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Write Your 'About Me' Page

Lesson 109 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Write Your 'About Me' Page

Lesson 109 from: Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

109. Write Your 'About Me' Page

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

Write Your 'About Me' Page

To the About Me page. I also don't like this, but it's a must-be-done thing. An About Me page is gonna have a picture of you, hopefully or something related to you. And it's going to answer the same questions as the Artist Statement. What? How? And Why? I'm a fine art photographer. I do self portraiture. I layer my images, and they're painterly. And I overcome fears, and I love to help others. So just bullet points of what I would want to write about in my About Me page, same as in my artist statement. So then how is this different from an artist statement? This is the question. Because you're not getting out of it, let me tell you that. You can't just write one and use it for both. Well you could, absolutely. But I don't recommend it. So how is this different if it is literally the same content? The answer is that your artist statement should be professional, it should be polished, and you would write that from first person. Which is something that surprises a lot of people. You would...

think that to make it sound extra fancy you would put it in third person. I would actually recommend first person for your artist statement. For your About Me page I have an argument for both, okay? If you want to be really personable, and your aim is to just totally ingratiate yourself to people, go with first person. That's okay. A lot of people do it in your About Me page. I mean, we're not really fooling anyone. Obviously we're all writing our own About Me pages. Like, come on. The ruse is up. We all know. But, here is the thing about third person for your About Me page. Is that if hopefully you get to a point where you're being published in different places, on blogs, in articles, wherever, those people are going to go to your website copy and paste your About Me page and put it in to their article - like at the end of the article, let's say So if you have written it in first person, it's going to sound like you've now, you're writing on their blog, on their page, on their article. But it sounds a lot nicer when they copy and paste if it's in third person. So that's my argument for keeping it in third person for your About Me page, is that it will be copy and pasteable more easily for people. And it also sounds professional. So, how is it different? ME-Centric. Your About Me page. Which is funny because I just said I don't necessarily recommend first person but its very much about me. That's why it's called an About Me page. Very funny how these things work, isn't it? It can be playful or serious or something in-between. That's up to you and how you want to sound. You can talk about your accomplishments. You probably wouldn't do that in an artist statement. The artist statement is about your art. This is about you and what you have done so far. And you might make a distinction between personality versus style. So, you've got your personality - who you are. You want to put that in. You don't need necessarily to speak in the way that you would write captions for your images. With the flowery language, or however you would do that. So, there's a distinction to make there. Style of your writing for your work, versus style of your writing for your About Me page. So it can be emotional, it could be funny, it could be professional. These are three categories that I find most often people use to write their About Me page. Some people are super emotional and they tell the story of their life and it is really sad, or it's really heartbreaking and you learn something about them. It could be funny. It could be professional. And I want to show you a few examples of these. So if you're going with emotional you want to talk about why you create, probably. Pretty good one. What experiences you had. Any emotional ties that you have to your work. And the impact that it's had on you, or that your work has on other people. Something emotional, always relating it back to the emotion. Here's my emotional blurb that I wrote. "Even when we stand in the light, we necessarily cast a shadow." That's my dark, cryptic quote that I put there. "Brooke has always explored the ways in which we are made of darkness and light, and her art aims to share her inner-workings. She photographs herself so that she can be the characters she has always dreamed of from a childhood of intense imagination and fear. By being the creator and the actor, she can confront the fears that have always plagued her while taking control of her darkness." So it's written in third person, speaking to the emotional connection that I have to the work that I am creating. Okay, funny. I'm just going to totally switch gears here. You might include silly facts about yourself, which is always fun to do. You might share why you create, of course, because that's sort of like the heart of what we are writing about as it is. And then maybe you share a funny story or an anecdote or something like that. So here's my funny one, and I wrote this in first person to be more casual. "I'm terrified of whales, eat a head of kale almost every single day, and love the feeling of being completely dirty from a day of shooting. In my world, muddy feet are always a good thing (unless you ask my husband). I'm a fine art photographer, and I photograph myself, which, aside from sounding horribly narcissistic, is a way of having full control over my images and working completely, and blissfully, alone." So it's just a funnier tone. It's like sharing random facts that nobody needs to hear about, but let's you know that I'm a real human being and I like kale and stuff like that. And it's just silly. But it still tells you about my process a little bit. Professional. Now this is where you might talk about achievements, your journey in your craft, your education would also be relevant here. And this is my professional blurb. "Brooke Shaden studied filmmaking and English Literature in college, graduating with bachelors in each shortly after she began pursuing photography. Her images have been presented with a number of fine art and conceptual awards and she has representation through galleries around the world." Also tells you about my journey, about my photography but in a very professional, clean, clinical way. So I tend to do like a mix of all these things in my artist statement, I mean my About Me page. You don't have to be one or the other, you know? You can mix them up, see how that goes. For example, in my About Me page I've got a little bit of the emotional stuff, but then I have like a quick five questions at the end with like 'What's your favorite this?' And then a funny answer. Just to sort of be like, 'Here's my emotional stuff, but also I'm funny, or I try to be, or I wish I was funny.' You know, whatever. Okay. So. Your CV. Is generally going to go on your About page somewhere. At least like a link to it, or just some easy way to find it. You're going to have your name on there, your contact information, always important. Your education, if it's relevant. If it's not you don't need to put it, but if it's at all relevant go ahead and put that. Let's see, exhibitions, awards that you may have won, publications that you've been a part of, notable clients that you've had. And your job history. Now job history, I'm going to put like, a little asterisk next to that to say that if for whatever reason you have no jobs that are relevant, then don't put it. I mean, honestly, it's like nobody cares if you're an Olympic athlete if you're going for a job as a nurse. You know, it's like nobody cares. It's really interesting, but not relevant. So make sure that you don't dwell on the job history. It's not something that I've ever put on my CV because I have no relevant job history. But if you do, then good to mention. I think, at least. Okay. Notable highlights on your CV. Good to not put everything if you have too much stuff. Only pick out the most impressive things. Dates should go along with your CV, so if you've got, you know you don't just want to write 'Group exhibition' you'll want to put down 'March 2017 group exhibition' and let people know a little bit of information. What organization or client, or gallery, or whatever it was that it was associated with, good to mention that. So I just had a show open a couple of weeks ago and for that show I would write down 'Joanne Artman Gallery, solo exhibition October 2017' for example. And then that would give people all they need to know about that. You might include the title of the show or something to that effect. Not necessary. Any links if there are any, so if you've got you know like an important show that you were a part of and there is a link to the webpage that speaks about it, can't hurt. I mean obviously if you're printing this you can't have links, but if it's online definitely do!

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

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.

Student Work