Lara's Photographs of Sue Bryce

 

Experimental Portraits

 

Lesson Info

Lara's Photographs of Sue Bryce

This is the moment that we have been waiting for everyone. I just want to explain what we're going to do as we go into this segment, we're going to start off with a video it's about seventeen minutes long, and you are going to be a fly on the wall as large a dh shot soup rice. If you've been with us all day, you know what a vulnerable political place sue prices in right now? She has told us that she's behind these doors right now, and she is not going to watch the video with us so that she does not see a thing. Then we're going to come back and we are going to open these curtains right here on behind this wall. There are forty of the favorite images of supervise, and this is precisely what she does with her clients, and she is opening up to all of you out there and to us here, going through that experience herself, I have my box of tissues. You may want to get your own box of tissues. This is I just I I personally have extreme gratitude to sue for allowing us to go through this with he...

r and to laura for accepting the challenge of being the one to photograph, so I cannot wait to see how laura has worked with sue to create these beautiful portrait so with that I'm gonna hand you over to the video and again we'll come back, we'll do the reveal and then we'll talk about the experience of the video ready to go and this is the fabulous large a who is photographing me today and welcome and kiss them talk a little bit about what we'd sit up okay, I'm really excited to shoot see obviously it was a great opportunity I'm honored to be able to do this I want to talk a bit about this said it what we're doing for this particular set it right now we have the bronchus and so a two kid we've got one doctor on a boom on I'm kind of facing into soon this gives a really come home and she light on the skin is a great for portrayed light a lot of big portrait photographers use this we have the power right now set teo quite low because he's a really powerful and it's half the stuff above the lowest setting we also have this v flat which is going to bounce some of this light back under seal into fill in the white here and we're also going to be bringing in a reflector to reflect sunlight back and give a catch light into the eyes as well but you'll see that as we go um and then the camera I have got the cannon five d mark too and I've got a lens which actually sue suggested remedies the thirty five which she's great at using. I do use a thirty five. I'll explain why? Because a lot of people say you get distortion with the fact now. Yes, you do. But the idea is, when you're photographing a normal body or curvy body distortion you get from thirty five means that you can shoot on the lower fashion angles that you would normally show somebody who's a foot taller than me and have the way. So I find that when I go to the city five mil, I can use that distortion. We did have the fifty on lower feels that she sees any distortion. And she's just comes back to the fifty. But it's something I've always used that she never really would need to. Because for the models that you photograph, you were just just do it quickly in the thirty five. So that's, the biggest question we get asked always is toe why are you with there? It is all right, I'm excited to shoot, so I think let's get started and see how we get one. Okay, all right, let's, just start with some straight on angles, I just want to test the light if there's any adjustments, we'll go from there. Yeah, I think that's sick and even think maybe just come around just towards you. Yeah, just a little bit more. Just bounce that. All right? So first, I think because you got that address on this guy coming down maybe just bring it in one of your aunts to slightly be nice to get a little bit of hair kind of coming over. Yeah. That's, right? Great that's great. Like that? Yep. Chin down just a little bit because his filling in quite a lot, he can lay it down and just drop this shoulder in yet perfect. Yeah. That's beautiful. I don't even think you need the thirty five to the illness. Great. Thanks. This one. Hey, ten more towards the space and drop that shoulder and pose through the hands. I think it's going to be all about with even the other outfits posing for the hands to kind of lean back elber into that. Yeah, beating on just kind of me even see your hip kind of sticks out a bit, but you've got this cut yet e doesn't seem like that. The only one thing I would suggest is just to open you lips just slightly see, you know, yep, just kind of shake it out and relax way also ryan velvet, which does not help for us and all I'm doing right now is kind of coming in a bit close to sick of myself, some options further back. So when I go into editing, I know I give myself a chance to crop later on if I want to and then try some little bit more straight on again and what you were doing, ali, when you will like crust in you, like over the other that set and, like, leaning into one side of your body beautiful yet go on, chin down to this way a