Fine Art Photography: The Complete Guide

Lesson 69/138 - Shoot: Moss Image


Fine Art Photography: The Complete Guide


Lesson Info

Shoot: Moss Image

For this image, we're using a lot of moss to create a rather creepy scene in this space, and I love creepy, so this is probably the most exciting moment yet during this series because I really feel a sense of everything coming together in one space and looking exactly as I envision, but I cannot take all the credit for this because I just drew a terrible little sketch of what I wanted and then all of my friends made it happen by putting this moss on the wall. So we bought moss, and its sort of like little sheets of it and I have an example here of what we haven't used yet, so this is the moss that we're using, just sort of little sheets. And we used tape to put it up on the wall and then double-sided tape to stick it to our subject on the wall right now. We have her standing on an apple box just so that she's elevated a little bit. My end goal being that I'm going to photograph her feet separately and when I photograph her feet I'll be able to add them in later to make it look like she...

's dangling in the scene. So the idea is that the moss is growing all through this corner of the room and it is enveloping our subject as though she is just completely melted into this space. This was a really exciting image for me because it's happening in real time as we see it right now. A lot of the time I rely on Photoshop, and I think that is totally fine if you rely on Photoshop. I do very frequently, but in this case I thought that it would be really helpful to have the moss in the space. One, because I don't live in a place where I can purchase moss easily or where I can go out and find it easily, so I thought, you know what, I'm just going to get as much moss as I can into one space, make sure that the lighting is consistent instead of trying to find logs and trees or random little areas where I can photograph it and hope that I can match the light to this space, so trying to move moss in a natural area in Photoshop into this room would have been quite a task in my opinion, get the contouring right, get the lighting right, so this way we have it all happening in one spot. I think that she looks beautiful and creepy in the corner and this is going to be rather straightforward in that I'm going to take just a couple shots of her here. I'm then going to photograph this space without our subject, remove the apple box, photograph her feet separately, and then I'll be able to get rid of that black box and have new feet in the picture in the end. So I'm just gonna step back, take a look, I'm gonna get a lower angle for this one, and we haven't got a lot of light in this space, and I'm going to try to just adjust my exposure to reflect the little bit of light that we do have. So I am taking my ISO up to 500 for this image. Just gonna get a little bit closer here. And this is looking really neat to me, so I'm gonna have you put your head down even further, yup, you got it. I'm just getting my focus here. And this is gonna be super simple, just a quick shot. I'm gonna get a little bit extra of the room in this space. And that's it. So now, I could tell her to move aside and I will get the feet and I will get the space without the box, but just because I can, because all this work went into this construction of this scene which actually did take quite some time to put together, I would say probably about an hour or so just crafting this and making sure that it looked perfect, I'm gonna come in and get just a couple detail shots here. And just make sure that I have this properly documented before I completely tear it down and destroy everything. And this is really good to have for a series, because if I have little detail shots then I, for one, have extra content that I can put on my blog, on my social media, or maybe even in a slide show in the gallery where this series might eventually end up. But the other good thing is simply that I can show people how it was done and really get some close up detail shots in that way. So I'm just getting in here, getting these detail shots, making sure that her pain is documented. No, no, she's not in pain, I'm just kidding. Well I don't think she is. You're in pain? No. Oh she's not in pain, that's okay. (chuckles) All right, so, you look beautiful. Now wait, I'm just gonna get one more shot, because it's so good and I wanna make sure that we do it justice, so I'm just gonna back up one more time. Make sure that everything is looking perfect. Maybe get a different angle, I might move in a little bit closer this time. (shutter clicks) Okay. (shutter clicking) Good. Okay, I think we got it. So, I'm going to have you just take a step forward, if you can. (chuckles) Are you stuck? I'm kinda stuck. Okay, well in that case, you're not gonna take a step forward and we'll just photograph your feet, okay? So I'm gonna photograph her feet, and I'm just gonna get back where I was. Make sure that my focus is still good. Perfect, and now the other. Fantastic. Okay, so now I've got the feet that I can edit in later, and once we're able to unstick her from the wall, then I will take my blank shot in this room, but that's as I've been doing, always getting a blank shot of the space that I'm in. Other than that I think this went beautifully.

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 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


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. :)