Experimental Portraits

Lesson 10 of 30

Making Your Texture Library: Lara

 

Experimental Portraits

Lesson 10 of 30

Making Your Texture Library: Lara

 

Lesson Info

Making Your Texture Library: Lara

I said to larry, well, we could make some textures but she said I could make some textures and also well sure, I could make teachers too so she went and shot all these pictures and so did I and then I looked in his mouth like that I'd better step up my game so I thought larry should show you how she made hers I'll show you how I'm a bind and then she showed me this amazing little secret and for the shop last night and then I started to do that to mine and then I realized that I don't need to just do this multiple times I could just show you guys and then you can do it so you show everyone how you did yours and also I would like you to show people how to use an overlay so every time I put an overlay image on fetish are on facebook or on my block people always comment and say I tried that, but it doesn't look like that how do you do that? Um so I think we really need for us to overlay images everything that larry shop today she's going to reattach tomorrow live so we wanted teo we don't ...

want to dio it's photoshopped when you're not here and then go look isn't this wonderful? Because it always seems that this this great big secret that you missed out on um so she's going to shop live I'm shooting live tomorrow in my shooting is so different to ours, which is absolutely awesome I'm going to stick someone toe a war and have them coming out of it I'm going to photograph a guy with no clothes on I might wear a dress and I ah never get boat and I'm going to photograph show you eva's world the five year old that I shot this week and then I'm going to photograph the seeking girl like doing an aerial type shot but I'm gonna shoot from above with her on the ground and then put her up high so I'm going to do something completely different what larry is doing but all of her beautiful textures that she's made she's gonna put on all those incredible images that you just want to sharp shoot today, but I still want her to show you guys the basic concept of putting on overlays then um I'm going to show you a few of my favorite tricks that just absolutely will change the way you illustrate the shop and we've probably just sold cheers and wake on tablets haven't we? Because we both love the awakened tablets and out any skin hey mind takes a thrashing I've hit about seven of them in the love um you're eighteen, twelve years and I've got a few at the studio all right so on our keynote I've got making out here I've got make your own takes to library so what largest id shooting she said a couple of really cool things I don't know if you wrote this down but shooting paper t staining paper shooting paper ages do you know what else is a really neat overlay shooting frames shooting borders shooting old film borders this old firm borders on alien skin vintage wallpaper so recently I find it's much baber I have about eighty wallpaper teachers any time I see wallpaper also I thought of a really good one shooting an old polaroid image and then using the outside of the polaroid image the image inside of the free us and in ellen skin which is the editing software that we both use is there is actually polaroid film in there so you can actually sit the image to polaroid and then use the bolt polaroid border which looks amazing I find it pretty much everything but guess what I did the other day I was out and I saw this amazing piece of artwork and I photographed it and I photographed then I photographed the piece of artwork no, I photographed the name of the artist because it's got a name and number to by the at work and I thought oh I'm gonna um get online and see if this guy's got any more images because they're absolutely beautiful so is looking through my photos on my iphone and I exported my photos because I got a new iphone this week and I took his image and poured it into photo shop and over laid it now on iphone photos roughly between three megapixels I think but an overlay only needs to be dropped right back and hope a city so I stretch it out over one of these large prince and start a racing back where I want it don't want the overlay it was absolutely incredible and I can't use it because it's not my image, so I deleted it and I think but now I know I can do it so I went out a cz in hawaii this week and I started to shoot textures I'm standing in a bathroom wrist room waiting for the restroom at a restaurant on saturday night and I looked down on the floor has all these concrete textures so I stand there with my iphone waiting in the restroom, taking photos of the floor and all the women waiting with me like I'm crazy told you crazy lady yeah, you don't look like crazy lady or scientist mad scientists, but I just occurred to me you can actually photograph incredible teachers on your find build this libraries and get excited about that yeah, it is seven all right, so I want to show you the textures that I shot and what I did before toe after. So before when I pull in textures what I shot when I went out into brooklyn and I was talking about the different things I was shooting, I just want to kind of go free those and show you guys what kind of texas that we said would things like metal sheet, as we did on the backdrop there this kind of cement, which is really great to kind of overlay into a cooler image. This was the back of, like a car window with crackles with the sunset behind. It was a beautiful texture, this kind of, like, half and half kind of thing going on. I love doing that because sometimes just having that line across the image, even using that, unlike the marriage shot idea and turning up the other way. So one side of the mirror has the cement. One side has the lines as well. Say what it was like a light leg lightly comes in from the side and any skin hiss and cool light leagues. But what laurel was doing there, cristo. You know, you can get that side league. The half and half is really vital because the image there are talking about that I shot up that guy's photo that I actually used my mobile was a half and half and it looks incredible because it just confuses the eye just enough for it to not be really so you don't know what it is, and the line is just enough to throw you off. I know there's another image here, okay? It's not up here, one of their big images had a half and half I'll find it where you can, all right? So wood and even this pain that I found in a restaurant, wallis while the orange so I always kind of looked for color. I look for the shape I look for, even if I'm shooting percent editorial or a chute where I'm like I have a theme in mind when I go out looking for textures. I have that scene within my mind as well. This was a napkin that I found at a friend's house that I was like, she gave it to me for dinner, and