Image

04:09
72

Shoot: Feather Image

09:00
73

View Photo Series for Cohesion & Advanced Compositing

07:35
74

Edit Multiple Images to Show Cohesion

36:55
75

Edit Images with Advanced Compositing

29:33
76

Decide How to Start the Composite

09:35
77

Organize Final Images

21:37
78

Choosing Images for Your Portfolio

08:19
79

Order the Images in Your Portfolio

16:28
80

Why do Some Images Sell More Than Others?

16:03
81

Analyze Student Portfolio Image Order

11:42
82

Framing, Sizing, Editioning & Pricing

02:19
83

Determine Sizes for Prints

16:44
84

How to Choose Paper

13:56
85

How to Choose Editions

07:18
86

Pricing Strategies

18:59
87

How to Present Your Images

13:26
88

Example Pricing Exercise

09:39
89

Print Examples

08:23
90

Licensing, Commissions & Contracts

04:44
91

How to Keep Licensing Organized

06:07
92

How to Prepare Files for Licensing

07:28
93

Pricing Your Licensed Images

12:33
94

Contract Terms for Licensing

12:07
95

Where to Sell Images

04:55
96

Commission Pricing Structure

08:23
97

Contract for Commissions

12:17
98

Questions for a Commission Shoot

08:45
99

Working with Galleries

08:58
100

Benefits of Galleries

07:39
101

Contracts for Galleries

10:32
102

How to Find Galleries

05:22
103

Choose Images to Show

08:53
104

Hanging the Images

03:38
105

Importance of Proofing Prints

08:04
106

Interview with Soren Christensen Gallery

21:59
107

Press Package Overview

04:35
108

Artist Statement for Your Series

18:20
109

Write Your 'About Me' Page

09:04
110

Importance of Your Headshot

03:55
111

Create a Leave Behind & Elevator Pitch

20:19
112

Writing For Fine Art

04:44
113

Define Your Writing Style

14:49
114

Find Your Genre

06:41
115

What Sets You Apart?

02:25
116

Write to Different Audiences

05:10
117

Write for Blogging

39:57
118

Speak About Your Work

14:21
119

Branding for Video

07:37
120

Clearly Define Video Talking Points

14:27
121

Types of Video Content

31:45
122

Interview Practice

13:22
123

Diversifying Social Media Content

22:32
124

Create an Intentional Social Media Persona

24:48
125

Monetize Your Social Media Presence

18:46
126

Social Media Posting Plan

04:01
127

Choose Networks to Use & Invest

02:57
128

Presentation of Final Images

19:13
129

Printing Your Series

09:16
130

How to Work With a Print Lab

13:39
131

Proofing Your Prints

10:11
132

Bad Vs. Good Prints

03:32
133

Find Confidence to Print

10:50
134

Why Critique?

06:55
135

Critiquing Your Own Portfolio

10:39
136

Critique of Brooke's Series

16:18
137

Critique of Student Series

40:07
138

Yours is a Story Worth Telling

02:09

Lesson Info

Shoot: Mirror Image

This is an image that I think is going to be quite simple in the series, but it's going to be a little bit magical as well. And part of my goal with this series of images, is to bring magical elements, into a space, that looks very realistic, as this decaying space does. I think the more that you have a building that's falling apart, that has grime and dirt all over the place, the more realistic it tends to look. So, if we can bring some magical elements in, I think that we're going to have a good balance, between magic and realism. So, for this picture, we have a mirror, and this mirror, we're going to end up putting on the wall, make it look really big, and I'm going to put something else in the mirror. It's not gonna be a mirror by the time we get done with it, it's going to be sort of a portal to whatever is on the other side of the wall. Not literally what's on the other side of the wall, because we have a fish tank, on the other side of the wall, but instead, it might be clouds, ...

