Questions for a Commission Shoot
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
Questions for a Commission Shoot
Now if you're working in a commission portrait situation, let's say that it's us and we are going to be creating an image together, we need to think about what we're going to ask that person to be able to create an image that they like, that feels good for them. So when I'm thinking about questions for my clients, this is typically what I'm asking about. Is there a certain theme that the photo shoot should evolve into? Is there a certain feeling or emotion, an idea or an opinion that you wanna get across in this picture? Anything that you like or don't like? Not like french fries versus avocado or something like that, but you know, like certain visuals that they're drawn to. What insecurities do they have? That's a really big one, because even though somebody's asking to have their picture taken, that doesn't mean that they love having their picture taken and we always have to be cognizant of that, that they might not be comfortable in front of the camera. Is there any symbolism that t...
hey wanna bring into this photo shoot? Different momentos that mean a lot to them maybe that they want incorporated? What their expectation is? Do they want to walk away looking like a glamorous person in a flowing gown or do they wanna look muddy in a hole? I can do muddy in a hole, I can't do glamorous very well. So expectations, very good to set on my part as well. As I mentioned earlier, I'm never ever going to tell a client of mine that you're gonna be perfectly clean throughout this whole shooting situation. No, because I almost always end up throwing baby powder on them or putting mud on them or just doing something weird because that's how my work flows and I like it like that. Logistics in terms of are you coming to me, am I coming to you? How are we going to do this photo shoot? Indoors, outdoors? And reference images. Reference images is a really big one here just in terms of do you have any images of mine that you have seen before that we could create as a base from? I think that's a really good one. So these are the literal questions that I ask people when I send them an email. If they've inquired with me and we decide we're gonna move forward, price is good, all of that, this is the email that I send them. So who's gonna be my victim? Who did we decide was my victim? Was that you Tory? So I'm gonna ask you these questions and we're gonna see how this evolves. So I've got my little notepad and now we're pretending. I would do this through email because I'm a millennial and I don't use telephones and I guess that's just how life is now. So I'm emailing you these questions, but here we are in person. So is there a location that you feel most drawn to? I would say forest or ocean. Okay, that's really good. And you see, that's going to determine where we end up doing this shoot that we're doing now. Is there a color that you feel defines you? You're not gonna like me for this. I like green. That's good. I also feel very connected to green as a person, so I get it. Is there a color that you feel best wearing? Red is pretty good for me. Red, okay good. Although red and green, I don't know. I don't know how this is gonna go. Bright colors, but yeah. Okay, that's good. What emotion do you wanna portray? If you had to say for this picture. How either you wanna feel looking at it or how you wanna feel in it. Inner power, if that's an emotion. Yeah it is. Power. I forget to put inner first so I wrote power, parentheses, inner. Is this portrait relevant to your life? I know that you don't actually want your picture taken, but just in case. I would love you to shoot me. Oh good. Sure. I don't really know how to answer that question. What do you mean by that? Okay, that's good. So I can refine my questions now. So when I ask that, I mean is there something that you've gone through in your life or that you're going through that you would like to bring into the portrait? I feel like the power part of it has been my journey and I'm owning that more and more. So, yes. Okay, good. So let's see, are there any images of mine that you can call to mind that you feel like you might wanna start from? Something that maybe a location you've seen me use, a concept or just an overall image that you really like? I would need to spend more time with your portfolio. So this one is definitely one that you can't answer right away and this why I email these things. So then, is there anything that you feel uncomfortable doing or wearing? I don't really want to be nude, but a back. No nudes. Yeah a back would be-- Very good to know. Fine for me. Because my shoots tend to end up very clothed and then very unclothed. So that is good. Okay, so no nudes. Do you prefer dark or hopeful images? I want both. Good. Dark and hopeful. All in the same image or do you want multiple pictures that are on either side? That's a good question. All of the above. Okay, both. I mean if you're going to do multiples. Okay, yeah sure. Okay, and this is good 'cause now I can be like definitely do all of them and sell more images. Is there a story that you want the image to portray? I don't have one in mind, no. Okay, so no particular story, but so far we have forest or ocean, the color green, you like to wear the color red, inner power as a potential theme or even storyline or something like that. Yeah, that kind of connects to story. Yeah. No nudes, got it. Is there a particular, now we're riffing, so now I've gone through my list and I'm thinking, okay I need to know a little bit more information. What types of wardrobe do you like to wear? Like dresses, pants? Dresses, flowing fabric. Dress, flowing fabric. Okay, so I've got a lot of information now and this looks pretty good to me. Well mostly because like we're very on the same page I think visually, which is great except for chicken, goat. I'm not gonna put chicken, goat in this one. So we've got forest or ocean, green, wearing red. So this makes me think that I would really like to do something with you where maybe if we choose the ocean instead of the forest, we could do something where maybe you are standing on a rock in the ocean and you won't see the rock and there will just be this crazy red flowing dress all behind you, maybe with a wave coming toward you or something like that to show your strength and power in the middle of this ocean with this wave coming, but you're just resistant to it or something like that. That was my first thought in terms of a location with the maybe green color of the ocean and the red color of the dress or something like that. Trying to think in terms of colors that go together. Cyan is an acceptable greenish sort of color. Good, we got cyan. Okay, I'm even gonna say cyan here. Okay, good. So we've got cyan. Now if we were to move to the forest, I would probably have a more difficult time with the colors that we'll find there compared with the red so I'm gonna have to get back to you on that one. So far that's your picture, but I'll get back to you with more later. But thank you for sharing your answers with me. And that's how I would approach licensing and contracts and commissions and all of that fun stuff. So I'll let you guys look through these a little bit later. But it can be pretty straightforward. A lot of people when it comes to pricing for portrait sessions and stuff like that, it can get really complicated. As you guys probably know, well there's the sitting fee and then there's like all of these layers of do you want an album, do you want wall art, do you want all these things? And I just try to keep it really simple where it's an experience and it's about the experience with me and the person who's hiring me. They get one image or more if they say that up front and then it's all about creating that one moment that we're trying to capture. So that's how I would do commissions. That's how I sell my images through licensing and that's how I write my contracts. I hope that that was useful to you in some way.
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.