I was like, uh, it's a crazy lady again. Can I just take a few of those napkins to go home and work with? And also she was just kind of like maybe if you just put them in your bag, but we just started putting them in your bag through this and what else was great if I found ways? Not only shooting them, scanning them so has even started to put like I should like a flower into my scan it and shut the lid as much as I could and then put black over it and it got kind of like the pedals like and I'll show you actually right now instead of just talking about it, I'll actually show you because it's kind of confusing, but these are actually all of the textures like shot for that I need to show you guys this is actually the nail polish technique. As you can see here, how did you do that? That was I simply got like a sandwich plastic tray filled it with water to the top, shoved in some nail polish. And I told my boyfriend, is a designer on dh he actually did this so one of his projects at the company he works that so he really inspired me to do this by watching his I think that he did, and it was one of his project work. So and then you put the paper over the top and the paper and the water soaked up and it creates this kind of sticky substance. You let it dry and this is great, like feel like fashion images, even conceptual just placed in this over, like even just a close up of someone's face and having the invisible it's an incredible way of just kind of squishy tj beauty shot and I see a dress blowing and a dancer and I see they're going over with addresses and then it's gonna help you official ises so differently as well. And this I scanned it was simply nail varnish, but I kind of brushed quickly with an old, you know, nail varnish. There was no longer going to use on some. I found this old book that people get rid off in my apartment and they just shovel their books and things they don't want in the whole way. And I go through it like crazy lady. I pull a pot of books, and I was like, this is cool, so I liked was pulling it apart. I was like setting things on fire and put getting a candle and like burning things, and like I said, etch the sin and scanned it, and the middle of my scanner kind of went blurry and middle. And I love that, like processing inverted it, and it came out like this. So there's, just so many ways of creating these textures that even this was let's remind me of kind of like a milky way, so this was just an inversion, it was a bit of concrete, I found out side I invited it changes the human saturation when you place this over an image that has that kind of cooler element, it really kind of will make it something different. Okay? So number number one you have to shoot it. Number two you have tio now you can do a million different things with it in photo shop so let's have a look at that. Um, and after you go and take all of your filters, including your iphone filters and everything you've photographed, so I'm gonna go in and do an example. Yeah, because he's a good one, I put it up on the slide on the keynote if we go to the keynote slide ninety two um larry gave me three really great tips last night, so I thought it would be really clear to write eyes out. Yes, so we've got and this is one of my favorite text is my thing that I love because it was just simply a texture that was taken at the back of a car, so I'm just gonna pull out my windows. I'm not very neat. This how we get a photo shop is now everything's all over the place, our minds, rainbow callate so basically three great tips, she told me where go to image, yeah, and go to adjustment and go to invert yeah the first thing you do is invade the image now kind of experiments that not every image needs that your writers always good to check it first because sometimes it could completely different and better within vote next step that I did and that was we did the radiant matter on the human your situation wasn't so the next thing I would do is go into my adjustment layer and you can do this I'm just not really doing layers or anything or caring about that right now I'm just basically showing you guys the technique but the next thing I would do is I would go into my hugh saturation I'm just gonna pull that window ups command you sure I'm not good with shock coming up uh there it is it's all hidden on my screen because it's in the thing okay so the top slider here the hue you kind of just move that around and kind of see why that was and for me this kind of thing is really pretty how it's like a sunset so I'm just enhance in that and even just playing with the situation that and taking it down in the lightness so I do those few things and if I really wanted to go into debt with it I can just be like a film I love doing grady and map feels so that's simply on my adjustment layer so going onto here go into grady a map and going in the color picker at the top and what's great there's so many different color phil if you quick onto the arrow I have it on here okay? So now we click on this little thing at the top here quick down on the arrow and we've got so many different variation with the color harmonies, medals so whatever kind of suits you and again if you're new to this just experiment with all of these on I love like the past doors I think those are really pretty so I go free this and start to look a kind of what it is that you're reading right from one foot yeah, you can do so many variations just for one text you with this so that you already have the maid I like this and then we're going to be talking more about overlays in a second but I'm back in my layer pellet here I'm just going to click here and I start to experiment and my top few things I use I use multiply I use lighten screen saw flight and overlay so those few things I find most useful I'm just going to start experimenting with that and just take down the a pass ity to preview it and click on to lighten and you can start to see how interest in all of that sorts happened even if I just take off all of those examples and go back again so we did the hue saturation and we did thie invert as we do that the first step we did ignore this electrical we did the radiant map so immediately can start to see that's a really good texture to kind of overlay. And as you said, you can make fifty different textures out of that from just blowing it from even just going even on if you go into images, you go into selective color, you pull up that window and I do this for all of my tone in on top of my photographs to going into the color and I like to play with the neutral so the whites, the neutrals and the blacks to just clicking on the blacks there and again, just experimenting. If this is new to you and just kind of moving that as well and even just adding color into that tone, if I wanted to affect the neutrals, I would go up and click on that kind of making more darker or lighter, depending on