Shoot: Bed Image
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
Shoot: Bed Image
This is a photo shoot with a bed that clearly is not just a bed because we sawed it in half, and the whole idea here was that the home is supposed to be a place of comfort, but everything is splitting apart, and we're going to have our subject just inside the mattress, literally laying in between it on this uncomfortable ground. The original idea here was to actually have the bed inside, in a small room, but the room was too small, and the bed didn't quite fit on the wall, and nothing was working exactly as it should, so that was when I decided to switch everything up and take the bed outside instead of keeping it in, which is sort of a twist on this series so far because instead of taking the outdoors in, we're taking the indoors out and that's how we ended up in this completely beautiful field that we're in which works perfectly for the feeling of this whole entire series. So I'm going to be photographing my model Rachel, if you wanna come on in, and we have her in this gorgeous nigh...
t gown, this is gonna be a very neutral shoot, not a lot of color. And I'm just gonna have you lay down with your head toward the head board, right in between the mattresses. Perfect. I told her earlier this is gonna be the simplest photo shoot ever because all she has to do is lay down, and even fall asleep if you want, you are welcome to. It's not very comfortable though. So we've got these two mattress halves, I took a knife to the mattresses, that's why my hand is covered in dirt right now, because I took a knife to it and then I rubbed dirt on it, poured some water on to make it a little bit muddy, and just to sort of distress this scene a little bit more so that it looks more a part of the field. All I need to do now is make sure that the costume is looking nice, I'm just gonna sort of rearrange things a little bit and I'm going to take one shot with this bed exactly as it is. We've got two friends helping out, holding up the head board and after I get that shot, I'm actually just gonna squeeze the mattress in even further and see if we can sandwich her in between this mattress because I'm not sure which one will look good. As you can imagine, this is a slightly difficult thing to pre-conceptualize and know exactly what it's going to look like, so we're going to see how it looks both ways and either way, I'm excited about this photo, we even have a crow cawing in the distance and it's all very ominous right now. So okay, let me take a look at your costume, I'm just going to spread it out just a little bit. There we go, yep. There, just put some wrinkles on it just like that. And you can just have your arms down at your sides. Ah, yep, exactly like that. And as I look at this scene, I might even have her switch her head to come toward me, toward the camera, which could be a really interesting take on this, but for now, stay there and I'll get one shot just as it is. I'm getting a slightly higher angle up on this chair that way I don't see any of the forest in the background or a house in the background, just the field and the bed. I'm again on my 25 milometer lens here so I make sure that I get the whole scene in and this is looking really, really interesting. So right now in F 3.5, so I'm for the first time deviating from my normal F2, which looks really beautiful. ISO 100 and 640 for my shutter speed at the moment. I'm actually gonna take that up even higher to about 1250, so this is gonna be a super fast shutter. And I'm going to have our bed holders go inward with yep, that's perfect. Okay, Tori back a little bit. Yep, that's it. And I'm going to take this shot. Okay. So I have my image so far, and it could be as simple as that but we're gonna try just two more variations. So Rachel if you wouldn't mind flipping your head toward me, and the reason why I'm making that choice is because whatever is coming closer to the camera is going to look larger, and I don't know yet just in the back of my camera if her feet look out of proportion compared to her head, but I know that it's always very flattering to have the head look bigger than the feet, so we're going to go with this option as well. That looks perfect. If you wouldn't mind Rachel just tilting your head even more toward me, yep, and then closing your eyes. That looks so beautiful. Okay, I'm just refocusing to make sure that her head is in focus here. (shutter clicks) Okay. And I've got that image, so now for the final one that I'm going to shoot here, I'm going to actually push the mattresses together and have Rachel turn on her side so that she's truly sandwiched in, and I do like your head coming toward me. So we'll have you stay like that and yep, on your side, and we're just gonna push this mattress in. Oh, I liked that. That was great (chuckles), see it's so fun when the model has a great idea like that. I'm just gonna move this slightly in. Thank you. You have a lot to handle over there. Okay and now I'll squash you in on this side. Let me know if anything pinches or hurts or, okay you're good. She says she's good. Confirmation from the model, okay. This looks really, really nice. I absolutely love it, completely. Okay. I'm super excited. All right. Head boards look good, everything looks good. Just checking my focus one last time here. (shutter clicks) Okay. And we've got the shot, now I'm gonna take a couple extras just of the grass below, of the field above, and I'm going to have to get a clean shot eventually without our head board holders over here. But that's something that I can do later. Just getting little bits of field from this angle so then I can add that in separately. So this is looking beautiful, Rachel, you may relax, although I think that's exactly what she's doing, so, this looked really good, it's so simple, but if you have a concept that's really beautiful and you have really good props to be able to make that come to life, then everything comes together really simply as this did, so I think we're ready to move on.
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.