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Making Your Texture Library: Sue

Lesson 11 from: Experimental Portraits

Sue Bryce, Lara Jade

Making Your Texture Library: Sue

Lesson 11 from: Experimental Portraits

Sue Bryce, Lara Jade

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Lesson Info

11. Making Your Texture Library: Sue

Lesson Info

Making Your Texture Library: Sue

I just wanted to make this clear um a couple of things that larry showed me because my pictures are entirely different to here and I didn't use so much pictures is patterns and so, um I love you say what I did wass this um I came at it a whole different way I found when I photograph ticks jizz I didn't really see the textures the way larry saw them, which was really interesting, so we go to my screen I've got a little file here for you um I started to paint backgrounds on uh, oil campus because I wanted backdrops that looked like painted ali fan backdrops and you know, they're expensive to buy, but these aren't the twenty dollars and you can get oil paints and create your own backdrop, so I kind of thought to myself, how many backdrops can I create and this multiple colors here as you can say, so if you paint with oil, you can smudge it, it moves around for a few days before it dries then I would photograph the canvas and then they're this big their living by sixteen so I started to pa...

int my own backdrops, and then I felt like I was actually getting beautiful handpainted campus a couple of things that I really liked about it also if you say is that it actually has a campus uhm texture to it so it does look like a real campus, obviously when you photograph it deep the field that you won't get that. So I soon learned that whenever you photograph anything compas it, you have to photograph it out of focus as well, because photoshopped will make something out of focus, but not as good as your camera can, and so I photograph everything sharpen everything slightly out of focus and every thing way out of focus. So if it's going distance in the background it's really important that you photograph it soft um and then in my texture library, I have three shots I have out of focus, so I put a frame recently in an image and the frame was on a wall behind my client and the frame needed to be as out of focus is a wallpaper wass but I shot it in focus and it was really difficult to get the same book simply to the eye does not look the same so that's just a really great tip when you're shooting tomorrow I'm going to shoot elements to show you how to do that, make sure that you do that's really important, so when I started to build my text to library, I would also build war paper anything I could find now I would get samples off old wallpaper and do exactly what larry did. So I'd get throw out samples of vintage wallpaper. So you go to a design store and ask for the book, and I would photograph them tea, stain them, mark them, get them duty and then put my own layers over them. Also, the textures are often least are often small, so it's a sample so I would open it in a photo shop and then flip it and then flip it again. That's how I would double up on the text you like that and I would create an image. So I started to build wallpaper pictures like that again. I didn't shoot them out of focus. And then I learned on that I could, er invert that layer. So all I had to do was open my wallpaper, and I'll just go back to here. You can ask me christians while I'm doing this, if you want. Yeah, we haven't take any questions say this is the questions from anyone here in the room. Okay, so this is the wallpaper here. And then what laura was saying with she was doing this with here. Um, ticks is that she shot I didn't even think of that. I went adjustment, invert and what it does is it invented case it's. All right, is that? Puts him in its complete opposite. That depends on the image. You putting it on? If you've got a darker one, would be nice if invited like this. If you got a lighter one, it would be nicer to have the dark tooth. But that doesn't work. That kind of looks glowy and it looks wrong. And it's move because it's the direct opposite to green on the color wheel. So what I ended was put into black and white and then went command in, which is my curves layer and drop my layer down. So this is where I started to do this last night with my pictures. Command aim is the short cut for kids. I just go down on the right hand side like that. And it took the highlight off it straight away. And then I could use my color tone. Now what I could do is exactly what larry said command you. It is human situation. I can look for different hue in saturation that looks more riel, or I can just drop the d saturation down command you, which is underneath. The human situation so I can drop it down so I start going towards a black and white and all of a sudden it starts to look a little bit more really now I can put other actions and textures on top of this before even layer it then what I do is I cut out my model and instead of putting the wallpaper on top of here's an overlay I wantto compensate the background so I'm going to show you the difference between the two because it's really important because she doesn't belong on this wallpaper, but what I've done is I've just put her on there and so how do you do that and make that look real is one of the hardest things you could do so before I go on I just want to go back to our keynote how did ed overlay? So larry showed you how she adds overlays I'm gonna show you how I had a place because I do it entirely different to here