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Fine Art Photography: The Complete Guide

Lesson 109 of 138

Write Your 'About Me' Page


Fine Art Photography: The Complete Guide

Lesson 109 of 138

Write Your 'About Me' Page


Lesson Info

Write Your 'About Me' Page

To the About Me page. I also don't like this, but it's a must-be-done thing. An About Me page is gonna have a picture of you, hopefully or something related to you. And it's going to answer the same questions as the Artist Statement. What? How? And Why? I'm a fine art photographer. I do self portraiture. I layer my images, and they're painterly. And I overcome fears, and I love to help others. So just bullet points of what I would want to write about in my About Me page, same as in my artist statement. So then how is this different from an artist statement? This is the question. Because you're not getting out of it, let me tell you that. You can't just write one and use it for both. Well you could, absolutely. But I don't recommend it. So how is this different if it is literally the same content? The answer is that your artist statement should be professional, it should be polished, and you would write that from first person. Which is something that surprises a lot of people. You would...

think that to make it sound extra fancy you would put it in third person. I would actually recommend first person for your artist statement. For your About Me page I have an argument for both, okay? If you want to be really personable, and your aim is to just totally ingratiate yourself to people, go with first person. That's okay. A lot of people do it in your About Me page. I mean, we're not really fooling anyone. Obviously we're all writing our own About Me pages. Like, come on. The ruse is up. We all know. But, here is the thing about third person for your About Me page. Is that if hopefully you get to a point where you're being published in different places, on blogs, in articles, wherever, those people are going to go to your website copy and paste your About Me page and put it in to their article - like at the end of the article, let's say So if you have written it in first person, it's going to sound like you've now, you're writing on their blog, on their page, on their article. But it sounds a lot nicer when they copy and paste if it's in third person. So that's my argument for keeping it in third person for your About Me page, is that it will be copy and pasteable more easily for people. And it also sounds professional. So, how is it different? ME-Centric. Your About Me page. Which is funny because I just said I don't necessarily recommend first person but its very much about me. That's why it's called an About Me page. Very funny how these things work, isn't it? It can be playful or serious or something in-between. That's up to you and how you want to sound. You can talk about your accomplishments. You probably wouldn't do that in an artist statement. The artist statement is about your art. This is about you and what you have done so far. And you might make a distinction between personality versus style. So, you've got your personality - who you are. You want to put that in. You don't need necessarily to speak in the way that you would write captions for your images. With the flowery language, or however you would do that. So, there's a distinction to make there. Style of your writing for your work, versus style of your writing for your About Me page. So it can be emotional, it could be funny, it could be professional. These are three categories that I find most often people use to write their About Me page. Some people are super emotional and they tell the story of their life and it is really sad, or it's really heartbreaking and you learn something about them. It could be funny. It could be professional. And I want to show you a few examples of these. So if you're going with emotional you want to talk about why you create, probably. Pretty good one. What experiences you had. Any emotional ties that you have to your work. And the impact that it's had on you, or that your work has on other people. Something emotional, always relating it back to the emotion. Here's my emotional blurb that I wrote. "Even when we stand in the light, we necessarily cast a shadow." That's my dark, cryptic quote that I put there. "Brooke has always explored the ways in which we are made of darkness and light, and her art aims to share her inner-workings. She photographs herself so that she can be the characters she