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Shoot: Moss Image

Lesson 69 from: Fine Art Photography: The Complete Guide

Brooke Shaden

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Lesson Info

69. Shoot: Moss Image

Next Lesson: Shoot: Tree Image

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

Shoot: Moss Image

For this image, we're using a lot of moss to create a rather creepy scene in this space, and I love creepy, so this is probably the most exciting moment yet during this series because I really feel a sense of everything coming together in one space and looking exactly as I envision, but I cannot take all the credit for this because I just drew a terrible little sketch of what I wanted and then all of my friends made it happen by putting this moss on the wall. So we bought moss, and its sort of like little sheets of it and I have an example here of what we haven't used yet, so this is the moss that we're using, just sort of little sheets. And we used tape to put it up on the wall and then double-sided tape to stick it to our subject on the wall right now. We have her standing on an apple box just so that she's elevated a little bit. My end goal being that I'm going to photograph her feet separately and when I photograph her feet I'll be able to add them in later to make it look like she...

's dangling in the scene. So the idea is that the moss is growing all through this corner of the room and it is enveloping our subject as though she is just completely melted into this space. This was a really exciting image for me because it's happening in real time as we see it right now. A lot of the time I rely on Photoshop, and I think that is totally fine if you rely on Photoshop. I do very frequently, but in this case I thought that it would be really helpful to have the moss in the space. One, because I don't live in a place where I can purchase moss easily or where I can go out and find it easily, so I thought, you know what, I'm just going to get as much moss as I can into one space, make sure that the lighting is consistent instead of trying to find logs and trees or random little areas where I can photograph it and hope that I can match the light to this space, so trying to move moss in a natural area in Photoshop into this room would have been quite a task in my opinion, get the contouring right, get the lighting right, so this way we have it all happening in one spot. I think that she looks beautiful and creepy in the corner and this is going to be rather straightforward in that I'm going to take just a couple shots of her here. I'm then going to photograph this space without our subject, remove the apple box, photograph her feet separately, and then I'll be able to get rid of that black box and have new feet in the picture in the end. So I'm just gonna step back, take a look, I'm gonna get a lower angle for this one, and we haven't got a lot of light in this space, and I'm going to try to just adjust my exposure to reflect the little bit of light that we do have. So I am taking my ISO up to 500 for this image. Just gonna get a little bit closer here. And this is looking really neat to me, so I'm gonna have you put your head down even further, yup, you got it. I'm just getting my focus here. And this is gonna be super simple, just a quick shot. I'm gonna get a little bit extra of the room in this space. And that's it. So now, I could tell her to move aside and I will get the feet and I will get the space without the box, but just because I can, because all this work went into this construction of this scene which actually did take quite some time to put together, I would say probably about an hour or so just crafting this and making sure that it looked perfect, I'm gonna come in and get just a couple detail shots here. And just make sure that I have this properly documented before I completely tear it down and destroy everything. And this is really good to have for a series, because if I have little detail shots then I, for one, have extra content that I can put on my blog, on my social media, or maybe even in a slide show in the gallery where this series might eventually end up. But the other good thing is simply that I can show people how it was done and really get some close up detail shots in that way. So I'm just getting in here, getting these detail shots, making sure that her pain is documented. No, no, she's not in pain, I'm just kidding. Well I don't think she is. You're in pain? No. Oh she's not in pain, that's okay. (chuckles) All right, so, you look beautiful. Now wait, I'm just gonna get one more shot, because it's so good and I wanna make sure that we do it justice, so I'm just gonna back up one more time. Make sure that everything is looking perfect. Maybe get a different angle, I might move in a little bit closer this time. (shutter clicks) Okay. (shutter clicking) Good. Okay, I think we got it. So, I'm going to have you just take a step forward, if you can. (chuckles) Are you stuck? I'm kinda stuck. Okay, well in that case, you're not gonna take a step forward and we'll just photograph your feet, okay? So I'm gonna photograph her feet, and I'm just gonna get back where I was. Make sure that my focus is still good. Perfect, and now the other. Fantastic. Okay, so now I've got the feet that I can edit in later, and once we're able to unstick her from the wall, then I will take my blank shot in this room, but that's as I've been doing, always getting a blank shot of the space that I'm in. Other than that I think this went beautifully.

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

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