little great lips together a little bit more again. Beautiful. It had a little bit more this way as well. Yet and I think even more to the side because this is filling in a lot here. Great. This kind of bottom just a little bit because of a decision. Just pull it back, pull it in a little bit more time with you. Hunt was just kind of point. That finger this finger that's. Great. Can I get you to stand as well? Now you gotta get me. Oh, crap. The next. Oh, yeah. And exactly what you were doing across united yet perfect. And remember the singer's kind of pointed there's always like a ballet yet beautiful, you look square, what you doing with your eyes? His perfect elf looks great and I'm just crapping into here just so you know and put the other hand are just gonna be your problem if you were really beautiful it's great turn your head this way yeah I'm just gonna get bit father ran because one across from a just kind of what's that at the bottom way no I just mean usually but you know howto pays his it's great ok and maybe not so much on the cross just kind of cross you like it the bottom like this yep that's it all right and then if you put your head towards this way yeah this hand it's um denny's just more delicate with it bottom one yeah, great and then if you just come slightly closer to me I just see this light and it will contrast in yeah that's really nice. Probably a little bit pie if you just move that yeah just put it one stop lower me so why they if you have to stop from the line lois why they so bright so they call them back is it said normally when you're in a big space that's why they drive these lions they really start it's the power of the pack a very powerful but I think maybe because I'm fashion shoots and what they used for a lot of space it's like very powerful they capture a lot of movement for portrait it's mainly people use them on the lowest setting, and they always about being feathered into phil to complement your way, yeah, yeah, that's. The big question is I think that helps to kind of see where it's kind of falling onto the face and special. If it's quite dark on set as well. I would want to see where it feels into the ice because I didn't like when I'm shooting a portrait, you'll see you kind of missed the catch tonight on a more about getting there, which is what we've got there reflected just to kind of enhance that. Even you're not actually didn't really ryan see you doing that, but you get used to it cause I used to be like that when you people would take what's, okay, let's, see, and this is what I would do even on a fashion shoot. I kind of work my way around different angles, pulling the model close to light because when I'm fast start and I'm just testing meter and see where I'm at. Now that my kind of settle on thing and even if we're changing outfit with changing around changing the light but we still want to make the session consistent so that's why we do as many options as possible and cheese after and then head wearing well into this week's I want to see your head kind of coming out yeah even looking down it's really beautiful that way had a fringe before e going out have scores back quick I'm donning and hey it's really nice and then head to me as well as to me great in this one particular pose I sent you on the sketches you want to just yeah have a look at that one but it was kind of it was this beautiful problem reverse everything that reminded me if that's what it was like the girl is kind of on an angle in the post was kind of to the side dish this way have around here that would be great yeah to see what I might scare like box yeah eso when I after do a shoot it will be me or the makeup artist will sketch what we're doing thiss was based off a lot of reference that I gathered for the shoot obviously we can't show photos but I kind of put together a mood board save like six to eight images because usually if I do an editorial it's about eight ten images so this is just giving me a direction, it's not necessary, something I kind of used exactly like I wouldn't say, oh, I didn't get that shot, you know, let's, try again, it's, just a guide to kind of help and especially in su's position, tohave things like this to show her claim is really helpful, it gives them a direction and even models they absolutely love direction if you compliment them, you've got something there for them to reference from that keeps them, um, a good place to start, and it will stick it's me the confidence to know exactly what I'm following, too, for the shoot, I just kind of put together four different poses that I were kind of when I saw them in sketching my had sue in mind so simple kind of poses like this full of length option novice tc just saw this and then said, I have something like this and that often happens on issued a stylus will say, great, I have something like that, I haven't accessory like that, something from the side again and nice full length and then a crop as well, so whenever I'm shooting, I'm also kind of giving myself the option of full length I always shoot a beauty, I always shoot a landscape because when I'm shooting