um I don't really bastard like I thought I was all right so this image here is actually the image that I composited on I want to show you them all right? So this my wallpaper I put her on this wallpaper so we shot this on a very plain wall and then I cut her out and then they put her on a show you how to do that then I did exactly the same wallpaper I invented it I can't hear out and I put her on this wallpaper two entirely different shops and I'm still working on this fine can you see? I'm feathering around here here that's gonna take a while because I'm putting black here on a white background which is almost impossible today so I'm gonna show you why that is so hard and why it's so much easier putting a dak here gil on a dark background exit ok, so putting here on a white background almost impossible. So what I found wass background swaps if stoppers if stoppers dot com have this great legs but I'll find it for you. It's called background swaps I've put it on here for you and what they've done is they've done situation a free just tuition video are blogged on how to cut and you can get around here and black white layers so the link is on here and it's absolutely perfect it's if stoppers dot com ford slashed one of the fastest and most accurate ways to cut out subjects from compass it's okay, and you can just go and read that absolutely perfect when I read that I was like, wow, I really do it the budget way, but I realized the importance if you were doing the white background on learning how to do this properly okay so they can put there in the checked if stoppers thank you very much if stoppers because they're posting if you follow these people on twitter and facebook they have posting tips like this how many of those technique all the time but yeah we all learn from it absolutely amazing so they show you how to adjust the kurds layer and then when you do the layer and ends up being darker then you go into selective invert and then you can cut it perfectly and it's cut right on the line really good way to drop in a completely different backgrounds so when you're doing compass it's for creative illustrative you wouldn't really use a white background you know you just wouldn't mostly we're doing stuff like this we're compensating on and so this is where you're a racing tool is your best friend um my actions before I go on to show you that I've got to show you how I shot mine first so I did something completely different to laura when I was in paris last year shooting jill's video we were in the car and I hit my camera up against the window and I did this okay so I'm going to make sure the sounds off so you can hear me singing and I started to film through the rainy window on my camera with my leans pressed up against the glass so I'm holding my camera and film mode live action and I'm shooting and I'm leaving the luv ok so I just got this little tiny bit of footage in it said on my computer then we started to do jill's images I started to eat it tills images and I looked and I found this footage and I thought well there's this really great footage and I started to pulleys as textures because suddenly I had here in paris and I hit this fuzzy paris background and I was screened shutting it and then just putting it either so there's lots of ways to screen shop that if you had screenshots software and some of it's cheap and you simply go command shift three so I have a software cord snaps pro it can record and it can screen shot whatever I select a bit so whenever I've got a video I've recorded it all I have to do is nominate where I wanna photograph so see this my selection there and it's um you can make it bigger smaller so I can just you know take a photo of this little bit here so what I started to do with screenshot all of my footage so I kind of got this idea from there and I was like well this is really cool this really worked I like this I'm going to use this teacher I take a photo of it and then it comes up on my desktop straight away is an image and how were you rubbing that again? So I was actually screen shouting it from snaps pro so let me show you the proper way to do it so a lot of people a lot of people don't know this, but in photo shop you can go file open you confined that m o v time's going to come out of here it's insulin laura you can actually open the m o v and most people don't know you can do this it's pretty cool I'm also going to show you this the movie is here here it is so you can open your footage and find a shop just like that. Now can you see how I've used it as a compass? It layer in this image so that's it they are the luv that's it there and then I have compensated over the eiffel tower and jill dancing in front of the eiffel tower and it became the cover off jules issue magazine because it's a beautiful confident of paris and it shows the moving and the city and all I did was doubled the layers up and then dropped their pay city back off my screen shot and it's only a screen shot so it's fairly small, but it doesn't have to be big in order to be an overlay, so I realized that I pretty much had millions of teachers from footage that I've taken and then I thought, how many more teachers can I make with footage now? The reason it's better than a still is these days these cameras shoot so high res that you know, you get all this detail and I kind of want fuzzy movement I want overlays don't necessarily look like things, so there you could probably identify it, luv, but if I didn't tell you that would you have known on the bottom one is the one I shot through the window so jill's inside their