Fine art is the one genre with no brief and no client, which makes the intent you settle in advance the only thing holding the images together.
Work like this is judged as a series rather than a frame, so the useful preparation is deciding what the series is about, roughly how many images it needs, and what they have in common — subject, treatment, format, or simply a consistent way of looking. Writing that down before shooting turns a session into a test of an idea instead of a hopeful hunt for one, and makes the difference obvious later between an image that belongs and one that's merely good.
The making should be repeatable. Whether the light is a north-facing window, a single head in a studio or one particular hour outdoors, a series holds together when the conditions can be reproduced across every sitting rather than reinvented each time. Pre-visualising the frame — what's in it, what's deliberately left out — is what keeps that consistency from turning into repetition.
Print is where this differs technically from everything else here. Capture settings belong to the final size rather than the screen — resolution for the intended print, a ratio that survives the frame, one colour space carried through the edit — and a test print catches what a monitor hides. Then the edition: a promise about scarcity, being the total number of prints of an image you'll ever sell at that size, each numbered as it leaves, the fifth of twelve. It means nothing if a thirteenth quietly appears later, so settle the number before the first sale.
A few things to plan for