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
How to Find Galleries
So then, how do we find galleries? This is the question, isn't it? Where are those elusive galleries that everyone talks about? Okay, so we've got The Hive Gallery, and I'm bringing this up not because I want you to all go send your submissions in, but this is just an example of one gallery that I started out showing in when I was in my first year of creating. It's in Los Angeles, and what I did is I went into the art walk website. So do you guys have art walks here? Of course you do. We're in Seattle. Of course you do. There are lots and lots of cities that have art walks or First Fridays or Second Thursdays or whatever the city calls it, and during that one night out of the month all these galleries open up and there's wine and cheese and stuff like that. And you go in and out, and you pop in and you see all this art. And in Los Angeles, of course, there's that same thing, but the galleries that are open for that art walk are usually showing a lot of emerging artists in my experience...
. And same with many of the art walks that I've been to in different cities depending on where you are, so it's a pretty good way to find a gallery is to look at art walks for any particular city that you're near, that you want to show in, and then you have this whole list of galleries that are going to open their doors for one night out of the month and have this art walk experience. It's a really good way of finding galleries, and that's how I found this one, which has artist in residence. You can rent space through their gallery. You can be part of juried shows, and this was a really good way of starting for me to find galleries because they're not willing to take anyone. Of course they're going to look at the work, and the artist, and all of that, but they were completely willing to take emerging artists for their space. And so I had a print in there. Same with this one, with Create Fixate. Exact same situation where I went in and was able to show my work. And then this is just an interesting website. Just sticking with Los Angeles here because I started my career in Los Angeles, but this could be anywhere. Just looking for call for entries wherever you can. So then we have juried shows. And juried shows, in terms of shows that anyone can submit to, that you don't have to have experience for, I highly recommend searching juried shows. So what I was just "Juried Shows Los Angeles," and that's how I found all of those spaces that I just showed you. "Juried Shows Los Angeles." "Juried Shows Seattle." "Juried Shows London." Wherever you are, go ahead and look it up, and see what pops up because a juried show is going to be a curated show, where you are being judged among the other applicants, and then you pay a fee to have your work either accepted or rejected. Oh I hate the word rejected. That sounded so harsh, didn't it? Yes. Okay, so after you started searching for galleries, and we'll talk a little bit more about where you're going to find those galleries. After you've started doing that, you're going to want to present a CV, a Curriculum Vitae, and this is your artist resume. So, I've got this really confusing looking description of my CV that didn't fit properly, and point is: you don't need to have every single detail like I've done here of every single show, or every single magazine, or every single everything. The important things are important, so keep those on and take off the smaller things. And this will evolve as you continue exhibiting or having your work published and so on, but what you want to have are three different categories here. Well, technically four. You have your education if that's relevant at all. If you've been trained in art. If you haven't- If it's relevant put it on. Exhibitions that you've been in. So what exhibitions have you had? What are of note? What maybe are not as relvant anymore? Publications. What magazines have you been published in? What journals? What literary publications? Whatever it may be, and then awards. So if you have won any awards for your art, make sure that you put that on there because this is the place to brag. Nowhere else. I hate bragging. I think it's the worse thing in the world, but this is where you're going to want to list your awards, your publications, your exhibitions, and things like that. I tend to list them by year and then by month underneath that. And then outside of that I will say the gallery name if it's an exhibition. I will say if it was a solo show, a group show. That's always important to make a distinction between. And then, if it's a publication, I have the publication name and then what it was. So you can see in some of these it says book cover. Some say magazine feature. Some say magazine cover. Just depends on what it was. Just giving as much information in a short as span as possible, and this is why twitter was invented: to help us to make our CV.
Class Materials
Bonus Materials with Purchase
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.