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Fine Art Photography: The Complete Guide

Lesson 78 of 138

Choosing Images for Your Portfolio

Brooke Shaden

Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

78. Choosing Images for Your Portfolio

Lessons

Class Trailer
1

Class Introduction

19:06
2

Storytelling & Ideas

27:34
3

Universal Symbols in Stories

03:19
4

Create Interactive Characters

02:16
5

The Story is in The Details

04:13
6

Giving Your Audience Feelings

05:49
7

Guided Daydream Exercise

04:20
8

Elements of Imagery

02:19
9

The Death Scenario

01:47
10

Associations with Objects

03:01
11

Three Writing Exercises

06:39
12

Connection Through Art

30:35
13

Break Through Imposter Syndrome

07:40
14

Layering Inspiration

23:13
15

Creating an Original Narrative

07:42
16

Analyze an Image

04:12
17

Translate Emotion into Images

04:31
18

Finding Parts in Images

06:02
19

Finding Your Target Audience

04:05
20

Where Do You Want Your Images to Live?

12:01
21

Create a Series That Targets Your Audience

32:43
22

Formatting Your Work

06:08
23

Additional Materials to Attract Clients

07:24
24

Which Social Media Platforms Will be Useful?

04:17
25

How to Make Money from Your Target Audience

11:27
26

Circle of Focus

07:55
27

The Pillars of Branding

06:18
28

Planning Your Photoshoot

09:05
29

Choose Every Element for The Series

07:38
30

Write a Descriptive Paragraph

09:37
31

Sketch Your Ideas

17:27
32

Choose Your Gear

02:50
33

How to Utilize Costumes, Props & Locations

26:18
34

What Tells a Story in a Series?

13:06
35

Set Design Overview

01:43
36

Color Theory

19:50
37

Lighting for the Scene

12:05
38

Props, Wardrobe & Time Period for Set Design

06:00
39

Locations

04:31
40

Subject Within the Scene

07:26
41

Set Design Arrangement

05:46
42

Fine Art Compositing

03:46
43

Plan The Composite Before Shooting

10:29
44

Checklist for Composite Shooting

18:52
45

Analyze Composite Mistakes

12:11
46

Shoot: Black Backdrop for White Clothing

10:42
47

Shoot: Black Backdrop for Color Clothing

08:36
48

Shoot: Black Backdrop for Accessories

08:17
49

Shoot: Miniature Scene

09:59
50

Editing Workflow Overview

01:57
51

Add Fabric to Make a Big Dress

08:35
52

Edit Details of Images

08:09
53

Add Smoke & Texture

10:47
54

Blend Multiple Images Into One Composite

24:58
55

Put Subject Into a Miniature Scenario

17:55
56

Location Scouting & Test Photoshoot

22:10
57

Self Portrait Test Shoots

22:30
58

Shoot for Edit

04:21
59

Shoot Extra Stock Images

10:01
60

Practice the Shoot

25:07
61

Introduction to Shooting Photo Series

03:33
62

Shoot: Vine Image

10:40
63

Shoot: Sand Image

09:50
64

Shoot: End Table Image

04:59
65

Shoot: Bed Image

06:18
66

Shoot: Wall Paper Image

05:54
67

Shoot: Chair Image

08:02
68

Shoot: Mirror Image

06:57
69

Shoot: Moss Image

05:48
70

Shoot: Tree Image

07:33
71

Shoot: Fish Tank Image

04:09
72

Shoot: Feather Image

09:00
73

View Photo Series for Cohesion & Advanced Compositing

07:35
74

Edit Multiple Images to Show Cohesion

36:55
75

Edit Images with Advanced Compositing

29:33
76

Decide How to Start the Composite

09:35
77

Organize Final Images

21:37
78

Choosing Images for Your Portfolio

08:19
79

Order the Images in Your Portfolio

16:28
80

Why do Some Images Sell More Than Others?

