View Photo Series for Cohesion & Advanced Compositing
Lesson 73 from: Fine Art Photography: The Complete GuideBrooke Shaden
View Photo Series for Cohesion & Advanced Compositing
Lesson 73 from: Fine Art Photography: The Complete GuideBrooke Shaden
Lesson Info
73. View Photo Series for Cohesion & Advanced Compositing
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
View Photo Series for Cohesion & Advanced Compositing
We are going to edit the images from the series that we photographed. And I'm very excited about this. I intentionally did not go through and really select images too much, or you know, put anything together because I wanted to do this with everyone, and make sure that we were looking at it fresh for the first time. And really just saying, okay, I haven't practiced, I don't know how this is gonna go for all of them. Let's see how it goes. So we photographed a ton of different setups. And it would be great if every single one of those images was perfect, but I highly doubt that that will happen. So, I wanna go through first, and just take a quick look at what we have photographed here, and what we can do right now to try to put some of them together. I think that working within a series is a very interesting thing to do for an artist because it forces you to take images that hopefully conceptually go together and maybe have some visual links, and really edit for cohesion, to make sure t...
hat these images look like they are meant to go one after the other, after the other. And in the end, that's going to really help with art buying and things of that nature because if your images looked like each other then they're more likely to sell together. And that's good. So, I've got these images here, and you can just see now, the slight changes that we made during this particular photo shoot. And I won't go through every single one, but this was the big change, right? Like, the feet, and making sure that she looked a little bit more comfortable there even though she was on the tiniest little bar stool I've ever seen. And then we finally made this one last change just to soften the hands. And that was all that had the change here. It was a very simple photo shoot. And what you'll see now is that suddenly the stool goes away. And this is one of the images that we could focus on here. And I'm going to use you guys as my focus group, and see which ones we're going to open up. So let me just zoom through all of the images so that we can just take a really fresh look at what we have here. We moved on to the sand room. And the sand room was really interesting for me because it looked really beautiful as it was. And it's really hard for me to edit photos that look beautiful, because I don't know what to do, and I get really overwhelmed because I'm not sure what needs to change if it already looks good. So I tend to actually work better when the image is really ugly to start, because then I know what needs to be fixed. In this case, it's harder to say. But I believe that we're going to edit some clouds outside the window; or just a little something to add more atmosphere instead of just a big, white box in the frame, which is probably not very good for putting the attention on our subject. Another thing that we can do is actually just cover up this window completely, and make it look like there's a wall there. And the lighting wouldn't necessarily be motivated then, but it could be believable that it's coming from just outside the frame, just at the top. So that's another option that we might take with these images. And we have a few different poses that I was inspired to photograph while I was shooting. And as far as these go, I think this one was my favorite, just with the way that the light was hitting, and her pose, and the way that she was integrated into the scene. So then we have the end table, and we have our subject looking really delicate here. And this is probably not one that I'm going to edit today, because this one is quite straightforward, and much more cosmetic. But it's good to just take a look at the different poses. I had her, sort of more balled up like this, but I really liked her position before. She looked a lot more delicate in one of these images, versus at the end there. So then we have the bedroom. And it's really fun to see how this one evolved because, (laughs) it's funny I said bedroom, I realize this is not a bedroom, but, we have the bedroom set. And this was my initial thought, was that we were actually gonna shoot from straight on, looking down at the bed, but I liked seeing the field in the background so I put her in the same position as I would have had her if we were looking straight on. But it didn't quite look right because her legs were the biggest thing in the frame, compared to her head. So, I flipped her around and she was still a little bit static there; and that was when she did this on her own. And I like to be open to that kind of inspiration. And that's definitely the image that I would use in this final edit. I had photographed a few extra pieces; vines and chains, and things like that; extra vines. And then we moved into the wallpaper room, which was by far the most complicated space for me because it didn't really look like wallpaper. And it's going to take a lot of trial and error, so we probably won't edit this one right away either. But the issue comes from there being no actual paper in this room. If there were real wallpaper it would have been much easier to work with, but the bed sheet is going to require some finessing. So, we're going to see about that. And then we had the chair room, where we had this door that was sort of, propped up in place, if you remember. We had Tory in the back just holding it up, hoping that it didn't fall down. Because it matched the ceiling, and I knew that I was going to get the ceiling in this shot. So, I photographed this space, and then we have our subject, who I really liked when she got into that pose with her head down slightly. And then I photographed her hair as well to add on later. That will definitely be a fun image to check out. And then we have our mirror shot, which we're going to skip right past because we're not going to be doing that one today. And then we have the moss. And everyone here is very excited about the moss, because this was a true team effort, and we were just so excited to see this come to life. So we might go ahead and take a little peek at the moss today, and see what we can do for that image. Super creepy, this one was. Oh! Love creep. Okay. And then we finally, we had the tree room, which is where there's going to be a tree busting through this room, with somebody underneath the floor boards. There she is. And we're not gonna look at that one either because this one is going to probably take me, I would say, four to five hours at least, to edit. And we don't have four to five hours, and if we did, you wouldn't wanna watch me do it. So we'll probably leave that one. But then we have this fish tank, and that light was so beautiful. And we have a number of images to choose from here. And this will be good to look at, perhaps with the sand image as well. Just to edit it for cohesion, since it has very similar lighting. So we have this image with her facing forward, and we've been having a debate here about which one is better. So we've got facing forward, versus facing away. And I know that facing forward is winning, so we're just going to have to choose which one will end up being the one that we go with.
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.