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Creating an Original Narrative

Lesson 15 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Creating an Original Narrative

Lesson 15 from: Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

15. Creating an Original Narrative

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Yours is a Story Worth Telling

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Creating an Original Narrative

So the series had cohesion. There was Proof of Concept. And what I mean by that is, have you ever wandered into a gallery and you see a piece of art where you're just so certain that there was no thought behind that? It's the moment where you're like, "I could've done that blue dot," you know? And of course there is because you can't get to the place where you hang your stuff on gallery walls if you didn't put any thought into your work. It's a very childish way of going in to view art, of course. But we probably all had that experience. We're like, "I coulda done that." But you didn't. But you could've. And that's how we feel sometimes. So, Proof of Concept is not... It's basically saying, "OK, their image is out there, where somebody says "that there was something behind it, but was there really?" And you have that moment of like, "Or did they just put this up really quick "and hope that it looked good?" Proof of Concept is when you look at it and you know that the artist had to put ...

a lot of thought into this idea to make it look how it does. So Proof of Concept, instead of just concept. Is there a through-line in your series? Now, when you're creating a series, one image necessarily must relate to another in some way. Visually, conceptually, technically, whatever you want to do, there has to be some through-line there of cohesion. Commitment and Dedication. This is another reason why galleries and other organizations love to see a series. Because it shows that you, as an artist, can focus your attention. Now a lot of us artists have a reputation for being a little bit scattered. So you can focus your attention on something that's really meaningful to you. If you were looking through an artist's portfolio and you saw a whole bunch of different things but then just saw a few images that all went together, that would sort of clue you in to the fact that, "Oh this is something that they felt so passionate about "that they created many images about this thing." So it's sort of a little bit of like, letting people trust you a little bit more. It will lead to multiple sales potentially, I mean that's the hope. It won't always, but you have a better chance of selling multiples if they're all within a series. So how do you create a series that contains an original narrative? This is what we've been talkin' about, isn't it? How do you do it? So I think that one way that you do it is by analyzing these four things: interest, experience, reaction, and emotion. Now we all have interests, okay. It's like, the most boring thing that we have. Everybody has interests all the time. We're all interested in lots of things. So then, what interest is so important to you, that you have to pursue that? Once you have that, that one thing that you feel like you could really dedicate time to, what is your experience of that interest, of that passion? What experiences in your life have come to lead you to a place where you want to pursue that? What reaction do you have to that? I think that some of the best art comes from things that make us uncomfortable, from not wanting to do something, from not wanting to experience something. Like April here, we were talking about how you wanna do a series where you're in this water and you were like, "I don't wanna do it." And I was like, "Yes!" And then we had this moment of like, "That's why you have to do it!" And we're all so excited to one day see this. And that was a really beautiful moment because it's this exact idea of, the experience is sometimes the thing that you have to work through and then the art that comes from that becomes your cathartic experience. It's really beautiful. And then emotion. How do you feel about a certain thing? How do you feel? What emotions can you put into that? And this is how we start to build an original narrative. Now the question of "Why" comes into play. And I have to say it. And I know it's a big, big horrible question. But I believe the best art has this big question of "Why" at the center of it. Why is that artist personally compelled to create? Why is the viewer compelled to look? And if you can answer both of those things, then you're probably creating some pretty interesting art. If you can get a person to want to view it, and they are connecting with why they want to view it, and then you can create it with the connection of why you need to, that's a beautiful marriage. So why do you have an interest in something? What if you just wrote down every single interest that you have, in the world? Every single interest that you have. It would probably be a long list. You can probably think of tons of things you'd be interested in learning more about. What if you went through that list and you just instinctually pick that one thing that stands out to you the most. And then you actually pursued that thing. I think more of us should do this more often. First of all we get stuck in what we've always done. So for years I was like, "I'm a photographer. "I'm a photographer. I'm a photographer." And I'm still a photographer, and I love being that. But I felt so chained by that one thing, that I felt like I couldn't do anything else. So I was moonlighting as a writer. Whenever I'd be home, I'd be writing my novel and I wouldn't tell anyone or share it with anyone 'cause I was like, "Oh I'm a photographer, "I'm not a writer. That's not me." 'Cause it feels bad to say, "I am a blank," if that's just an interest that you have. So what allows you to say, "I'm a photographer, "I'm a writer, I'm an artist," when you feel like you have nothing to back that up? And my answer is, do you have an interest in a thing? Why do you have an interest in a thing? If there's a deep personal connection to your interest, and you commit to pursuing that, then you are that thing. Your commitment to you passion, gives you the right to say that you are this thing. I am an artist because I am passionate about art and I am pursuing that art, consistently. Why is this experience meaningful for you? The experience of creating the experience that brings you to the point of creating? What is meaningful for you about this experience? And why do you react in certain ways? What makes you react in certain ways? If I were to come over and pinch you on the arm would you punch me? Would you laugh at me? Would you push me over? What's your reaction? That's a really silly example, but we all have very instinctual reactions to things. Why? Why do you react that way? Why do we tend to feel certain emotions over others? If I had to define my emotions I would say usually joyful, I would say highly anxious, I would say very passionate, very dreamy. These are emotions that I feel all the time. All the time. I'm like a weird little ball of anxious and excited and passionate. And why is that for me? And how can I channel that into my art? I think that negative emotions, for me, are way more likely to make them into my art, versus the positive side of things. And you might be different. You might feel joy and want to express that. Why? Why is that you over something else?

