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Experimental Portraits

Lesson 9 of 30

Shoot: Creating Textures From Everyday Items

Sue Bryce, Lara Jade

Experimental Portraits

Sue Bryce, Lara Jade

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Lesson Info

9. Shoot: Creating Textures From Everyday Items

Lesson Info

Shoot: Creating Textures From Everyday Items

So we have a really great to see that old chair over there. I like that one. Yeah, she can lean back an old weather check and you could find an antique store and old thrift store. Anything kind of? Yes, that that's perfect. Aaron, yet if we move the whole thing over this way that you're going to get more of the line, okay? Yeah. Okay. We're just going to move everything to this this way about mita. Sorry. Three feet. Any question way I know we had one here in the audience earlier. Hi, wondering about sort of overall your schedule, it was more like, you know, from professionally from years ago till now, like you work out how many shoots did you a week or permanent there? How do you flow that through? It was more just that question over all of, like, lifestyle how to stay healthy didn't do this and yeah, like, you know, your schedule of everything. Yeah, well, I kind of just I make sure I spent time do mice. I have a lot of downtime, so in that all kind of set myself a project, like once...

a week, I've been slacking a little late, they I mean, this course is really inspired me to get back into it, and I needed that reminded myself, but I've set like a challenge a week a new technique if I get a new piece of equipment I'm testing that I mean there's a lot if time where I can just sit and relax but I'm not a good person for relax and it's always doing something whether it's admin work shoots ideas anything like that so I think as artists were always doing things and we can't like that the best people in the industry of constantly challenging the cells and shooting and pushing an email in and even if it's sending three hundred emails out a day it's always something and so how much on a shoot do you experiment with this sort of thing or do you just do this in your personal work? And then once you've got it narrowed down and figured out, then you use it professor only uh lord, you just use it for your fun work on both like editorial work really allows me to play where's my commercial work is really more plain commercially is just to get something done to sell clothes I'm all about with client wants my editorial work I can really play with my ideas because I'm just out to get a beautiful image whether it's dark, whether it's lighter and it's really about my eye and the client in the editorial client really wants to see what inspires me so this would exist in my personal in my editorial the lark can you tell us what aaron just changed yes what did you change your kind of thing you went in there talking and not look at sorry since we changed the positioning of the model I switched her bracelet from her right hand to her left hand so that it's closer to the camera obviously sit in the same hand that we would miss it and I want my styling to be seen perfect all right so now she's sitting down because we want it again give ourselves options and different things so something as simple as a chair again and you'll see it repeated in a lot of magazines and a lot of things chazz a really great just kind of position and let models kind of let loose with that poses as well so you can already see the way she's kind of feeling that and she doesn't like back in the air like it gets speak girl so I'm just going to start experimenting with that as well moving around her then what kind of change the pose is up from there too so when someone sitting in a chair that automatically do that kind of slumped so it's it's gotta be about the way and again the theme kind of changes that but the way in which they sit in a chair has to be quiet elegance and moving them off the chair so they're not back into it too far leaning down from it or use in the back of the chair to kind of leaning to a swell is really interested okay would you like wind yes wind was weakened all right so I think this is about put that right hand kind of back that way and put the left one there and kind of portrayed just look up to that yet beautiful can you come straight on to me a little bit more with your legs let's say yep because I'm just cropping into here as well so just a small thing now I'm creating wind for her entire body because she's not moving in those tassels down there I want them to move a little bit as well yeah and the chat a little bit more straight on felix would you mind moving that for her so you probably need to add some more light that you want to bring in you can see the gold side with yep that's it on the face perfect and just she said to kind of lean back and slump into the chair because gatsby is all about that kind of romantic kind of dark pi is a little sad beautiful okay put your hands kind of back and lean back yeah great and eyes closed beautiful just anything I like to live with that I just can't see the reflection to slightly in here tell me if you're happy with the light yes the light is good. Okay just put your hands back on to laugh again again just experiment and moving around as much as I can to get different fuse giving myself options yeah and had hide back here and just put your hand off it just kind of invited yet beautiful can we move closer it'll light their cr that light's coming we can also open this up sir we're not just half way is that better yeah perfect so now we may need to change all rights yet we're a little bright now some two point eight I'm going to go up tio aptitude for we can also move we can control it wait a little bit less in the legs perfect that's great and I can't be in the way and I'm gonna go that's a little dark so I'm gonna go back to three point five there to put it up it's really not about how much light we have it's about how beautiful it is yeah definitely that's really nice I love that our movement over the green can we move this closer good thinking that's really beautiful ali great with the movement felix I just want a little bit of catch light in the eyes that see if you can try and you probably have to come down you got it yet yeah that's great that's what you catch it is you know when the catch light it's simply just that white in the eye gives it life yes, just a little bit more on an angle because I'm gonna follow the way the light is because it's more equal on the base chin up just a little bit beautiful you think of left in yet it's that if you're being controlled you're probably