or it might be rolling hills, something very magical, something that our character's dreaming about, sort of like a portal to a new world. So, that's what I'm going to edit into his picture, and to do it, I'm going to have our subject standing with the light hitting directly, and just sort of be dreaming about what is through this portal. So, I'm going to have hers simply like this, with her head back, with the arms back, very graceful, with the dress flowing, with the hair moving, and then, I will edit this picture frame, separately, to look really big on the wall. Even bigger than it actually is, so that this portal, looks really big and inviting, and will actually form some of the lighting conditions that we might change, later on in post. So, instead of having lighting just coming from one side, I might edit light to come out of the frame as well. And that's something that I have to think about ahead of time, to make sure that I'm shooting in the right conditions for that to happen. So, I think we're ready to get started. So, Rachel, if you wanna come on over here. We've got this nice, gray dress that we're using, and it could be good on it's own, but I've actually found that this dress, works really well to change the color up. So might make this dress blue, or red, I'm not sure yet, exactly what color we're gonna go with, that might be determined by the colors that we find through the portal that we're going to create, so this should be nice and simple to start. So, I'm gonna have you stand here, and actually just gonna move this mirror slightly away. Just there. So that we have a night clean slate. So, I'll have you stand just about there, and for this first shot, I'm not gonna have her do anything, but assume the position, which is good, you were already doing it, look at that. It's so nice, having people along, who just get it. So, I'm going to turn my camera on, take a step back, I'm going to get a bit of a lower angle here, and I'm going to get my focus. And my settings are stying pretty consistent at this point, because we're still in this room that we've been in, so right now, I'm at F 2.5, 100 for my shutter speed, and ISO 250. And that looks pretty good to me. We might get a little bit of blur, when we start moving the skirt. And that will be fine, in my opinion, just adds a little bit of a believability and motion to the picture. So, I'm gonna have you lower your arms just slightly, yup, that is perfect. And then, arch your back toward me a little, yup, you got it. And, can you put all your hair behind your shoulders? Perfect. Okay, so, this is my base shot. This is the image that I am going to start from, and then I'm going to build off of. And I'll explain what I mean in just a moment, after I capture this image. So, I'm checking focus one more time, (camera clicks) And taking one shot, and if you could actually even back bend a little bit more toward me, yup, that's perfect. Just cause of the angle, that I'm so much lower, I need a little bit more of an exaggerated pose, so that was perfect, you got that. Now, we need to get extra shots of our subject. So, I'm going to have you, you can sort of relax your body, I'm going to have you, flick your hair toward me, so just a little like that, over the shoulder, and I'm going to catch it, as you do it, whenever you're ready. (camera clicks) Perfect, and now the other side. (camera clicks) Good. So it's just a little bit of motion, her hair went out really far, but I'm not catching it when it's sticking straight out, because that wouldn't be believable in this space. So, I'm catching it as it's falling behind her, just to create some motion in that area. So now, I'll have you take the sides of your dress, and just flick them out, and you don't have to do it really hard, just gently will be perfect. (camera clicks) Okay, and maybe two more times. (camera clicks) Good, and now let's do one, if you can grab the very back of your dress, and throw it toward me a little bit. That's hard to do, I know, but if you can, we'll see. (camera clicks) Perfect, got that. So, we've got the images of the dress, images of the hair, we've got our subject in her pose, and it looked really lovely. So, you can step aside, and then we're going to have our friends come over, and hold the mirror. And for this image, I'm not worried about keeping my position exactly, because I need to make this mirror look bigger than it actually is, I'm actually gonna get pretty close to the mirror, and photograph it closer, so that I have the room, to be able to make it look bigger, in the final image. Of course, the closer you photograph something, if you then put that image into another picture, it's going to look bigger. So, I'm going to get as close as I can, and I'm going to photograph this mirror, just like this, just getting my focus. (camera clicks) Got it. Thank you guys. Okay, so, now I'm going to photograph this space. Would you guys mind moving that with you? Thank you. I'm going to photograph this space, because this is going to be my room, so I'm just steeping back, and taking a few more images, on my knee, like I did before. And, focusing on the spot on the floor, that I marked mentally, where my subject was standing, (camera clicks) Just get a couple of images of that room. (camera clicks) Okay, and now we have the space, to build out from there. So, this one is fairly simple, but there is some cutting involved, some editing, that's going to be a little bit tricker than just, "Oh, I'll just put the mirror in, "and then the subject will be there, "and it'll all be perfect." I'm actually going to have to cut around her hair a little bit, which is another deterrent, from capturing the hair going out to the sides, because that's the area that I'm going to have to be editing. So, I don't want little, tiny strands of hair, going off, if I'm going to have to cut around, every single one of those hairs. So, I'd prefer the hair being, sort of slick straight, and then just flaring down at the bottom, where I don't have to edit around the hairs. So, that's what I was thinking about for this photoshoot, and I have high hopes, that this one is going to be magical, and realistic at the same time.

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

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.

Student Work