Class Materials

Bonus Materials with Purchase

Guided Daydream & Writing Exercises Workbook (Lessons 1-11)

Creating an Original Narrative Workbook (Lessons 12-18)

Finding Your Target Audience Workbook (Lessons 19-27)

Planning Your Series Workbook (Lessons 28-34)

Set Design Workbook (Lessons 35-41)

Compositing Workflow Checklist (Lessons 42-49)

Editing Workflow Checklist (Lessons 50-55)

Location Scouting Workbook (Lessons 56-60)

Stock Image Downloads for Practice (Lessons 61-72)

Organizing Your Portfolio Workbook (Lessons 77-81)

Pricing & Editioning Your Work Workbook (Lessons 82-89)

Writing Contracts & Licensing Images Workbook (Lessons 90-98)

Gallery Best Practices (Lessons 99-106)

Pitch Package Workbook (Lessons 107-111)

Writing Your Brand Workbook (Lessons 112-117)

Marketing Workbook (Lessons 118-122)

Social Media Workbook (Lessons 123-127)

Printing Methods Checklist (Lessons 128-133)

Self Critique Workbook (Lessons 134-137)

Bonus Materials Guide

Syllabus

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Brooke Shaden

Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear.

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topics covered in this class

Fine Art Digital Photography

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.

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Creating an Original Narrative

Creating an Original Narrative

Lesson Info

15. Creating an Original Narrative

Lessons

Class Introduction

Storytelling & Ideas

Universal Symbols in Stories

Create Interactive Characters

The Story is in The Details

Giving Your Audience Feelings

Guided Daydream Exercise

Elements of Imagery

The Death Scenario

Associations with Objects

Three Writing Exercises

Connection Through Art

Break Through Imposter Syndrome

Layering Inspiration

Creating an Original Narrative

Analyze an Image

Translate Emotion into Images

Finding Parts in Images

Finding Your Target Audience

Where Do You Want Your Images to Live?

Create a Series That Targets Your Audience

Formatting Your Work

Additional Materials to Attract Clients

Which Social Media Platforms Will be Useful?

How to Make Money from Your Target Audience

Circle of Focus

The Pillars of Branding

Planning Your Photoshoot

Choose Every Element for The Series

Write a Descriptive Paragraph

Sketch Your Ideas

Choose Your Gear

How to Utilize Costumes, Props & Locations

What Tells a Story in a Series?

Set Design Overview

Color Theory

Lighting for the Scene

Props, Wardrobe & Time Period for Set Design

Locations

Subject Within the Scene

Set Design Arrangement

Fine Art Compositing

Plan The Composite Before Shooting

Checklist for Composite Shooting

Analyze Composite Mistakes

Shoot: Black Backdrop for White Clothing

Shoot: Black Backdrop for Color Clothing

Shoot: Black Backdrop for Accessories

Shoot: Miniature Scene

Editing Workflow Overview

Add Fabric to Make a Big Dress

Edit Details of Images

Add Smoke & Texture

Blend Multiple Images Into One Composite

Put Subject Into a Miniature Scenario

Location Scouting & Test Photoshoot

Self Portrait Test Shoots

Shoot for Edit

Shoot Extra Stock Images

Practice the Shoot

Introduction to Shooting Photo Series

Shoot: Vine Image

Shoot: Sand Image

Shoot: End Table Image

Shoot: Bed Image

Shoot: Wall Paper Image

Shoot: Chair Image

Shoot: Mirror Image

Shoot: Moss Image

Shoot: Tree Image

Shoot: Fish Tank Image

Shoot: Feather Image

View Photo Series for Cohesion & Advanced Compositing

Edit Multiple Images to Show Cohesion