hotel room I shot through the window and then I could see paris in the reflection of the window I tuned took a picture of paris and then over laid it in the same way now because I've got them at the same hope a city they match together and they become a beautiful compass it design and it's so fast and easy to do so when you open the m o v, here it is in the photo shop and at the moment you can't do anything with it until you goto window and open your animation window a case, a window animation and you get this little animation window here and in your animation window you can run this little timeline along and play it all right now any time I can stop where I wanted to play so I can go, I can go shot by shot um I can just run all the way along really fast and go no, there it is I want all maybe look at that tree all that looks pretty cool I'm through their away like that were like that water on the window all now I like to live there I'm gonna take that and all I have to do I've got to I can either flatness image because it's a name okay, I'm not going to say that play I'm just gonna go image um I can't duplicate it and just flatten it so just the way you flatten layers he go layer like members so I had there is appreciated because flattening layers is something I do every day now it's ajay pig so um I was standing in my house and I wanted to do a photo walk to get your textures and I went to go outside and it was pouring with rain so I couldn't go anywhere. So I'm sitting at home last saturday sunday before it's pouring with rain I'm like oh so I thought, what can I do? So I stood in my lounge and I put my camera up against the window spanish out of focus and I just prince press record and then I started to move now it's raining hey it's dark and gloomy and then I started to just spend my focal point in and out and all of a sudden I started to pick up the raindrops that started to pick up the city in the background I started to pick up the colors and then I opened it and photo shot and I just flattened it whenever it looked good and then I went into my um so I did a lot of the window because it was really exciting and I really enjoyed the city now the rain's falling down the window I'm just simply going in and out, you know, just like that and I'm recording I'm just recording on my camera and these ticks just now all come from here every now and then you could see my reflection in the window so I was careful to move my body so you didn't see that I was in my pajamas so you can I just tell you that the chat rooms are going wild that you are blowing minds on dh people are excited to go out in the rain this weekend how much really it is a a style that people are saying that something I wouldn't have a method that people have would never have thought of more or that somebody said I'm sorry not saying who it is but they had wished that you could do this thinking it didn't exist but now you have just in those snapshots or show you what else I did I went into my pretty room because I have a pretty room on. Then what I did was I spun the camera in and out of focus up until all the pretty textures, handbags, purses, jewelry, box shoes, anything let's back old I went up to and I would getting takes just like this. And look at the boca that's getting picked up on the sparkles. All of a sudden the little boca was going the air and I would go up to mike and so I get my focal point and I would start recording. I would shake a scarf and then go like this that's exactly how big a and then I got a new look at the pretty broken and then I would go along and I'd shake the sky of shake the sky, shake the scarf and every now and then it goes right into focus like that that's not what I want. I want it when it's out and it looks like that boca light. And then if you're dropping this texture into a beautiful portrait in just in the top left hand corner the way larry was shooting with the crystal, it just looks like light that's being shot through and all of a sudden, these pictures of very, very beautiful so I then if you have a look at all of this footage I have this beautiful dress that I wore last week and I put up on facebook so you may have seen that so I walked up to the dress and I was going in and out in and out of focus lots of movement and then every now and then I'd get jay z and I got this because I'm trying to get us much movement into the broken into the sparkles as I could anyway what I found was so exciting but my favorite I think my all time favorite was this check this out I'm going to play it so this is in real time um and all of a sudden I've got all this texture and movement and this is tv so I put my record on I walk up to my television I stand here in the bottom right hand corner because they don't want to break any copyright or get sewed that was a disney ed so had all these bright colors and everything going on it's moving fast it's slightly out of focus I just stood there and recorded and I must have done about ten of them over and over again now these bright colors when they're inverted all of a sudden changed entirely differently so then larry civil just inverted everything then go to your human situations I command you command in for lightened dag but I didn't even get textures really? What I got was light and so I realized that I was more drawn to shits and light then I wass drawn to a texture because I feel like pictures can be aging but not the way larry just put that texture on the way lower put their ticks on was very subtle shifted the image slightly vintage but without that scratch ik look okay, so this here has