How to Keep Licensing Organized
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
How to Keep Licensing Organized
So we're gonna talk with licensing about organization of those files, organization of the whole spreadsheet keeping track of all these things that you have to remember when you're licensing an image, which gets highly complicated, where to license your images, where you might wanna upload your pictures to and have somebody sell them for you, or that you might want to sell yourself, and then how do we price licensed images? And I'm excited to talk again about pricing, because it is something that people really struggle with, that I have often struggled with, and I wanna try to just break down what it means to price a licensed image, as much as we can. And I'm gonna tell you right up front, it's a lot more complicated than pricing a print for a gallery. So just prepare yourself mentally right now. Okay. Organization. When we're talking about organization for licensed images, I don't necessarily mean where you keep them in folders on your desktop or anything like that, or how to back them...
up. What I mean is how do you keep track of which images have gone where and for how long and for what projects and things like that? So the title of the project is good to have, as well as the title of the image that you're licensing. Who is licensing it specifically? And I mention that because there are a lot of publishing companies, for example, that work with other publishing companies and they might, you know, totally innocently, give that image to this other publishing company that they work with for this other thing that they wanna do and it's not really meant to go to that person. So who exactly is the licensee? What region are you licensing within? When I say region, I mean what country? What part of the world? For example, this book is in a language that I don't know but it's in another language. Can anybody read that? No? That's okay. It's in a language that I don't understand because I have a lived a sheltered life and I don't know languages. But this was, let's just say, it looks like maybe the Netherlands or something like that. Netherlands! It is. Okay. So this was from the Netherlands and this image was licensed for this book cover so when I created this contract, one thing that I might have said was, "do you want this image to be sold anywhere else? Are you okay with that?" The price will change based on their answer. So they might have said, "please don't sell this image to anyone else in the Netherlands." Okay? So that would be restriction by region by saying, well, I don't mind if you sell this picture to somebody else other places in the world, but not in the Netherlands because that's where we're based, that's where this book will be distributed and that's what's most important to them. Alright, so aside from region, duration. How long is the license going to last? Will this be a worldwide exclusive forever license? Or are you going to limit the duration of the license? So you might, I might tell these people in the Netherlands you can have this picture for three years with exclusivity in the Netherlands but after three years is up, I can still sell that picture to anybody else that I want in the Netherlands. Just an example of how you would use duration to limit or expand your license. And then the medium. So maybe... I'm just gonna keep holding this book instead of putting it down. Maybe if this person came to me and they said, "I want to license this image, it's for this book, I need exclusivity in the Netherlands, but also on all book covers worldwide," then that would be exclusivity by medium and that's something that we have to think about. They might say you can still make prints of it, you can still, you know, sell to bands for album art, you can do movie posters, but just not books because they want the rights to the books. Something to think about. And then price is what you'll also organize into your spreadsheet. How much did you sell for? What are the terms and conditions? And I've already showed this to you a little bit and I just wanted to run through this one more time because I think it's very important that we're really clear about organization here with licensed images. This can be an extremely difficult thing to untangle if you haven't kept track of who you're selling your images to. So I've got here the title of the image, the licensee, the amount that I sold it for, if it's exclusive or not, what the terms are, terms and conditions, how they paid, what format it's in, digital versus print, the print run of it. So if they did sell it, how many copies are out there? Things that you might want to know. I tried to make these spreadsheets with every piece of information I can think of, even if I can't even see how it's relevant right now. If I just think one day down the road I'd really like to know how many copies of this book are out there, I'm just gonna ask right up front and figure out what their print run is. The other really good thing about doing that, about asking about their print run size, is that you know then, and let's say they can't afford a really expensive license, then you might say, "you know what, if your first print run is 5000 copies, then I'll sell it to you for this print run. But if you do another print run, you'll owe me 300 more dollars," let's just say. So it's good to know the print run. Invoice, medium, what is it on? So is it a book or is it a CD or is it a movie poster? The working title, and any notes. And so we've already gone over this so I'm gonna skip right past it, but just really emphasizing how important each of these categories are.
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.