Skip to main content

Critiquing Your Own Portfolio

Lesson 135 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Critiquing Your Own Portfolio

Lesson 135 from: Fine Art Photography: The Complete Guide

Brooke Shaden

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2200+ more >

Lesson Info

135. Critiquing Your Own Portfolio

Lessons

Class Trailer
1

Class Introduction

19:06
2

Storytelling & Ideas

27:34
3

Universal Symbols in Stories

03:19
4

Create Interactive Characters

02:16
5

The Story is in The Details

04:13
6

Giving Your Audience Feelings

05:49
7

Guided Daydream Exercise

04:20
8

Elements of Imagery

02:19
9

The Death Scenario

01:47
10

Associations with Objects

03:01
11

Three Writing Exercises

06:39
12

Connection Through Art

30:35
13

Break Through Imposter Syndrome

07:40
14

Layering Inspiration

23:13
15

Creating an Original Narrative

07:42
16

Analyze an Image

04:12
17

Translate Emotion into Images

04:31
18

Finding Parts in Images

06:02
19

Finding Your Target Audience

04:05
20

Where Do You Want Your Images to Live?

12:01
21

Create a Series That Targets Your Audience

32:43
22

Formatting Your Work

06:08
23

Additional Materials to Attract Clients

07:24
24

Which Social Media Platforms Will be Useful?

04:17
25

How to Make Money from Your Target Audience

11:27
26

Circle of Focus

07:55
27

The Pillars of Branding

06:18
28

Planning Your Photoshoot

09:05
29

Choose Every Element for The Series

07:38
30

Write a Descriptive Paragraph

09:37
31

Sketch Your Ideas

17:27
32

Choose Your Gear

02:50
33

How to Utilize Costumes, Props & Locations

26:18
34

What Tells a Story in a Series?

13:06
35

Set Design Overview

01:43
36

Color Theory

19:50
37

Lighting for the Scene

12:05
38

Props, Wardrobe & Time Period for Set Design

06:00
39

Locations

04:31
40

Subject Within the Scene

07:26
41

Set Design Arrangement

05:46
42

Fine Art Compositing

03:46
43

Plan The Composite Before Shooting

10:29
44

Checklist for Composite Shooting

18:52
45

Analyze Composite Mistakes

12:11
46

Shoot: Black Backdrop for White Clothing

10:42
47

Shoot: Black Backdrop for Color Clothing

08:36
48

Shoot: Black Backdrop for Accessories

08:17
49

Shoot: Miniature Scene

09:59
50

Editing Workflow Overview

01:57
51

Add Fabric to Make a Big Dress

08:35
52

Edit Details of Images

08:09
53

Add Smoke & Texture

10:47
54

Blend Multiple Images Into One Composite

24:58
55

Put Subject Into a Miniature Scenario

17:55
56

Location Scouting & Test Photoshoot

22:10
57

Self Portrait Test Shoots

22:30
58

Shoot for Edit

04:21
59

Shoot Extra Stock Images

10:01
60

Practice the Shoot

25:07
61

Introduction to Shooting Photo Series

03:33
62

Shoot: Vine Image

10:40
63

Shoot: Sand Image

09:50
64

Shoot: End Table Image

04:59
65

Shoot: Bed Image

06:18
66

Shoot: Wall Paper Image

05:54
67

Shoot: Chair Image

08:02
68

Shoot: Mirror Image

06:57
69

Shoot: Moss Image

05:48
70

Shoot: Tree Image

07:33
71

Shoot: Fish Tank Image

04:09
72

Shoot: Feather Image

09:00
73

View Photo Series for Cohesion & Advanced Compositing

07:35
74

Edit Multiple Images to Show Cohesion

36:55
75

Edit Images with Advanced Compositing

29:33
76

Decide How to Start the Composite

09:35
77

Organize Final Images

21:37
78

Choosing Images for Your Portfolio

08:19
79

Order the Images in Your Portfolio

16:28
80

Why do Some Images Sell More Than Others?

16:03
81

Analyze Student Portfolio Image Order

11:42
82

Framing, Sizing, Editioning & Pricing

02:19
83

Determine Sizes for Prints

16:44
84

How to Choose Paper

13:56
85

How to Choose Editions

07:18
86

Pricing Strategies

18:59
87

How to Present Your Images

13:26
88

Example Pricing Exercise

09:39
89

Print Examples

08:23
90

Licensing, Commissions & Contracts

04:44
91

How to Keep Licensing Organized

06:07
92

How to Prepare Files for Licensing

07:28
93

Pricing Your Licensed Images

12:33
94

Contract Terms for Licensing

12:07
95

Where to Sell Images

04:55
96

Commission Pricing Structure

08:23
97

Contract for Commissions

12:17
98

Questions for a Commission Shoot

08:45
99

Working with Galleries

08:58
100

Benefits of Galleries

07:39
101

Contracts for Galleries

10:32
102

How to Find Galleries

05:22
103

Choose Images to Show

08:53
104

Hanging the Images

03:38
105

Importance of Proofing Prints

08:04
106

Interview with Soren Christensen Gallery

21:59
107

Press Package Overview

04:35
108

Artist Statement for Your Series

18:20
109

Write Your 'About Me' Page

09:04
110

Importance of Your Headshot

03:55
111

Create a Leave Behind & Elevator Pitch

20:19
112

Writing For Fine Art

04:44
113

Define Your Writing Style

14:49
114

Find Your Genre

06:41
115

What Sets You Apart?