what I would one more koda and you just kind of experiment with those and see what works even just clicking on something like the yellows because there's a lot of apparent yellows in there and enhancing those yellows within the shot too, so now you can start to see that was before we did the selective color and that was after so immediately we're enhancing nut and taken it to the next step to so those are kind of like my four steps really? And not every texture needs that some just need an invite some don't need the invert and need the radiant map, we could do a color fill and just experiment as much as possible with that and even taking the shot, twisting it around, doing emotion, blow even and placing that on top of the layer to I think the really cool okay, so you want to put a layer on to one of your images? Yes, do you? So I've got an image on my desktop that I just pulled for you guys, and I've got to find a texture that matches what I think with this, I've just pulled this from my portfolio because it has quite a mutual background, so I'm gonna go into my text your library, which I've got here, like finals, and I'm just going to kind of quickly go through. So it was forty one textures in this collection that yeah, I'm going to quickly flipped for him so you can see them, but I'm gonna choose and start to get to know what I would do so I would always go through a kind of pick what would work from the something can something quite light woolmer like this one. This one seems like a good way to go. Um, some of these are a bit too cool, I think. Well, something like that, or even actually a really like the sign one that's. Pretty cool. Yeah. That's cool with that one. All right, I'm gonna go with maybe I'm going to try to going to choose this orange one, and I'm gonna try, not cream one. All right? Taking the cream one first. I'm just dragging that into the image, and I'm just going to select that I'm not good with kim, and so I do everything. Commander data came on day. You're gonna teach me something so come out with me. I know that one. All right, so again what I said about my four. Five favorite different modes, the first thing I would do is just go in here more two ply let's, try that one that's usually good if you've got a light image and you want to overlay something into some detail and already I'm really happy with how that looks and that's just from just knowing what image kind of goes with another one. Let's, try the others who will go on to lighten so you can see how that is too light, but sometimes, if it's lytton it's kind of light lighting is like the inversion, so if you got more to play it the opposite, so sometimes they find one light on in the mode. I'll go and experiment up here image adjustments like we did on the texture go to invert like that. I just put the opacity back up there and then kind of mess around with that as well, some always testing. Is it worth it doing it lighter? Which mode? Which one works? I'm just going to go back and then overlay and self light, but I think that putting it on to multiply ham, kind of happy with cloud that how that is and then the a pastie kind of strong as well, and I don't mind it's over her skin because again, kind of like that. But if I didn't want it on his skin for good, yeah, good point, alright, so before, after before after and it's so simple, and you can go into that texture, and then maykel those adjustments that I mentioned earlier. So going into image adjustments, hugh saturation, playing around with the tone of that here, going onto the grady and map taken out a little bit further as well, so there's just so many ways of doing that, and I know someone mentioned about adding it to the skin and do you get rid of that or do you like I like it for this but if you did want to do that simply crane and lay a mask going onto your paintbrush here his semen into the skin I was going to do a quick version because it does look a little bit like his skin is to texture there I'm gonna go on to the black office because we have the white here we need the opposite of that on the black paint brush and I'm not going to take too much texture off so I'm going to take the a passage down here and just take the flow down a little bit and I'm not set on a certain number I just kind of go about halfway and I'm just kind of remove it just slightly and my brush is a little hard so we need a soft brush up here so I'm just kind of getting a brush that's probably yeah about ninety four pictures because I don't want anything too much because it will start to blur off into the leg here so I'm just going to start to remove the text you're off the leg there and you can start to see its add in some it's taken away some of the color which I don't mind because again we don't mind the skin being a little more d saturated there too and even on the arms, so I wouldn't remove it from the dress it's more necessary about kind of like the weird skin text you get with that, too, and then just on the head here as well. Okay, yeah, I'm pretty happy with that. So let's, say that he's a good dare you can't. You don't have to click on her pay city and then uses slider. You can actually swiped the word o pe city, back and forth. Most people don't know that, and also saved the layer, is a tiff, or appear state and layers in case you have to teach your photo shop class in the next two years, and then you will have examples of really aware way very important.

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

photogirl
 

This was my first Creative Live course and I thoroughly LOVED it! While contemplating purchasing the course, I was a bit weary because some of the reviewers commented on how they wished they could have seen Sue Bryce give more in depth information about one of her projects, but there is SO MUCH information that is packed into this class. I LOVE Lara Jade and her work is amazing. The enthusiasm that both instructors bring to the class, their eagerness to share their workflow and wonderful retouching methods are worth every penny and then some. Going into the class, I already was familiar with Lara's beautiful fashion photography and really wanted to know her trade secrets so for me this was everything I needed. For me, the bonus feature was getting an insight into Sue's wonderful mind and how she conceptualizes, photographs and retouches her amazing portraits! Wow, I learned so much and I HIGHLY recommend these ladies and this course. Creative Live just one more thing... please, more LARA JADE courses!!

Kristen Clapham Photography
 

SO glad I bought this one...!!! Check out Day 2 - "the gospel according to Sue Bryce" - it's absolutely awesome - if you feel like you've been in a creative rut then you've gotta own this and watch it repeatedly!!! Thanks Sue, thanks Lara, thanks Creative Live team... another GREAT workshop!!

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!