Write to Different Audiences

Now, if we're going to write to galleries, we have to know what makes us interesting. Otherwise, why are we pitching ourselves? They're a business, too. They want to know what sets you apart so that they can take a chance on you, or not. So you're going to want to tell galleries who you are, and make it interesting, but also informative and very short. No pressure. What you do, what you like about the gallery, what you want from the gallery, your website link. The same as writing to publishers. You're gonna want all the same things. And then, it's the same writing for grants. Writing for anything, you're gonna need to say who you are, what you do, what you want. Right? In any situation. You need to tell at least that to somebody. But then there are a few other things that you're gonna want to think about. Like if you're asking an entity for a large sum of money as you would do when you're writing for a grant, you had better be inspirational. In your own way. It doesn't have to be tradi...

tionally inspirational, but you had better say something that sounds very intriguing to them, that inspires people in some way. Now I went through a whole bunch of grant websites. Like a whole bunch. And these were all of the key words that I saw over and over and over again that they want to see from artists submitting. Forward thinking, innovative, having a new point of view, point of view was used again and again. Technologically interesting, you know a lot of people are looking for you to really push the boundaries of what you can do with technology these days. So maybe that's not relevant to you, maybe it is. And conceptual depth is something that I found a lot of when I was looking up grants. And a lot of people saying you know it's great if your image is beautiful, it's great if you're doing this thing to help a community, but where is the depth of concept in this idea? So if you're gonna propose an idea, make sure that is has lots of layers. And usually grants are genre specific. You'll see a lot of grants for documentary work for example, conservation work, things like that. Maybe your work falls into that category. There are grants for fine art, for pretty much every single thing you can imagine out there somewhere. Now if you're gonna write to a juried show, so we've covered galleries and publishers and music artists and stuff like that, so that's when you're going to share who you are, what you do, and what you want. Okay, and then if you're writing for a grant you better bring out your inspirational and aspirational views. But now if you're writing to a juried show, it's a little bit different because you have to describe the work. The individual pieces themselves as well as your work as a whole. So we've got a statement about your body of work plus one to two sentences per image. So here's an example of my Fourth Wall series. And this is general statement about the whole body of work, which says Fourth Wall looks at the fears and emotions we feel we cannot share by constructing a metaphorical insiders' perspective of the mind. So here's a little blurb about the series. Now you can make this longer, like I wrote, just a statement. Paragraph is appropriate, a page could be appropriate, it depends. But now I need to hone in on a single image and figure out, Okay, I've written about the whole series but what about each individual image? What makes it unique? What makes it stand out? So for this particular image, which is called "Undone", I wrote "Undone" took 60 hours of laying yarn down on the floor, and 4 hours of sewing under the skin of the model's hand, to create a scene of bloody metaphor. Okay, so I'm using some keywords like bloody and skin. Should have said flesh, right? I agree. But then also giving interesting facts about this photo. So they know what the whole series is about, that's like your chance to be a little bit flowery and abstract with your language. But with this particular image, why do I feel the need to say anything about it? Well I'm gonna tell you. It's because I thought my back was gonna break when I spend 60 hours on the floor laying the yarn down. So I wanna tell you that. Because one, it shows how much time put in to this image in particular. And it also shows the dedication to this series, which I think is really important in selling it to somebody when you're trying to get an award. You know, if you're a jury right now and I'm giving you two images, one like this that has conceptual depth and layers and took 60 hours of working on to produce, versus one that maybe took me 10 minutes to shoot, an hour in Photoshop, and is pretty obvious what it is, aren't you going to award the one that had more depth and more time spent on it? Probably. It depends, of course, on what the situation is.

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

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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. :)

1,500+ classes ranging from fundamentals to advanced techniques.

Write to Different Audiences