a different you can follow me over here, right? This here has a different era to it. And how long ago did you shoot that? Two thousand six. Okay, so you know, seven years ago, years ago this is what people were doing seven years ago they were standing to put on a really heavy textures. This texture here is so subtle but it's just enough and same with this teach to here it's more like a light leak and this takes you here was an overlay of a flower. This texture here is more aging, but they're not really strong and he just be careful with your strong, heavy teachers because I feel like you agent really think I think when I've had a heavy texture and I love the pattern off it in the light I just blur it so I'll go on like a hussain blur and overweight that way as well, so if you have got something like that blur it, overlay it again, hugh saturation kind of experiment with it that way as well, because it's really interesting. Okay, so here's another and so uh, great question we had from adrian far who says when using a screenshot from overlay is the small resolution have any effect on the final image once of printed? Not at all incredible yeah, then for those people who might have like cs three or cs for and don't have the ability to bring videos into photoshopped, could you maybe show one more time how to do the screen shot? I'm waking on sale for there you go window animation again those mind more tv textures. So then what I did was screenshot open animation, flattened or screenshot either way because if you don't have animation or you don't work and photoshopped you khun still open an m o v on quick time cause that comes on your computer, play it and screech other uh no, it didn't have any impact on picks elation because I was dropping it right back. I have a look at some of the other cool things I did this was actually one of my favorites. I have a bo o k as you know, I have a box of flowers on my pretty room and I just love my box of louse always got like uh and so I was going out with this and have a look at it I'm just gonna play it so you can have a little laugh about my movement you think I'm like flowers oh they're a bit sharp pullback now zuman and now we go like this really fast and go in and out I'm getting dizzy I'm getting very guy oh no I don't like that you can see that uh okay yeah that'll do on our un see that on the outside and then I was like this but ultimately the last fun when ice creature it looks really great so then what I did was they took all my movies I screen showed them and look at this one this is pretty cool isn't one of my favorite textures and this is my makeup table and I'm like zoom in and I'm not zooming as muchas moving my body and then I'm like oh no I can't do that pull back but see when it's out of focus you see color and light and that color and light is just magnificence I want to show you how to eat it with that tomorrow and make that so beautiful okay, here we go so after I did that I opened all of these textures on photo shop I have them out for you and I've put mine into here mom I'm going to show you mine so I actually inverted everything for you, and as I started invading it, I was like, why am I doing this? You guys can make your own from these you can take these and do whatever you want to them a meter and had to do them, but you'll see what larra means by some look good, inverted and some dimed. So as soon as I invited them, it takes you away from what is real and when ever is not really for that I that I get confused and stop saying it is different, like at work, when I hit it, I always take my skin tones either gold gold, which is stronger, then skin tone, so like a tobacco stain, or I take it cold, de saturated or slightly science, because the eye knows what skin color is all the ranges of skin tone in the world that I knows what it looks like in a soon as she put it into something that doesn't exist. It knows it's either artwork or something different, that the brain reads it differently. So the first thing I do is my color time, then I make sure my overlays match, then when I'm doing background compass it, I've got to make sure that my girl or boy who is going into my background is the same color tone is my background so I eat it the wallpaper I hated, the the model separately and that's what you're going to see tomorrow when I shoot, I'm going to shoot one of the girls and I'm going to put her into an ivy wall, but I have to sit the ivy wall tone and then sit her tone and then blend them together because once I blend them to give it in layers, I'm not going to open the layers and you know, so I'm gonna match it first and then I'm going to basically dodge boone and erase here into the I v so that's going to be cold? So this was the teachers that I ended up getting from my film and as you can see, these are in the first stages, so this is what laura head before she did what she did to hiss you could do what ever you want to all of these and there's about I think there's about sixty here and plus they envision this was my jewelry box, which, as I started to blue that I thought was absolutely incredible purses tried to move as much as I could, um, pillows do they because I love to drop flower texture like that into the back of beautiful shots um you know, colored fabric in voting that love it just anything with half and half or diagonals because I get confused again doesn't know what it is and it makes it interesting remember when you pose anything with triangles you're drawn to so whenever you created triangle with the body whenever you create a triangle with hands or use