a fashion I need it to kind of come across the pages, it's, almost like I'm shooting an editorial and that's kind of how I'm seeing it today with sue is well, okay, sam now doing this, I'm gonna move the light back to kind of fillmore to floor and just moved back slightly, and that will give that nice contrast on their table to get the whole outfit in the detail in the ruffles at the bottom two I'm just slightly up, okay? I'm just gonna angle it up just slightly because she's gone taller because she's standing on apple box it's well, I love the fishtail dress if you just turn up and then the home's kind of all right, I'm just gonna test this light now we've changed. All right? A little bit dark. Best I'm gonna get down yet just turn that up to wear on what we are. One seventy five, seventy five to three wise to three hundred dollars. Okay, right back up to ten and I'm currently on the settings of my white balances on flash. I've got one sixty of a second on the shutter speed. We've got the esso at one hundred and we've got f ten on this, so this is pretty much where I start whenever I shoot in thies. Scenario is especially with one light, one doctor, and then I kind of meat a from darren judge from that and it's, usually me just changing the power on the pack and the aperture as well. And you'll be surprised. I used to get scared about shooting with life, but especially with what you do afterwards, you'll love it just face more towards this way. That's it and the more you can kind of lean and just kind of put your elbow out so there's a bit of a gap, great and chin down, just a little beautiful. And I think we just need to give a little more shadows were originally maybe it's about being slightly more feathered with this. Contrast it because right now, it's filling in a lot of the background, I may even go up to eleven to test. Yeah, that's a lot better. Okay, so we just went up to eleven and meet this up slightly and that gets more contrast and dark hair in the background to any money's like anybody tonight. How much I tried that, you know, he just went back like that, and you're you. Yeah, and that back and that one kind of dystonia hip that and just value delicate with behind like that? Yep. That's great look that head to this I'm just gonna move your hand back on side you look like a movie star and going along with the conceptual kind of a motive thing I would love for you to put your chin down towards hair and look down great e how are you feeling okay with this and here it's more delicate with it so it just never that way just always kind of just yet that's it and change a slightly up as well if you made this hunt back so I can just see this one gives me that uncle on the body in the hip great and head to me as well, you know, we just saw laura shoot sue bryce and my goodness the chat rooms we're going crazy in there laura and su who was still back behind the closed doors. Now we're gonna we're gonna have you do the reveal will sue, how are you feeling? Because you were sitting over there which actually super excited before lunch and then all of a sudden I just have it ruli nervous kind of pain here in my stomach and I'm thinking, oh god, I just hope she likes them and she's happy with the results of a ct sue is the queen of photographing women so for me to be in that position I'm actually pretty scared there's a lot of scared nous then about how you guys feeling well, I don't want to delay much longer why don't you just tell us as I go back to my seat to see what's going on in the chat rooms just tell us a little bit about the experience and then you get sue definitely well, the experience for me was definitely really different obviously I photographed models on the fashion photographers so not only was I so scared about me photographing you know, somebody that wasn't a model it's sue and we all know that sue is the queen of women's photography making women feel beautiful so I wanted to do that with my chute I wanted to make her feel beautiful and to show everyone what we see in her every day okay, so let's go get it. Okay, how are you feeling right now? They could be, huh? Wow. Can somebody say something one of you say something. Yeah, well soon pixel trick says su, you are so beautiful and greek geek and I'm going teo given amen to this as su you are beautiful and you need to see your own beauty do you see it? Well, well, look at my anthropology dress I've got snot wait that's anything look at that hat can't be my ship in your eyes they're so beautiful and sad and it's so perfect wow so pam hawkins says tell sue this is what we see my story in color I know waste all right red and your eyes with the light wow I think it's really beautiful that you allowed yourself to people maribel in this that I think every woman feels that way and it's just a really beautiful space to be in and like to see that kind of shed off of you when you're looking at a photo to be able to photograph that that's a really emotional kind of johnny yeah well knowing c for such a short amount of time and that she's allowed me into that space is incredible you captured women