has always dreamed of from a childhood of intense imagination and fear. By being the creator and the actor, she can confront the fears that have always plagued her while taking control of her darkness." So it's written in third person, speaking to the emotional connection that I have to the work that I am creating. Okay, funny. I'm just going to totally switch gears here. You might include silly facts about yourself, which is always fun to do. You might share why you create, of course, because that's sort of like the heart of what we are writing about as it is. And then maybe you share a funny story or an anecdote or something like that. So here's my funny one, and I wrote this in first person to be more casual. "I'm terrified of whales, eat a head of kale almost every single day, and love the feeling of being completely dirty from a day of shooting. In my world, muddy feet are always a good thing (unless you ask my husband). I'm a fine art photographer, and I photograph myself, which, aside from sounding horribly narcissistic, is a way of having full control over my images and working completely, and blissfully, alone." So it's just a funnier tone. It's like sharing random facts that nobody needs to hear about, but let's you know that I'm a real human being and I like kale and stuff like that. And it's just silly. But it still tells you about my process a little bit. Professional. Now this is where you might talk about achievements, your journey in your craft, your education would also be relevant here. And this is my professional blurb. "Brooke Shaden studied filmmaking and English Literature in college, graduating with bachelors in each shortly after she began pursuing photography. Her images have been presented with a number of fine art and conceptual awards and she has representation through galleries around the world." Also tells you about my journey, about my photography but in a very professional, clean, clinical way. So I tend to do like a mix of all these things in my artist statement, I mean my About Me page. You don't have to be one or the other, you know? You can mix them up, see how that goes. For example, in my About Me page I've got a little bit of the emotional stuff, but then I have like a quick five questions at the end with like 'What's your favorite this?' And then a funny answer. Just to sort of be like, 'Here's my emotional stuff, but also I'm funny, or I try to be, or I wish I was funny.' You know, whatever. Okay. So. Your CV. Is generally going to go on your About page somewhere. At least like a link to it, or just some easy way to find it. You're going to have your name on there, your contact information, always important. Your education, if it's relevant. If it's not you don't need to put it, but if it's at all relevant go ahead and put that. Let's see, exhibitions, awards that you may have won, publications that you've been a part of, notable clients that you've had. And your job history. Now job history, I'm going to put like, a little asterisk next to that to say that if for whatever reason you have no jobs that are relevant, then don't put it. I mean, honestly, it's like nobody cares if you're an Olympic athlete if you're going for a job as a nurse. You know, it's like nobody cares. It's really interesting, but not relevant. So make sure that you don't dwell on the job history. It's not something that I've ever put on my CV because I have no relevant job history. But if you do, then good to mention. I think, at least. Okay. Notable highlights on your CV. Good to not put everything if you have too much stuff. Only pick out the most impressive things. Dates should go along with your CV, so if you've got, you know you don't just want to write 'Group exhibition' you'll want to put down 'March 2017 group exhibition' and let people know a little bit of information. What organization or client, or gallery, or whatever it was that it was associated with, good to mention that. So I just had a show open a couple of weeks ago and for that show I would write down 'Joanne Artman Gallery, solo exhibition October 2017' for example. And then that would give people all they need to know about that. You might include the title of the show or something to that effect. Not necessary. Any links if there are any, so if you've got you know like an important show that you were a part of and there is a link to the webpage that speaks about it, can't hurt. I mean obviously if you're printing this you can't have links, but if it's online definitely do!