getting from my right I just want to keep I think she's fine without without spy it's a little softer with behind and then looking down as well because sad kind beautiful so nice on the makeup great now lower streaking through the clear part yeah just going around the different yeah I just finishing it up cause I know we've got a few minutes left I'm just going to experiment in a little with the end shots you've gone through all this work to set it up like you and a little closer again just for a few last shots so we can get that text without it falling down beautiful rain get up and head right to that that's it it's such a nice fall in the light falls beautifully on the cheek bones okay think we got it thank you so much I just wanted before she leaves again thank you, teo alley again it was photogenic it means we're in l a is where everybody confined you if you're in the chat rooms right now they're dropping the link um as to where you can find allie thank you so much okay, so I think we wanted to move on teo to show how you should textures right? Yeah so we're gonna do a quick ten minute how does she textures just from what I see around me because obviously I was in hey yes same was really aspired and then we're gonna have a break and and show you how we process those as well so I'm gonna just move around and what I'm seeing yesterday there was so many different elements the roof in the other room, the doors obviously we don't all have access to things like this but this is around me now so I'm just going to show you it could be things like I live in brooklyn since very urban's why went round has spent about two hours with my intern and we went around and shot loads of different things and textures and car windows where it was cracked my bacon train my oven I did nail polish that was simply put in nail polish in water putting filling up to the top of like a plastic kind of sandwich container putting paper over it there's so many different things it was you know, I was kind of in firing myself to kind of move my and texture library as well so I just want to shoot a few different things around so you can see what I shoot and then I'm going to show you later how I would process that and edit it on photo shop to make it something good that we can put over our images this well say I'm just going to go around and again I'm going to do this because we could use that for the gatsby is another overlay on top of that as well okay, so you'll start to see and sue said about the tv and everything shooting things like that even blur in it and she didn't quite blurry because sometimes we don't need a lot of textures tohave an overlay sometimes it could just be something super simple such as lights coming through like fairy lights would be an amazing texture and he's doing anything different are you looking for just a general good exposure you looking to over underexposed? I would say a neutral exposure we don't want it too bright we don't want it to dark because in photo shop we will take it and process it later run as well and I don't mind these elements have laid the studio in the background because it's kind of cool because when you overlay that and change the motive it's really interesting tooth so I'm trying get stuff like this because this is kind of very reminiscent of like the old polaroid kind of things he would find this outside on wars gravel and you see how different it is on camera just something as simple as this is well, I always try and shoot this way or this way and ranger as much as possible, getting different lens on and going super close or super far away as well. So there's no end to it. And even this chair. When I noticed this, I saw the cracks on it. I saw this on the top of their some always done like a crazy lady sometimes seen textures kind, my cat's fur on my mirrors. Well, just silly things sometimes. And when I saw this as well, this kind of overlay I used a lot of my earlier pieces when I I was looking for stock. Say, like a lot of ci's images have got that kind of warm overlay. This is like a perfect anything to shoot. And I'm just going to turn it around so it's in the light here for me to shoot flat on, I still feel like, come on in art school. Anything like that it's great textures. And even this side is a little different. What people haven't stepped on it as much text still that chair's even like that orange parts of this's. Well, because later on the way so gatsby was that it was warmer, so I want to shoot warm textures. That and then I want to create a textile everything's that a cold so I start to look at the elements again so it's all about the way that I used elements thanks felix you know me so well wood texture wood is perfect paper like sustaining like tea on paper put it in water and staining it is a really obvious way of doing it but super effective as well okay even going super close to the texture coming in and out and bending down and and sometimes it's super obvious light ruth like above you going into like a part of your house that he's kind of a little bit more to shovel toe old like oh textures like chazz for example light thes just look for everything in the every day and seeing how you can use that and even just like perspex like if this was red just photographed there and kind of like add another text you on top of that same mix a new textures oppa's well is really interesting to you also looking at symmetrical textures of the hotel like this. Deco yeah. So when we're in the hotel eating the other day, we saw that the art deco pattern on the wall and often right we can't get that for photo shoots all the time we don't have the budget for it or we just can't have access to it so, building your own text, you library off backgrounds, shooting on a plain background and then adding the overlay of the texture on top is a super cheap way of doing it and really super easy, think what's that fascinating. Also, looking at suze textures, she's done something completely different, and it would be interesting to see what people end up doing with the text. Cicely, anything, khun b, your balloon. So many ways, if you're in it, ok, any questions on that? I think you've got my texters ready to process after the break. I think what's so amazing about that is what is that fifteen textures or so that you just created in under five minutes? Yeah, on people spend so much money on these kind of things, and it's it's, so easy you can create them within ten minutes.

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.

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

Student Work

Related Classes



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!