Break Through Imposter Syndrome
Brooke Shaden
Lessons
Class Introduction
19:06 2Storytelling & Ideas
27:34 3Universal Symbols in Stories
03:19 4Create Interactive Characters
02:16 5The Story is in The Details
04:13 6Giving Your Audience Feelings
05:49 7Guided Daydream Exercise
04:20 8Elements of Imagery
02:19The Death Scenario
01:47 10Associations with Objects
03:01 11Three Writing Exercises
06:39 12Connection Through Art
30:35 13Break Through Imposter Syndrome
07:40 14Layering Inspiration
23:13 15Creating an Original Narrative
07:42 16Analyze an Image
04:12 17Translate Emotion into Images
04:31 18Finding Parts in Images
06:02 19Finding Your Target Audience
04:05 20Where Do You Want Your Images to Live?
12:01 21Create a Series That Targets Your Audience
32:43 22Formatting Your Work
06:08 23Additional Materials to Attract Clients
07:24 24Which Social Media Platforms Will be Useful?
04:17 25How to Make Money from Your Target Audience
11:27 26Circle of Focus
07:55 27The Pillars of Branding
06:18 28Planning Your Photoshoot
09:05 29Choose Every Element for The Series
07:38 30Write a Descriptive Paragraph
09:37 31Sketch Your Ideas
17:27 32Choose Your Gear
02:50 33How to Utilize Costumes, Props & Locations
26:18 34What Tells a Story in a Series?
13:06 35Set Design Overview
01:43 36Color Theory
19:50 37Lighting for the Scene
12:05 38Props, Wardrobe & Time Period for Set Design
06:00 39Locations
04:31 40Subject Within the Scene
07:26 41Set Design Arrangement
05:46 42Fine Art Compositing
03:46 43Plan The Composite Before Shooting
10:29 44Checklist for Composite Shooting
18:52 45Analyze Composite Mistakes
12:11 46Shoot: Black Backdrop for White Clothing
10:42 47Shoot: Black Backdrop for Color Clothing
08:36 48Shoot: Black Backdrop for Accessories
08:17 49Shoot: Miniature Scene
09:59 50Editing Workflow Overview
01:57 51Add Fabric to Make a Big Dress
08:35 52Edit Details of Images
08:09 53Add Smoke & Texture
10:47 54Blend Multiple Images Into One Composite
24:58 55Put Subject Into a Miniature Scenario
17:55 56Location Scouting & Test Photoshoot
22:10 57Self Portrait Test Shoots
22:30 58Shoot for Edit
04:21 59Shoot Extra Stock Images
10:01 60Practice the Shoot
25:07 61Introduction to Shooting Photo Series
03:33 62Shoot: Vine Image
10:40 63Shoot: Sand Image
09:50 64Shoot: End Table Image
04:59 65Shoot: Bed Image
06:18 66Shoot: Wall Paper Image
05:54 67Shoot: Chair Image
08:02 68Shoot: Mirror Image
06:57 69Shoot: Moss Image
05:48 70Shoot: Tree Image
07:33 71Shoot: Fish Tank Image
04:09 72Shoot: Feather Image
09:00 73View Photo Series for Cohesion & Advanced Compositing
07:35 74Edit Multiple Images to Show Cohesion
36:55 75Edit Images with Advanced Compositing
29:33 76Decide How to Start the Composite
09:35 77Organize Final Images
21:37 78Choosing Images for Your Portfolio
08:19 79Order the Images in Your Portfolio
16:28 80Why do Some Images Sell More Than Others?
16:03 81Analyze Student Portfolio Image Order
11:42 82Framing, Sizing, Editioning & Pricing
02:19 83Determine Sizes for Prints
16:44 84How to Choose Paper
13:56 85How to Choose Editions
07:18 86Pricing Strategies
18:59 87How to Present Your Images
13:26 88Example Pricing Exercise
09:39 89Print Examples
08:23 90Licensing, Commissions & Contracts
04:44 91How to Keep Licensing Organized
06:07 92How to Prepare Files for Licensing
07:28 93Pricing Your Licensed Images
12:33 94Contract Terms for Licensing
12:07 95Where to Sell Images
04:55 96Commission Pricing Structure
08:23 97Contract for Commissions
12:17 98Questions for a Commission Shoot
08:45 99Working with Galleries
08:58 100Benefits of Galleries
07:39 101Contracts for Galleries
10:32 102How to Find Galleries
05:22 103Choose Images to Show
08:53 104Hanging the Images
03:38 105Importance of Proofing Prints
08:04 106Interview with Soren Christensen Gallery
21:59 107Press Package Overview
04:35 108Artist Statement for Your Series
18:20 109Write Your 'About Me' Page
09:04 110Importance of Your Headshot
03:55 111Create a Leave Behind & Elevator Pitch
20:19 112Writing For Fine Art
04:44 113Define Your Writing Style
14:49 114Find Your Genre
06:41 115What Sets You Apart?
02:25 116Write to Different Audiences
05:10 117Write for Blogging
39:57 118Speak About Your Work
14:21 119Branding for Video
07:37 120Clearly Define Video Talking Points
14:27 121Types of Video Content
31:45 122Interview Practice
13:22 123Diversifying Social Media Content
22:32 124Create an Intentional Social Media Persona
24:48 125Monetize Your Social Media Presence
18:46 126Social Media Posting Plan
04:01 127Choose Networks to Use & Invest
02:57 128Presentation of Final Images
19:13 129Printing Your Series
09:16 130How to Work With a Print Lab
13:39 131Proofing Your Prints
10:11 132Bad Vs. Good Prints
03:32 133Find Confidence to Print
10:50 134Why Critique?
