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Introduction to Shooting Photo Series

Lesson 61 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Introduction to Shooting Photo Series

Lesson 61 from: Fine Art Photography: The Complete Guide

Brooke Shaden

photo & video

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Lesson Info

61. Introduction to Shooting Photo Series

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Yours is a Story Worth Telling

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Lesson Info

Introduction to Shooting Photo Series

We're finally here to do the official shoot, and I'm very excited because we did a ton of prep work for this, so I have got models here on set, I have got props all over the place, and we're ready to get started, and it's really important to me now that we're actually doing the photo shoots that I think a lot about how I'm going to direct my models and making sure that I get the images as fast as possible, because we have a lot of uncomfortable shoots to do today. I have got a fish tank with water in it, I've got a room full of sand, I've got lots of stools placed around to balance on top of, and they're not necessarily anything dangerous, but they're things that are gonna be very uncomfortable for everyone to do, so I wanna make sure that it's really fast, because the faster, the better. I wanna make sure that I'm prepared enough to get the shots in maybe one to five frames, and I wanna make sure that the models are able to get out of their position within I would say at least a coupl...

e of minutes after starting the photo shoot. So we've got our models here, and if you guys wouldn't mind joining me, I just wanna talk a little bit about what went into the planning of this series, and how I have decided to work with our lovely models. We have Kristen and Rachel, and they are by my request, very bendy and I'm really excited about that, so that means that they're going to be able to hold their position perhaps better than someone else. They probably have really good core strength, they're going to be able to hold weird positions for maybe an extended period of time. And what I did right before we started the day is that i took them aside and I said, "Okay, these are my super weird sketches," and they probably don't look like anything that you would ever understand if you were to just look at the sketch, but nonetheless, here's a little visual of what we're going to be doing with my needs list, my materials that I will be shooting with so that they know what's going to be in the space with them as well as a little overview of each image just describing what it is, where it is and how it's going to go, and it's really important to me when I'm working with another person, especially since I'm used to doing so many self-portraits, that I explain the details of what the pose will be, how long they're going to need to hold it, and precisely how uncomfortable it's going to be for them. When I started choosing models for this process, I first of all wanted somebody who would be able to hold the position and that's how we ended up with these two lovely people. And then after that, I had to decide who was going to go in each space, so my main consideration, aside from who's going to fit in what wardrobe best, because generally, they're going to fit in all of my dresses and things like that, was hair color. Trying to decide which hair color works best in which space, especially because for example, we have a fish tank with murky water in there, so what hair is going to stand out in there versus what will stand out best in a field or in a barn, and what's going to work well with a dark background, so those were my main considerations when I was choosing who was going to do what image, knowing that they have a lot of the same skill sets in terms of being able to hold a position, that wasn't so much of a consideration here. So I think we're ready to dive into shooting this series and I'm very optimistic that we're going to be able to go very quickly cuz we've done so much prep work and I totally believe that these girls are going to be able to hold those positions like pros. So let's get started.

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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Introduction to Shooting Photo Series

Introduction to Shooting Photo Series

Lesson Info

61. Introduction to Shooting Photo Series

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