a pose that creates a diamond or triangle always drawn to the asymmetry of the body same exactly the same as putting shapes in and then as I went through I just just was pulling them dresses invading dresses moving my fabrics the blues were really beautiful and so that that had nothing done to it and then it's inverted um just the buggy you getting from the sequins absolutely incredible so I went through I'll just keep talking while I'm showing you one of them I went through my pretty room I did the glass outside of did the rain I did the television that's my favorite absolutely love that or use it as a half and half and a race that back tomorrow another idea I was thinking of doing is goingto like a flower garden or butterfly god and I was actually going to do that then I didn't have enough time but that's a really great way if you don't have flowers available to you an expensive pain just like a fee to get into a garden like that and spending a day there and building a whole library it's a really good way of doing it yeah and we've got a question from morphs, mom, why are you inverting them? What? What is it about the inversion that is you? It just makes them mohr and realistic is, he said about kind of throwing off from something that's a little more and riel, whereas when we first opened and you can kind of figure out your eye kind of figures out what it is, so you invite any it's like an artwork it's like a painting in itself and that's what we're trying to achieve with the texture library, you can keep them roll, but when I invite them it's almost like I have little art pieces myself that could be used for backgrounds, or that I don't have to change them too much after on top of the image also put it like this when you put a texture over the top or an overly over the top of an image and drop the opacity where it's light it's going to be more see through. So if you invent the image this more light than dark, so have a look at this. What is that? You wouldn't necessarily know what it is, but when I show you the real image, you might work out that it is a rainy window, so the first thing I do is confuse your mind by inviting it. And then I dropped the pace of the back so it's more about texture and light. I'm trying to create texture and light that's not a cityscape, although that would be a perfect thing to put over a cityscape to make it, you know, I mean there's a million ways I could use that also flipping it so it doesn't look like buildings if you flip it the other way around, oren booted in abusive that lip in it and then copy and paste in the same thing and doing it the other way. So it's kind of a double dip so it's a really interesting, so see how larry's shot that war print, which is absolutely magnificent, almost the same color as this imagine if she hadn't got that beautiful dipped the field around the the middle around your face isn't so that was shot on the flowers outside, but if we didn't have died, yeah, so I could create create the same look with this overlay by putting that over in a racing back where I wanted to bay and creating these teachers and color. So this is one of my tv overlays, so I'm going to show you my tv overlays, so this is the same overlay inverted so in the color spectrum directly opposite is going to give me something entirely different. But look at the amount of times and they're so tomorrow I'm gonna teach you have a spray onto images and this will really freak most people out when I was a re toucher when I was a re toucher in nineteen eighty eight, eighty nine um we used to airbrush photographs because photoshopped hadn't been invented, so we used teo negative retouch it was white and then we would die blamed with kartik dying and that we would be brash okay, so we use the same color spectrum that photo shop uses on rgb so if you look at the opposite to magenta is green bay office it to raid a sigh in I'm the opposite to blow his yellow, so if you want to remove yellow from an image you don't you can't erase yellow you have ed blue because then you go towards white light, so I have this thing when I teach people photo shop that women particularly when they've had their hair makeup done, they get a red ring around the inside of the eyes, I get you to go to the brash tool unfairly shop, put your hope a city um and your flow on one like number one so it's so light goto a lime green and just brush along the rim of the eye and it neutralizes the pink eye, so what I'm doing is I'm spraying paint with my airbrush on photo shop I can show you tomorrow if you want me to it absolutely gobs making so when people see that they're like no, you did it and I'm like yes I did it is so fast no lay a mask I can do it in under four seconds I can minimize redeye well to me the opposite tone that opposite color will is so magnificent to use so I spray colors into my images and I can get the same look that larry got with those flowers by spraying onto the image and it puts this beautiful time I I might have a good example he otherwise I'll do it live tomorrow and you can see all the layers that I've made and all the fun you're gonna have with those and then you can put them on my facebook and showed me how wonderful uh I photographed the ivy wool for my own okay, so he's a perfect example this image here so these shots of color through this image that don't belong in there this um obviously it looks really high contrast on the screen it doesn't on this screen, but you get it there's a spray of yellow a spray of pink and I put pink and move on we shot it through and when I've done this used my hairbrush