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: Wall Paper Image
For this image we're creating a wall paper scene, but the problem is that we don't actually have any wall paper. We don't have any roll of wall paper, we don't have any wall paper on the wall, so what we're going to try to do is make it look like we are in a room that is covered in wall paper, that is also peeling off over the top of our subject. So how do we do that with a bed sheet? The answer is that I'm not sure if I know exactly how to do that with a bed sheet, but we're going to try our best to figure out if it's going to work. So we're going to have our subject standing just like this against the wall and I'm going to put a little bit in post of this texture, this pattern of the wall paper onto her dress so that she really blends in with the scene so that it's almost like the wall that's crumbling around her is taking her into the wall. That's going to be the goal here and it's going to be a fairly simple image to shoot. What I have to get is this wall without any bed sheet on i...
t by itself which I'll get totally separately from our model. I'm going to photograph the wall by itself with this bed sheet on it and then I'm going to photograph our subject standing in here with this bed sheet flopping over top of her so that it looks like there is believable wall paper peeling all around her. I don't know how this one's gonna go, this one's making me a little bit nervous but that's good to try new things, to see if you can work in an environment like this, and try to make it work to your advantage. That's what we're gonna do right now so let's get you over here, barefoot as usual, thank you. And I'm just gonna have you face the wall. Really, really simple, you don't have to do anything. And then I'm going to take a step back, get my settings, and I'm going to shoot this one just as it is to just sorta get a baseline of what my settings need to be, where my focus is. Okay so I'm taking one picture there. I can also go ahead and shoot the floor and images all around the subject. I'm on a 50 millimeter lens, so I'm on a lens right now that allows me to get most of my subject in the shot but not all. So I'm just taking all these extra shots all around just to make sure that I have all the pieces of the floor that I might need to composite later. So now that we've got this image, I'm going to go ahead and pose our model, see if we can get the wall paper to flop over top of her, and this will be quite simple in the end, hopefully. So I want your hands, in fact, actually just down by your sides. And I'm gonna have you lean your head back, that was really good. And aside from that, I'm gonna get one like this, just to make sure that I have the pose and everything, but then I'm just gonna let this bed sheet loose to fall over her head and it's going to seem very, very ridiculous, and it might end up ridiculous, but I have high hopes, so let's get in position. Really simple image to start. Perfect. And now I'm going to let the wall paper down. Oh, we're doing so well. (chuckles) Here, hold that (chuckles). This is good. Okay. Here we go. This is pretty absurd. We'll see how it goes. So I'm just going to drape this here. We'll drape this here. And this is actually what I'm looking for is this line to create a believable shadow where the wall paper might fall as well as to just have some of that texture and the natural shadows of the curve of the fabric. I'm gonna lift this up just a little bit. Okay and I'm just trying to show through some of the dress and the hair so we have a little bit of context. And if you wouldn't mind, you're leaning your head back right? Yeah, okay great, she's leaning her head back. And I'm just making sure that the fabric looks nice, just that it has a nice shape to it. And I like that. So I'm going to shoot that piece. Good. Okay. So that's super simple. We've got our subject with the bed sheet. You can relax, take the bed sheet off your head, and then you can step aside and I'm just going to shoot this blank wall now because that's the one thing that I haven't gotten that I need to get, because this will be my room in the end. Right now it's not looking so good because we have blue pieces of tape, so if I weren't as lazy as I am I would probably come over and remove all these blue pieces of tape, but I know that I can get rid of that later, so I'm going to take a step back, shoot this scene. I'm not changing my focus so I'm just getting back in the same spot that I was. And I'm going to shoot each portion of this wall that I can get in my frame, which is not very much because I'm on that 50 millimeter lens in this space. And then I'm just making sure I have everything. I'm at ISO 250 for this one, I decided to raise it up a little cuz it's dark in here. F 2.5 and 100 for my shutter speed. And that's it, so this one's going to be a lot in post to see if it will come together, if it will not. I'm probably going to have to find an image of actual wall paper just to get a more realistic look, but at least we have the basics of what we need to be able to put it together later.
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.