Hanging the Images
Hanging styles, oh golly, there's so much to talk about. So hanging styles, we have hooks versus wire, and when we're talking about hanging works, one thing that you want to be cautious of is that if you have a situation, a print that you're hanging where you need to nail a nail, hammer a nail into the wall galleries probably won't like that very much because they don't wanna put nails in their wall and then pull it out and then cover it, and then put more nails in their wall, and then pull it out and cover it, over and over. They're gonna wanna hang from a wire, so you just wanna make sure that you have a situation where you can easily hang your work from a wire. On the back of prints, you can either choose the D-rings that are on either side of the print on the back, or you can have one wire that goes between, and that's a lot better for galleries because if you have a wire on the back, then they only need one wire going up from that to hang it, rather than two wires per print. Somet...
hing to think about making it easier for you, making it easier for them, and a framer will always ask you what kind of hanging style you want. If they don't, then shame on your framer. They should do that. Framing style, whatever you want goes, but I tend to think simple, simple, simple is best. I tend to do thinner frames, neutral colors, no embellishments, just as simple as possible to keep it cheap. I try to do about a two-inch mat on my images, so the matting that goes around the print inside the frame, I typically do two to four inches. Number of images and size of images. How many are you going to display in a gallery? I would say that ten is really good number to aim for, to actually hang in the gallery space. I've been finding lately that the trend has been fewer prints and just better quality images. Having maybe Instead of having 20, filling the gallery space, to have ten that are just better spaced, and have more breathing room. I would say ten is a really good number to go for. Size of images, of course, that will depend on what sizes you choose to display, what sizes the gallery thinks they can sell more of. Really important question to have for your gallery is what size works do you tend to sell. I tend to think that the small you have to make a choice, small and large. Of course, large format prints are really impressive, but that's a lot more risk for you, the artist, to print a big show like that, it's gonna cost a lot of money. I had my fourth wall series debut in New York earlier this year, and it was very expensive to do, because I had a lot of large-format works, because of that, given the almost one thousand dollar framing costs for five of the big prints, and the shipping, and the printing, it cost me seven or eight thousand dollars maybe even more, to hang that show. That's not including the eight thousand dollars I spent to make the series. That's a big commitment that I was never able to do until this year, to take that risk. I decided this year is my risk year, and it's been going well, but nerve-wracking. Size of images, number of images, be clear with the gallery about those things.
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.
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
Image Edit Videos