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.


  1. Class Introduction
  2. Storytelling & Ideas
  3. Universal Symbols in Stories
  4. Create Interactive Characters
  5. The Story is in The Details
  6. Giving Your Audience Feelings
  7. Guided Daydream Exercise
  8. Elements of Imagery
  9. The Death Scenario
  10. Associations with Objects
  11. Three Writing Exercises
  12. Connection Through Art
  13. Break Through Imposter Syndrome
  14. Layering Inspiration
  15. Creating an Original Narrative
  16. Analyze an Image
  17. Translate Emotion into Images
  18. Finding Parts in Images
  19. Finding Your Target Audience
  20. Where Do You Want Your Images to Live?
  21. Create a Series That Targets Your Audience
  22. Formatting Your Work
  23. Additional Materials to Attract Clients
  24. Which Social Media Platforms Will be Useful?
  25. How to Make Money from Your Target Audience
  26. Circle of Focus
  27. The Pillars of Branding
  28. Planning Your Photoshoot
  29. Choose Every Element for The Series
  30. Write a Descriptive Paragraph
  31. Sketch Your Ideas
  32. Choose Your Gear
  33. How to Utilize Costumes, Props & Locations
  34. What Tells a Story in a Series?
  35. Set Design Overview
  36. Color Theory
  37. Lighting for the Scene
  38. Props, Wardrobe & Time Period for Set Design
  39. Locations
  40. Subject Within the Scene
  41. Set Design Arrangement
  42. Fine Art Compositing
  43. Plan The Composite Before Shooting
  44. Checklist for Composite Shooting
  45. Analyze Composite Mistakes
  46. Shoot: Black Backdrop for White Clothing
  47. Shoot: Black Backdrop for Color Clothing
  48. Shoot: Black Backdrop for Accessories
  49. Shoot: Miniature Scene
  50. Editing Workflow Overview
  51. Add Fabric to Make a Big Dress
  52. Edit Details of Images
  53. Add Smoke & Texture
  54. Blend Multiple Images Into One Composite
  55. Put Subject Into a Miniature Scenario
  56. Location Scouting & Test Photoshoot
  57. Self Portrait Test Shoots
  58. Shoot for Edit
  59. Shoot Extra Stock Images
  60. Practice the Shoot
  61. Introduction to Shooting Photo Series
  62. Shoot: Vine Image
  63. Shoot: Sand Image
  64. Shoot: End Table Image
  65. Shoot: Bed Image
  66. Shoot: Wall Paper Image
  67. Shoot: Chair Image
  68. Shoot: Mirror Image
  69. Shoot: Moss Image
  70. Shoot: Tree Image
  71. Shoot: Fish Tank Image
  72. Shoot: Feather Image
  73. View Photo Series for Cohesion & Advanced Compositing
  74. Edit Multiple Images to Show Cohesion
  75. Edit Images with Advanced Compositing
  76. Decide How to Start the Composite
  77. Organize Final Images
  78. Choosing Images for Your Portfolio
  79. Order the Images in Your Portfolio
  80. Why do Some Images Sell More Than Others?
  81. Analyze Student Portfolio Image Order
  82. Framing, Sizing, Editioning & Pricing
  83. Determine Sizes for Prints
  84. How to Choose Paper
  85. How to Choose Editions
  86. Pricing Strategies
  87. How to Present Your Images
  88. Example Pricing Exercise
  89. Print Examples
  90. Licensing, Commissions & Contracts
  91. How to Keep Licensing Organized
  92. How to Prepare Files for Licensing
  93. Pricing Your Licensed Images
  94. Contract Terms for Licensing
  95. Where to Sell Images
  96. Commission Pricing Structure
  97. Contract for Commissions
  98. Questions for a Commission Shoot
  99. Working with Galleries
  100. Benefits of Galleries
  101. Contracts for Galleries
  102. How to Find Galleries
  103. Choose Images to Show
  104. Hanging the Images
  105. Importance of Proofing Prints
  106. Interview with Soren Christensen Gallery
  107. Press Package Overview
  108. Artist Statement for Your Series
  109. Write Your 'About Me' Page
  110. Importance of Your Headshot
  111. Create a Leave Behind & Elevator Pitch
  112. Writing For Fine Art
  113. Define Your Writing Style
  114. Find Your Genre
  115. What Sets You Apart?
  116. Write to Different Audiences
  117. Write for Blogging
  118. Speak About Your Work
  119. Branding for Video
  120. Clearly Define Video Talking Points
  121. Types of Video Content
  122. Interview Practice
  123. Diversifying Social Media Content
  124. Create an Intentional Social Media Persona
  125. Monetize Your Social Media Presence
  126. Social Media Posting Plan
  127. Choose Networks to Use & Invest
  128. Presentation of Final Images
  129. Printing Your Series
  130. How to Work With a Print Lab
  131. Proofing Your Prints
  132. Bad Vs. Good Prints
  133. Find Confidence to Print
  134. Why Critique?
  135. Critiquing Your Own Portfolio
  136. Critique of Brooke's Series
  137. Critique of Student Series
  138. Yours 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.

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.