on finish up at one percent I've selected color and I just shot color through it so I'm actually going to show you how to paint on your photographs and then have it illustrate dodging burn with like dark and also do that ingredient month and you can have you can select the arian grady at math can you show us? Yeah for large d'oh I do a number of ways but I just want to try and show you something so we know go layer knew phil layer we're going to go solid color, you know, color fell and I'm gonna achieve something interesting before that particular texture so I'm going to go to kind of like a red, which is opposite to the times in the image on dh just kind of light and that kind of even know I'm gone and then using the arrays to kind of go in the actually I'm going what I'm gonna do fill that with the mask like soy, so you've got that in the background so underneath we've got this red going on to the a pass it e at the top here there's so many ways of doing this for a lot of different things and we're gonna go into the white, which is obviously opposite the mask and just paint fruit kind of whether red comes from his boss he get these light seems that if you do that with like a yellow red you can kind of control it that way as well or you can go to your paintbrush till I'm number one and just spread and three seconds I always do that stuff like tio I want to show you a couple of ways that I do use this because I feel like it's something that is um it's really naughty and it really works like I want to show us media's my naughty naughty tricks is like so I photographed this girl and I photographed here on obeyed off artificial flowers and I lay her down on the floor and I surrounded here it's the image that's behind me on the wall um and then when I finished it she looked like this um so I show how I needed this in alien skin so one of the cool things I did is your notice that throughout the flowers on this image no matter what filter I put on top of it I'm this kind of black areas where you know the shadow from underneath is coming through now I could go and do two things I could walk our copy and paste all the flowers and fill in all of those gaps or I could climb them all you know but I thought they wouldn't look really so what I actually did was I did as much cloning as I could but when I started getting close to the other flowers I just sprayed them in and what ultimately does is it creates this blended background well, you can't tell if it's any gaps in the flowers, there's, no black spaces and so it's kind of the cheats way of doing it. So I went along like this, and I usually work on about eighty percent flo, whenever I'm cloning backgrounds, not faces backgrounds because it's taking it pretty good, but you're going to get a replicated flower very fast. So what happens is it starts replicating like that and then all of a sudden I can see a repetitive pattern and I hate that when I look at other photographers and I see a replicated climb in the back and because I'm a photo shop priciest right away okay, so what I was doing wass I would go to another flower that was down here because when I was replicating from a distance, they I didn't pick it up so much so it's, you know, cloning from big distances. Then when I had an area like this, I would go to my brush too, and as you can see my o pe cities that one hundred percent by flows at one percent, I can select any color you want, so I'm going to select what color their levers and at one percent I would just literally paint in the color I want and it was taking the black out of it so I could go two percent or but careful because it's twenty so I could go two percent three percent and then while I had that green I would go around and I would brush all the lime green let's make it no sees them load on some flight and it makes you look startled to you that's what I do with that and do you still breast are like, yeah, yeah, I paint on just different modes as well, so there and I'd go around and with one color and then I go to my move till and I was actually just brushing in painting in all of my area of hinting at lately image yeah painting over your image without cloning without doubling up and all I'm doing is softening each one, so I put on the keynote what I've done is I've got a dodge and bowing to show you because I think this is really, really important warping in transferring tomorrow I'm going to show you how to shoot perspective have shoot elements and then put them into image. This is where you build rooms this is where you get to really advanced techniques, but you can't get your advanced techniques until you can do the basic stuff like putting overlays on um cropping out images, getting somebody from another image into one so I do not do that technique on the stoppers that's the correct technique what I do is I get my lesser till I get my lesser tool and I lesser the person and then I get my moving tour which is shortcut the moving toe when I dropped them on and then I get my erasing told I enlarge my image and I just a rice endured around the edge because I need to have that control and the only way I can really do that way that's what I do the fastest way in the best way so I'll show you a cz many examples of that tomorrow as I can so what I wanted to show you on they key night was this I've got five linds is at the moment so the first lines that I took a photo and I made nicky stand there was the thirty five male fifty five mil is going to get his much background as humanly possible with nicky and focus and it's going to show us much of the room so the leaflet