16:03
81

Analyze Student Portfolio Image Order

11:42
82

Framing, Sizing, Editioning & Pricing

02:19
83

Determine Sizes for Prints

16:44
84

How to Choose Paper

13:56
85

How to Choose Editions

07:18
86

Pricing Strategies

18:59
87

How to Present Your Images

13:26
88

Example Pricing Exercise

09:39
89

Print Examples

08:23
90

Licensing, Commissions & Contracts

04:44
91

How to Keep Licensing Organized

06:07
92

How to Prepare Files for Licensing

07:28
93

Pricing Your Licensed Images

12:33
94

Contract Terms for Licensing

12:07
95

Where to Sell Images

04:55
96

Commission Pricing Structure

08:23
97

Contract for Commissions

12:17
98

Questions for a Commission Shoot

08:45
99

Working with Galleries

08:58
100

Benefits of Galleries

07:39
101

Contracts for Galleries

10:32
102

How to Find Galleries

05:22
103

Choose Images to Show

08:53
104

Hanging the Images

03:38
105

Importance of Proofing Prints

08:04
106

Interview with Soren Christensen Gallery

21:59
107

Press Package Overview

04:35
108

Artist Statement for Your Series

18:20
109

Write Your 'About Me' Page

09:04
110

Importance of Your Headshot

03:55
111

Create a Leave Behind & Elevator Pitch

20:19
112

Writing For Fine Art

04:44
113

Define Your Writing Style

14:49
114

Find Your Genre

06:41
115

What Sets You Apart?

02:25
116

Write to Different Audiences

05:10
117

Write for Blogging

39:57
118

Speak About Your Work

14:21
119

Branding for Video

07:37
120

Clearly Define Video Talking Points

14:27
121

Types of Video Content

31:45
122

Interview Practice

13:22
123

Diversifying Social Media Content

22:32
124

Create an Intentional Social Media Persona

24:48
125

Monetize Your Social Media Presence

18:46
126

Social Media Posting Plan

04:01
127

Choose Networks to Use & Invest

02:57
128

Presentation of Final Images

19:13
129

Printing Your Series

09:16
130

How to Work With a Print Lab

13:39
131

Proofing Your Prints

10:11
132

Bad Vs. Good Prints

03:32
133

Find Confidence to Print

10:50
134

Why Critique?

06:55
135

Critiquing Your Own Portfolio

10:39
136

Critique of Brooke's Series

16:18
137

Critique of Student Series

40:07
138

Yours is a Story Worth Telling

02:09

Lesson Info

Choosing Images for Your Portfolio

Here we have a bunch of prints, and these are from my printed portfolio that I would bring along to different portfolio reviews, or galleries, or things like that. Some of them are outdated now, some of them I wouldn't use. But these in general, are images that I would bring along to a portfolio review and they're completely out of order. And I thought that it would be nice just to take a fresh look at these images, and put them in order, and figure out if any should not be in there at all. Or if some stand out as being a little bit weird and how we can deal with that in this portfolio situation. So, I've got a whole bunch of portfolios here, I mean prints, and some of them I think I can immediately identify as being a little bit out of the ordinary in this set. So, if you guys had to say, which one of these feels off, which one would you say? Yup. The third one. The purple, okay. So we've got purple, and this image is definitely one of the weirder ones, I think. The reason is, fir...