and I mean a lot of people probably say oh you photograph models that's why they look so beautiful but this just shows that you're so talented thank you well it's easy with someone like you in front of the camera to when so sue first of all um again thank you from everybody out here online uh pixel chick says so you faced your fear we love you people would love to know what is in your head right now and I know you're trying to get that out I know that you're searching for those words but we'd also you picked out like five different images were those your favorites were those what was it about those and can we see them make sure mostly look our foot before I do that I just want to say that that I couldn't have imagined this morning anything I would have rather not seriously it was horrible I can't believe that you know what it does it bangs I think ford the relationship that you have with your body and yourself and so eighteen months ago I did my first creative life and for the people who follow me they will remember this and then for the people who knew that it's interesting I I was sitting here on the seat the night before we're alive and I was like, I can't do this I'm I'm just a silly old woman you know I'm nobody I'm just a just a portrait talking from u c l a what right do I have to stand up in front of everyone in the world and tell him what to do and I just I I was like I don't have to do anything I just have to be myself so I just tried to seem to myself and I had the best three days of my life it was just incredible there the experience I had coming here it's instructor because I was growing serve up to is a prison and this guy wrote me an email I got eleven thousand e mails but there's one email said I wonder if you photograph beautiful women because you wish you were me appropriate here thinking oh, I thought I photograph beautiful women because all women are beautiful, you know and seventh in the eighteen months I have been seeing myself for the first time you because I've been watching videos and being in lots of videos and doing workshops and being on stage seeing myself in the photos all the time just and for the first time I wasn't hiding from who I wass and what it's done is it's really woken me up so this last eight months I've cried more is a human vein I think physically I've lost forty pounds I just started to come back to who I wass you know and I feel like I just saw myself through this creative five experience and then I went to paris and it took chill and I remember being in paris thinking something negative about my body and then I thought I might pop that photograph of thirty two year old woman that ted her chest cut away if I can be grateful for what I've got, how could I ever even live my life? So I tried from that day, which was exactly a year ago last week to live like that, billy anyway, uh you can't wait into you poof it to have photo shoot could you leave a perfect can't wait to your feather in younger because you don't get thinner and younger just get older, so count, wait and to your good enough because you never good enough so you might as well just celebrate it. And it was sexy so hard to dio, and I expect other people to do it and return it. You know, the one thing she said to me on emails, texts with I'm apologizing to you. I can't believe I'm putting you through this photograph in someone who's old figure what? Yeah, I don't like teams that would she like about what I'm fat, why would you want to photograph me? I'm so sorry I'm putting you through this. I can't believe I don't know if I want to do it, and I was that touched me because it doesn't matter as you said it, you shouldn't wait for that. You are never going to be perfect it's always going to be the right time to have a photo of yourself in teo, show your vulnerability through that too in that is such an honor familiar people, teo, give that to you and it's it's actually really touching that you're so emotional, I didn't bring my maker.

Class Description

Bring your most imaginative ideas to life with Lara Jade and Sue Bryce's dynamic workshop on illustrative portraiture. This course will stimulate your creative senses and show you how to produce magnificent conceptual fine art portraits.

Lara Jade started her own lucrative career as an international fashion photographer by doing experimental self portraits, fine art and book covers. Sue Bryce is a multi award-winning Illustrative portrait photographer who specializes in creating beautiful images that look straight out of a fashion editorial. 

Lara and Sue will break down every step of their process — everything from scouting for creative props and settings to styling and shooting your portrait. Finally, this dream team will bring all the elements together in Photoshop and show you how to polish your raw photos into pieces of art that reflect your own unique imagination.

Reviews

Susie
 

fantastic to see Lara in this; she's so natural and inspirational, and so generous with her resources. I would love to see her do another course, maybe with Felix too as I love his lighting and creativity. More, please!