02:25
116

Write to Different Audiences

05:10
117

Write for Blogging

39:57
118

Speak About Your Work

14:21
119

Branding for Video

07:37
120

Clearly Define Video Talking Points

14:27
121

Types of Video Content

31:45
122

Interview Practice

13:22
123

Diversifying Social Media Content

22:32
124

Create an Intentional Social Media Persona

24:48
125

Monetize Your Social Media Presence

18:46
126

Social Media Posting Plan

04:01
127

Choose Networks to Use & Invest

02:57
128

Presentation of Final Images

19:13
129

Printing Your Series

09:16
130

How to Work With a Print Lab

13:39
131

Proofing Your Prints

10:11
132

Bad Vs. Good Prints

03:32
133

Find Confidence to Print

10:50
134

Why Critique?

06:55
135

Critiquing Your Own Portfolio

10:39
136

Critique of Brooke's Series

16:18
137

Critique of Student Series

40:07
138

Yours is a Story Worth Telling

02:09

Lesson Info

Critiquing Your Own Portfolio

Overall cohesion. Color is one thing that goes into it. And it's funny because a lot of times people tell me, "You have such great color cohesion." But then in reality, I actually have about five different distinct colors running through my portfolio. I've got reds, I've got blues, I've got yellows, I've got purples. All different colors. So what makes color cohesive? And this actually hearkens back to when we talked about color theory, and I explained how I put a lot of blue in my shadows and yellow in my highlights. So even if there's a strong red color, purple color, green color, there's still that base color that I put into almost every single image, and that allows for my images to flow with color. Lighting. I also do a couple of different types of lighting, one being very diffused, overcast lighting, the other being window light. So it's still soft, still diffused, still natural. And that's me. And I think that one thing that really tears a portfolio apart is when you have really...