st of all, that it's a color palette that you're not seeing anywhere else, but also it's a man. And this is my only man, and he is the only man that I like to photograph in my pictures. He is not my husband, I get asked all the time. But, he's really fantastic to photograph and he is my good friend and I think that he fits in my portfolio in some place. But it's really easy to see how he doesn't work in this situation, because all of these other colors are a bit, well at least surrounding him, are a bit muted. They're a little bit feminine (giggles) as he is as well in this image with all the purple vines. But, yes, you could definitely say that this is one image that doesn't quite work within this set. Did anyone have a different reaction? Any other image that maybe... The root hair. The root hair, what's your reason for that? It's a dramatically different pose than the rest. It is, yeah. I agree with you completely on that one. Anyone else have a different sense? Okay, so mine would actually be this one. I feel like this color red is just a little bit off from the earthy tones that the rest of them have. This one is very bright, it's very almost orange-y color. Same with the one right below it. And, ironically, this image, I would argue, has less concept than all of the others. This one, even though you see this pose mimicked here, it still doesn't have quite the same conceptual overtone to it that many of the other ones do. So, I would argue that I might take this image out even though it has a decent concept. I think it's a little bit plain. It's a little bit simple, and she doesn't look totally integrated into the scene that she's in. Which is a little bit bothersome to me. And then these two both don't have quite the right color palette, so I'm going to remove them. But, you know what's really interesting to me? When I remove those two images, and I look at the colors flowing throughout these, suddenly the purple fits just a little bit more to me. Because, it's the only real pop of color now. Yes, you have red and you have teal, but somehow they seem really muted, don't they? There isn't anything bright going on, there isn't a lot of contrast going on, but he carries that. So, I'm going to use him, actually, as the boldest thing in my portfolio out of these images, and put that first. So, that now, we have our man starting off the portfolio. And I could switch that, right, like I could take that over here, and put him last. So, that people, you know, they'll get through my portfolio and be like, "Whoa, a man!" or something like that. (giggles) Maybe... I tend to like to order my prints by color. I think that that works really well. I think that it's something to really consider. And we have a really nice color palette going on here, because we've got two reds, two neutrals, and two cooler images. So, that could make a really good flow, but I don't know if it would. So, if I had to say the boldest image, I would probably say this one. Because this image has the red, which is always very striking, against a very contrasting color. And when you have that, it can be a little bit jarring to look at. So, that's this image here, which you can see a little bit better there. And I'm gonna put that first. So, if I put that red image first, I then have to decide do I wanna alter the images, like stagger them so then it's red, neutral, blue... Red, neutral, purple. I don't know, there could be any way of doing it. I might decide to go in order with my reds and my neutrals, like this, so that I had a nice flow of color that makes sense from warm to cool. The other, actually, it's quite interesting 'cause now I'm noticing that these two images are almost the same concept, right? Except, this concept's way cooler to me. So, I'd rather keep the one that's really interesting. Instead of the one that's a little bit less. Okay, so we've got a flow, so what would you guys do differently if I presented this to you? How would you feel better looking at these images, if you had to say? And it's good to think about pose as well. What pose flows from, pose flows from one to the other. For example, here we have this girl who's hunched over. And that might work well with this pose that's a little bit different. So, it might be good to have these next to each other because she's laying down and because she's hunched over. It has that same sort of (claps hands) back to the ground feeling to it, whereas the rest are standing. Just something to keep in mind. You might not care about color at all. You might only think about concept, and if you're only thinking about concept, then what fits here? I don't know if I can answer that. Nope, this is how I like it. So, how do you guys like it? Any thoughts on what you might do differently? You're allowed to tell me, I don't mind. I get that the first two are connected by color, but it seems really jarring... Image-wise. I agree, yup. From the plain to the very busy, to the full-figure to the more close-up. I don't necessarily know what I would do about it, but... Yeah, no, it's good to know because... Well, you guys know, I mean, as artists you look at your images so frequently that suddenly you're like, you can't see it anymore, you know? Like, I recognize that this image is a creepy picture, and that people have often commented to me that it's a really sad image. And I have a hard time seeing it 'cause all I can remember is how I was at this weird abandoned location with my sister-in-law and I made her jump in this murky water, and it was hilarious. And that's what I think of when I see this picture. So, I have to really take myself out of me, the artist who made this, and look at this objectively. And that's why it's so good to get help from people. To really figure out what works in your portfolio, what doesn't. This is not a dark image, necessarily. I mean, you might see it that way, depending on if you see this as blood or not, or whatever you think is happening here. It's not really a dark image, so what goes with that then? How might you reorder this conceptually if you're gonna keep that image first? Maybe these go together, 'cause they're almost like opposite compositions, which I think is kind of interesting. And then maybe you go to this one, because this one's getting a little bit darker so then maybe we transition into this one which has a similar flow. And then I like how this arm is out and this arm is out, and that kind of works together, next to each other. And then I, I don't know, these guys just... They're my two oddballs on the end, what can you do?

Class Description

Creating a great photo for a client is one thing - but turning your passion and ideas into a series that is shared, shown, and sold is a whole different business. If you do it right, you’ll be shooting what you love all the time. Learn how to choose which ideas to create, how to turn your concept into a production, and steps to getting your work seen and even sold in Fine Art Photography: A Complete Guide with Award-Winning Photographer, Brooke Shaden.

This is an all-inclusive workshop that provides the tools you need to run a successful and creative business as a fine art photographer. You’ll learn creative exercises to find and develop your ideas, how to create an original narrative, how to produce your own photo series, post production techniques and skills for compositing and retouching, how to write about your work, ways to pitch to galleries and agents, and how to print your pieces so they look like art.

This workshop will take you on location with Brooke as she creates a photo series from scratch. She’ll walk through every step for her photo shoots including set design and location scouting, she’ll cover techniques in the field for capturing your artistic vision, post-production and compositing techniques, as well as printing and framing essentials.

She’ll round out this experience by discussing all of the details that will help make your career a success like licensing, commissions, artists statements, social media plans, gallery prep, and pricing your work.

This comprehensive course is a powerful look into the world of fine art photography led by one of the world’s most talented photographers, Brooke Shaden. Included with purchase is exclusive access to bonus material that gives exercises and downloads for all of the lessons.

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

Image Edit Videos

Ratings and Reviews

Student Work

Related Classes

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.

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.

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.