06:55 135Critiquing Your Own Portfolio
10:39 136Critique of Brooke's Series
16:18 137Critique of Student Series
40:07 138Yours is a Story Worth Telling
02:09Lesson Info
Break Through Imposter Syndrome
Now this next thing is one that I guarantee almost every single person will identify with, that either if you have not felt imposter syndrome yet, you might one day, and it's something that I have often struggled with. The reason why I bring it up here is twofold. One, because this class is taking us from idea to concept to creation to selling our work, and if we feel inundated with imposter syndrome, we're never gonna get to that place where we sell our work properly. We're just not. Because we're going to undervalue ourselves, we're not going to know our worth, and Kenna and I were just talking about this earlier, this idea of, at what point are you undervaluing yourself because you think you're not worthy of something. Now imposter syndrome is feeling like an imposter. Feeling like, oh gosh, right now, for example, I could very easily be feeling this, and in fact have, at many points, in creating this class, why am I the one to teach this class? Why am I the one to impart this knowl...
edge? Everyone thinks that I can do this, but really, I can't. And, really, I'm just tricking everybody, with any success I may have had in this field. And so I could be standing here, tremendously nervous to talk to you all, because I feel unworthy of sharing this information. Now the same goes for art. Art is extremely personal, and if somebody tells you that you did a bad job at it, we immediately believe it, because we think they must be right, because they think it's bad, so it's bad. It's really easy to get into that mindset, because we don't always expect to be good at things. Some people do, and I really, really wish that I had more of that, where you're just like, I expect to be really good at this thing all the time. But others, and I would say most of us, don't expect to be good at things, especially right away, and so we develop this idea that if somebody does think that what we do is good, they must be wrong, and I'm just tricking them into seeing what I want them to see. How do we get over that? There is no short answer to this. I mean, I wish that I could say obviously, blah blah blah, you'll be fixed, it's fine. And I still deal with this, and that's why I say there's no short answer, because I really feel like I would have found one by now if there was one. But my advice is to recognize one, you might not be at your best yet. But that's okay. It's okay to not be producing the type of work that you wish you were yet. It's okay for someone to think that you need to get better at what you do, because what you do should be evolving, okay? It's like if you look at this picture of mine, and you're like, not very good, I'd be like, alright, I tried my best, I really like it, one day, maybe it'll get better. You just have to recognize that this right here, right now, is not the end all, be all, and you're not an imposter. You're just not. If someone likes what you do, that's equally as valid as if someone doesn't like what you do. No good words for that one, sorry. Alright, now this was a really interesting conversation that I had yesterday, and I felt the need to bring this up. There are so many people who will just not keep going. Who will not continue to create art. Who will be given a challenge, and they won't complete it. And I'm not, in any way, saying, shame on you for doing that. I am not at all saying that. What I am saying, is that if you commit yourself to this practice, and you keep making work, even when, and especially when, other people stop, that is what will catapult you into a whole other realm of creating, and a whole other realm of business. It's when we take what we do, and we don't listen to that imposter syndrome, and we don't listen to all those people saying your work isn't very good, this could be better, and we simply grow from that, and we keep making art, that suddenly, we'll still be there when everyone else fell off the bandwagon. And I would say that 90% of any success that I've had is just this. I just keep coming back. You can't get rid of me, like a rash, I just keep coming. It's a great example, you guys, okay? Lots of faces like, what, I don't know about that. Okay, well find a better metaphor for me, so that I don't have to be a rash, please. But it's true. I just keep coming back. I just keep making things. And I keep getting negative feedback. One day I'm just going to compile a book of all the mean emails I've ever gotten, and publish that, and be like, this is my homage to keeping going, and that would be great. But it's true. The fact is that if you want this badly enough, and you keep trying, and you meet those goals that you have, a lot of other people won't. But you will have done that. And that is worth everything to me. Your instincts will lead you to a true and honest place. The same thing as curiosity. Our instinct, our curiosity, they go hand in hand. And in the end, we're trying to get to a true and honest place. Truth and and honesty in art is one of the most compelling things that I've ever witnessed. When you see a piece of work that feels like it had to come out of that artist, is there anything better than that? Than witnessing somebody creating what they were meant to create? It's rare that we'll get there in our lives. It's rare that we'll create that thing that just spilled like blood from us and had to be created. But when we do, if we're striving for that, that's the pinnacle of fine art, is that thing that had to come out of us. This is one of my final points about this topic, which is that your narrative will constantly change. And that's why it's called a story, because it's meant to change. So if you're worried about being original, if you're worried about not living up to your potential, you might as well stop, because you will continuously, like a cycle, not live up to your potential, and then meet your potential, and then not live up to your potential, and then meet your potential. And you're meant to do that. We're all meant to do that. I like to say that I would rather live and die a thousand times than just live one boring life. I would rather live and try and fail, and then let that fall away and be reborn into a new artist, doing something new, doing something crazy and unexpected. And in the course of that cycle, I will feel like an imposter, I will feel like my work isn't good enough, and then one day, I won't anymore. And then, that's when I know it's time to start that cycle over again. It's a story, it's cyclical, every single story that's ever been told has a circular pattern, where somebody goes on a journey, this is the classic hero's journey that Joseph Campbell laid out where you go on a journey, and you're meant to go on that journey. And you learn things, and you battle your demons, and then you come back home, and you teach other people what you've learned, and then you go again on that journey, over and over, and that's one of the most inspiring metaphors that I've ever heard. That idea that we're meant to be on this cycle.
Class Materials
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.
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.
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.