that's on the wall behind nikki is very small and it's cutting down onto his shoulders okay then I took off the thirty five mil and I put on the fifty mil and of course I had to walk towards here or away from her depending on what size marlene's wass I took another photo now watch the background behind her grow past his shoulders okay, now that's perspective compression that you're going to get from your limbs. So imagine if you're photographing a compass, it background and you're going to cut it out and you're photographing it on the thirty five mil, which is showing lots of background. Now, if you've got an ivy wall and you want the ivy wall in there, then you're going to shoot it on thirty five, but if you've got a small strip of wallpaper behind her, you know you don't want it today. Yeah, yeah, you want it to be bigger? You're gonna have to go to one of your biggest june's because look what happens from the thirty five, the leaflet behind nikki, which is cutting down into his shoulder now that's going to be very hard to extend that background that's not around her body, but if I go to a bigger lands then straightaway, the prospective compression pushes the background out, but she stays the same and I get some space behind here. Then I go to the eighty five because I want to see how good the eighty five and have a look at how the eighty five opens up even more. Then I put on the seventy two, two hundred and what I did is I shot it at different zoom, so one I zoomed I stepped back and then they shot another one. I stepped back and the more I zoom in, the wider the background gets, but the more she stays the same. So have a look at that background now growing and now it's right out that's a b flat on the city five mill it was cutting into his shoulders. And now on the seventy two, two hundred it's growing that beef, it is growing. And all I did was change my lens perspective. Okay, so you need to think about what you're shooting on if you're gonna extend backgrounds and no money people know about that, not many people concealing grow like that and it's really quite amazing because these two things that would trip me up one is I've got an ivy wall, and this is my ivy wall here that I am going. Teo put my girl in tomorrow and stick it to the wall, and I know it's gonna be so much fun. And I went and shot this ivy wall, and it was so beautiful, but I wasn't expecting it to be colorful because what I was expecting was for it to bay. Um, did ivy so when I got there it's all bright green and pink and I was like, no, I want, you know, I want um like twigs and stuff so I can record around her neck and face and strangle her with it and so she's like stuck in the wall like you know a beautiful girl stuck in the wall I wanted to be freaky and addie so when I got there I start to photograph this now if I really was shooting here on their background I'm gonna need a wider angle leans because I want all of the idea but if I just had a small strip a wall of my native much around her is possible I need to shoot her on the biggest just so that my perspective compression opens up the wall and I have a match as possible so it's going to make a very big difference to the perspective this is what I love so what I'm gonna do is flip that and stick her in the wall and have it all over here so I can be cool any questions I'm just keep talking let's start with our studio audience through the internet what you did will I won't I with thirty five mill because I wanted us much of the wall as I possibly could so go ahead so tough tool would love to see the way lara mentioned she would have duplicated suze flower technique the flower technique the like replicating the flowers are the sprain oh you contrary onto your okay because you've got some black holes in the okay yeah, I see what you mean so I would basically kind of do similar to the content thee clone and then overlay that and then do the same and I do the same a suit like that is a good way of adding the light with the color phil around the edges and bring it in, but the way that suited it within layer knew leah and I actually do it a little bit differently. I'm going to do it this way, so going toe layer at the top new layer and I'm going to put into the mode here as self flight and I'm going to fill that with a soft light new toolkit gray just there, and I'm just going to call that filth for reference and that's just giving me like a neutral instead of it being white and completely see fruit it's not going to be as strong when I place that onto its almost like a transparency sheet on there. And then I would kind of use my color picker onto the pink there. So I press wrote and then click and pick an area and then going on to point paintbrush at the top and when it kind of soft loan the hardness that and then I'm just gonna kind of paint in that area to say even just picking painting and you can do that put in the opacity up kind of gives that. And you actually want to go slightly lighter. So even if I pick some times like this, I kind of go down on the color pick and go slightly a shade. Hiram brighter over the top like that. So you can kind of see how that comes together. And then you can take down on the layer, the phil just slightly, too.

Class Materials

bonus material with purchase

Sues Textures
Lara Jade Textures
Lara Jade Textures for PC
QA Erin OKeefe Stylist
QA Felix Kunze Assisting and Lighting
Sue Bryce and Lara Jade Lighting Guide

Ratings and Reviews


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!!


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!

Student Work