harsh lighting, really soft lighting, really drastic color shifts within the lighting. That can be something that can be a little bit jarring. But depending on how you order your portfolio, it might seem to flow, and maybe nobody would notice. Composition. From one image to the next, within individual pieces. And it's important to mention that composition, lighting, color; you're gonna wanna look at every single one of these things per image, as well as over the course of a portfolio. Character interaction. If there's a person in the image, how is that character interacting within the scene? That is one big thing that can make you feel like an image is out of place or like it's not quite working right. So that's important to remember. Location. Does the location work within your scene? Is that something that's enhancing the image or not? Wardrobe. Does the wardrobe of the character fit time period, location? Does that all work together? Time period and set design. Smooth technique. Now, like I said, technique is one of the easiest things to pick out from a portfolio review. If you're gonna sit down with somebody who is new to Photoshop, let's say, and they've got a few errors here and there. It's gonna be easiest to focus in on that rather than focusing on the concept, because concept is much more abstract. It might be very different from one person to another, based on how you see it. So technique is really easy to pick out, and that's why in a portfolio review you're very often going to be led straight to the technique first, and then you'll start to expand out from there. Depth of concept. So maybe you have great images, and they look beautiful. But is there enough to look at? Is there enough to think about within this image? The flow of the images from one to the next. The emotional response. You know, when I'm giving a critique of a portfolio, I'm often starting with my emotional response to something. Unless there's a glaring error or something that's just not quite right, I'm almost immediately going to tell you how I feel about that image. At the end of the day, you can fix the technique, but if you know, from a professional, how they feel about your work, that is what I go to portfolio reviews for. To see how people are connecting and why they feel emotionally tied to one piece over another. It's like we've been talking about. If your goal is to sell your work, you're going to sell it based on an emotional response from the person who's buying it, over anything else. So I wanna know, how am I doing with my emotional response? And clear artist intent. Is it obvious to the person reviewing your work that you are being clear and concise in the message that you're trying to send, and your intent. Okay. These are some of the words and phrases that have been used to critique my portfolio. And I've been writing them down for a few years, and I thought I'd share them. That it has no depth. That it's lacking story. That it's lacking detail. Not enough contrast in my images. That they need brighter colors. That they need a true black and white point. That I have great characterization. That I have boring characters. That they're too creepy. That they're not dark enough. That I have a fascinating imagination. That they're well done technically. That they need more interesting technique. To never do self-portraits. To do more self-portraits. And that I'm not a real artist. This is ridiculous. Can we agree? Ridiculous. Every single person makes a good point. Every single person. And I don't discount any of these, whether it's good or bad. I don't think that the bad comments have any less or more weight than the good comments, but they're conflicting. You see people are saying, "You're too creepy." "You're not creepy enough." Do more of this. Never do this. And that's what happens from one review to the next to the next. And that's why it's so important that we go into this process with some of our own opinions and knowing where we wanna go with our work. Critiques like this happen when you don't have any sense of direction or questions for the reviewer. So I would really recommend going into a review with a sense of what you wanna know from that reviewer. So if you're gonna have your pictures critiqued, it's really helpful for the reviewer to be able to know, okay, so maybe you've been doing the same technique for years. You've totally got that technique down, but maybe you want to know about the color flow from one to the other. Maybe you wanna know about if your images are ready for a gallery, for example. Maybe you wanna know if they're conceptually deep enough. So go in with a few questions in mind, so that the reviewer isn't just throwing out random opinions when they really might not be at the heart of what you wanna know or what you need to know. Judge yourself against your own standards and not someone else's. And that's really what I'm trying to get at here, is if you're getting a critique, make sure that you know that you have a clear idea of where you wanna go with your work. Maybe visually, maybe conceptually, maybe in your business. And then, when people give you their advice, you know if it's in alignment with your goals or not. If their comments are in alignment with your goals, keep it. And if not, throw it away. And it's as simple as that. So when somebody tells me, "Never do a self-portrait," that's not in alignment with my goals. I don't work well with others. I'm very happy doing self-portraits and being alone all day, every day. Does that mean I'm not gonna photograph other people? No, I will, and I'll take that advice into consideration that maybe certain images would be better portrayed by somebody else. But I love self-portraiture. I'm not gonna stop it just 'cause that person tells me not to do that. Especially when I can take that portfolio to the very next table, set it down, and they say, "Do more self-portraits." It's a really good indication that I can go either way with that, and there will be an audience for that either way. Now some advice is a little bit more objective than others. There is no such thing as truly objective advice. At least I searched and searched, and I could not find it. But what I decided was that there is technical advice and sell-ability advice. And these pieces of advice, to me, are the most objective kinds of advice you can get. If somebody can point out something in an image and say, "You know what? "This thing was done poorly." "This was done in such a way that I can see the editing that you did." Or, "It doesn't really look real." They're probably right about that. If somebody sees a mistake, it can probably be fixed. Now you might not agree, and that's okay. You don't have to take the advice. But that's a little bit more objective than something that's more emotionally based or concept based. And then sell-ability. This is the reason why I do critiques, because I can get my work in front of professionals who can tell me if my work is sellable or not. And of course, depending on the person, depending on the situation, they might say it's not at all sellable, because they personally cannot sell it. But that's a really good distinction to make. If ever you give your portfolio over and ask them, "Is this sellable?" Instead of just asking it like that, "Is this sellable?" Say, "Is this sellable to you? "Do you think you can sell this work? "Do you think this is marketable?" And really weigh their answer against where they are in the industry. Are they somebody who has a gallery that you would love to get into? If so, figure out why it's not sellable for them. If it is, figure out why. What are they reacting to? What do they feel is the strongest part of that portfolio? I love getting advice about sell-ability. To me, that is the number one reason to do a review. To get your work in front of professionals and figure out a business plan from there. Super, super helpful. This is that one image where they said there was one too many butterflies. And this is another one where they had said that there was not enough contrast. That there was no black and white point and that that was wrong. And it was very interesting to hear somebody say the word wrong because I never went to school for photography, so I never had to go through some of those seemingly horrifying classes where you get critiqued and people tell you when you're doing something wrong. And so I never had that basis of, "Oh, I should have a black and white point in my pictures because that's technically correct." So I went into this image thinking, "This is supposed to look like a painting. It's supposed to look like a watercolor." My favorite paintings and watercolors don't have a true black and white point, so I intentionally took that out of this image. So to hand this image over and be told it's wrong because it has no black and white point was very interesting for me because I understood why they said it. It's very obvious why they would go to that as their critique. But I also recognize that maybe they weren't in alignment with my concept here, and that maybe this image wasn't for them. So should I change it or should I not? And there is no clear answer. Should I change it? Do you guys think I should? You might think so and that's okay. But, if not, I agree. And there are images that people have said, "You know what? This would look better a different way." And I've agreed with them, and I've changed some things. But I'm also very stubborn, and I have a really hard time listening to other people.

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
Image Edit Videos

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.

Student Work

RELATED ARTICLES

RELATED ARTICLES