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Galleries and Fine Art

Lesson 64 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

64. Galleries and Fine Art

Lessons

Class Trailer
1

Bootcamp Introduction

06:35
2

Storytelling with Stills and Motion Overview

14:35
3

Elements of a Well-told Story

22:12
4

Storytelling in Motion

34:19
5

Choosing the Best Gear for Your Outdoor Project

16:24
6

Gear for Drones

02:53
7

Gear for Motion

05:23
8

Inside Ian's Gear Bag

20:07
9

General Advice for Preparation

14:19
10

Virtual Scouting

03:54
11

Weather

10:17
12

Permits and Permission

03:09
13

Model and Property Releases

04:43
14

Health and Fitness

03:04
15

Checklist

03:20
16

Location Scouting Overview

15:18
17

Location Scouting in the North Cascades

15:24
18

Drone Introduction

14:59
19

Drone Safety

03:26
20

What Kind of Drone Should I Buy?

02:58
21

FAA Part 107 Test: How to Prepare

06:18
22

Telling a Story With a Drone

06:15
23

Drone Camera, Lenses and Movements

04:34
24

Selling Drone Footage

02:39
25

Why Does a Photographer Need Motion?

10:59
26

Establish the End User

06:35
27

Identify Your Audience

03:12
28

Build a Production Plan

05:28
29

Create the Story Structure

04:26
30

The Shooting Script

07:08
31

Production Quality

08:37
32

Composition for Stills

08:04
33

Composition for Stills: Landscape

08:15
34

Composition for Stills: Telephoto Lens

14:48
35

Composition for Stills: Macro Lens

07:50
36

Techniques for Capturing Motion in the Field

25:15
37

Lenses and Filters for Outdoor Photography

26:20
38

Capturing Landscapes - Part 1

28:12
39

Capturing Landscapes - Part 2

23:36
40

Capturing Movement in Stills

32:17
41

Shooting Water, Sky and Panorama

29:40
42

Understanding Stock

20:45
43

Editorial vs Commerical

03:57
44

Pricing Stock

05:40
45

Producing Stock

14:49
46

Shooting for Social Media vs Stock

11:37
47

Choosing an Agency

08:58
48

Assignments and Capturing Stock

13:49
49

Stock Photography Market

05:28
50

Create A Style Guide

05:30
51

Stock Shoot Analysis

21:29
52

Workflow for Selecting Final Stills

27:43
53

Initial Editing in Adobe Bridge

21:02
54

Reviewing and Selecting Motion Footage

11:02
55

Keeping Track of Your Story Ideas

22:40
56

Script and Story Structure Evolution

04:34
57

Editing to the Content

05:00
58

Music as a Character

05:41
59

Business Diversification

07:07
60

Business Strategy

04:57
61

Pillars of Revenue

17:09
62

Branding

06:36
63

Partnerships and Brand Strategy

05:12
64

Galleries and Fine Art

03:11
65

Budgeting

05:21
66

The Future of Photography

26:12
67

Q&A And Critique

1:09:39

Lesson Info

Galleries and Fine Art

another pillar of revenue. Another channel for you to generate revenue. I think it comes easier a little later. There's a lot of variation on this, but depends are galleries and fine art, um, volume versus quality. So you know there's there's that aren't the core. And then there's fine art and Art Deco or is more like the stuff of our talk about corporate, maybe mugs, T shirts, whatever. It's the whole, the whole genre of, of things that go on in places, right? And then there's the limited edition fine art print. So I actually just did a show last year at a gallery in Santa Fe, New Mexico called Addition one. And we did a whole American wilderness in the National Park Show, and it's great. I mean, it gets a huge visibility. Um, you know, it gives you something to promote yourself, keep your name out there and be relevant. In this case, it's quality sales versus volume sales, and that's something that every photographer needs to figure out where they stand. In my opinion, I do not think...

art decor and volume sales where you're seeing $5 prints and other things go out the door. I do not think in the current market place, it degrades the value of your art. I think if you're a very famous photographer, possibly. But even then I don't think so. I think very few I sold lots of prints here. I sell cheap posters online. I had no problems. I'm making revenue from both channels. You just have to have expectations on it. You may say my philosophy is not about that. I want to be a highbrow. I want my stuff on Lee. Be fine. Are I'm an art photographer. I don't even want to stock. That's fine. Be realistic about your expectations. That's where it's gonna bay. It will be limited to that. These things are expensive to put on, expensive to make the prince expensive to get him framed expensive. Do the madding. You will probably responsible for all of it. Short of the hanging and someone else will get half. But people walked through the door. And if you have already been following the other pillars of revenue, what do you notice in the bottom of this little picture here? My book. So I have now a new opportunity. So a bunch of books and cheaper products by using someone else's retail space. I don't need my own retail space music someone else's by throwing some pictures up another good way. And another thing you think about volume versus quality is also volume in location. I sometimes think being in a coffee shop that's very popular is better than being in a high end gallery. It's gonna take a lot longer to get into a high end gallery. It's gonna cost you a lot more to produce high end work where you're going to have literally 100 people in our walk into a coffee shop. Who might say I like that? And instead of selling a print for $500 you sell it for $150 yourself five of them a week. Um, that's a judgment call. A lot of places do that. A lot of even big chains will support local artists, so I wouldn't rule that out. I think it's a good I think it's a good revenue generator, and I think it's something that should be part of your money making machine.

Class Materials

Bonus Materials with Purchase

Slides

Ratings and Reviews

monica4
 

Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!

Cindee Still
 

Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.

Cindy
 

What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.

Student Work

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