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Shoot: Floral Look

Lesson 6 from: Experimental Portraits

Sue Bryce, Lara Jade

Shoot: Floral Look

Lesson 6 from: Experimental Portraits

Sue Bryce, Lara Jade

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Lesson Info

6. Shoot: Floral Look

Lesson Info

Shoot: Floral Look

So laura earlier douglas gottlieb had actually asked since your work is so often so conceptual post process in photo shop do you ever use a green screen or flat seamless to ease the extraction yet of the background so that appears to be what we're doing now is that why we're using them? I'm using the blue because I was inspired by a picture it was very statue rated with blue in the background so I used this is kind of a basis so often when I do shoes like this or use a red or a blue that I can then later dispatch rate because I want more of a colored tone but they're not add texture over the top as well so sometimes it's easier to have the flat like if I was doing this and I wanted to then place her on something using a white seamless and lighting it so there's some depth but there's not too much shadow behind will be a great way to use an extraction told later in photo shop okay higher a little bit more quite if you just pull it if I know laura I know that she loves big dynamic pieces...

that will make a shoot so I went to my trusty michaels and purchased everything that's on her it's just a floral ball was amazing glue gun and pay with key piece and it always keeping my gun is always by my side little circle andi just pinned it in and pin the flowers all around it stripped everything else off so it's um ribbon on it and now we have a great dynamic headpiece that'll make a great picture of the dress is also from fia and I think it looks stunning on her it's a really easy piece to work with because it's very dynamic it has a lot of shine and a lot of glitz and glamour and I see you know my light in that my lining is always very soft and with the way that I lied it a kind of really adds to the shine in the texture of the pieces well, yes, yeah like to introduce texture, everything just to give it a depth. Okay, all right we are almost there happens it's always a bit of waiting time way put her in this this is not the first time I've seen her in this look today a lot goes into what goes on her before the shoot. I have a fitting with her and we tried on a million different things. Some things worked some things don't we tweak some things that I sometimes I have a vision in my head and it looks completely different on the model? It also depends on the model that we're using human beings so you never know what will fit warehouse gonna go what things will have to tweak but this is one of the looks that we that we settled upon and I think it looks really yes, definitely. All right, so we're gonna use the flash. Yeah, so could you grab me that's running once through what we do with that? Definitely. We want to make sure that everybody understands that. So what we're going to do now is I just want to introduce you because it's going to be a lot of natural light going on this course. So I really wanted to introduce you to the way they use an octopus with a stripe to add a self light because everyone always us, how do you get self light with stripes? How do you replicate natural light and it's? Quite hard, but there's ways of diffusing this so it come like, and we also need the diffusion. Yes, yes. All right. I'm gonna have spent to help me with that. Um, these things pocket with its yes and they are simply a radio and it just tells the flash to golf and we mount one on the camera set to transmit. So this transmit the signal and the citizen to receive on that will then trigger the pack to fire, which then we just need to, but if you try it, the test so always tested with the button andi, we're using flash we're going to put the extra diffuser in here because right now, instead of continuous was kind of soft where we put the striving it's a more powerful light and the kit we have, which is the wrong color sense to kit is very powerful, so whenever I use kids, I try not to over complicate it, we using quite a low setting on the bus because, again, we really want it quite so wake up claiming to be done so you get to see the beautiful in the land of the flight, so you'll notice it has clips and you can further defuse it with class as well if you really wanted it to, and it actually has kind of a thicker cloth right in the center, which helped give it extra diffusion. So this is typically the light that I used almost all of my chutes in my studio if I'm not using just this, I'm using one back light, which is reflected just to kind of pull her off the background, which he said at the side just to kind of give him details, that background and this is always almost always in front, and I'm not used to shoot it on the left to show you shits on my right and it's just kind of feathered, so it's here and the light is kind of feathered onto her this is what we did on sushi yesterday is in it and we don't want it to direct because again that ruins the softness we just wanted to fill in the light quite softly as well and we're gonna be going for the settings in a second team thank you weigh just need that in we'll bring it back up as well so we want we're thinking of the light like the sun again good portrayed light it's just off just down to one side like this off did you test that? Can we just lower it just slightly here you wantto angle it more down? Yeah, yeah, just a sec and usually in this scenario I've got one light it's feathered I've got this set up right here I've got one subject a good place to start remembering don't meter I know the settings for each kind of everything but if you a good place to start in a good place to remember is we have to be below to fifty of a second when we use a strobe because it's too fast for the sink and you'll get that black lines we always have to be below that r I s o is always low so if you remember these two things, the only thing you then have to really change is the power of this and your aperture so depending on your choice of aperture you go on this and I want a soft light I don't want this to overpower so this is on a low setting right now what are we on way? This pack is quite powerful to plunge into the war so it's receiving a fair amount of power and that's what they're made for to be quite strong every pakis different this one I basically just said it at its lowest power to start with because every time you will write you'll find your book a studio rent equipment every time and if you're just starting out you don't always get a choice of the best equipment and I learned by just okay we've got a low power we've got this setting it's not all about mathematics this equals this equals this because if you're anything like me, I'm very creative and I don't like the technical aspect to kind of over one which is why it was really helpful to have somebody like felix who can kind of run free that and that's what the beauty of having a digital and photo assistant on set is about but you also have to understand it too so get yourself family with that even if it's a small kid it's worth having rain okay and then you're just gonna fire some tests job yet so we're gonna put in the v flat again kind of ad some reflection so now this is gonna bounce back that's off the a b flat back, and if we wanted the black that would emit the light so they wouldn't be any balance and there would be more shadow on the side there. I'm just going to give it a test. It's probably not gonna be perfect exposure, but I'm going to show you how I work from that. All right? That's not too bad. What is that in the background? That kind of that reflection, you know, it's coming from here, it's not clap properly. That's my fault, these little things pesky velcro actually kind of nice it's so light in the background can we move it? Just slightly? Do you want the light in the starry men like it's? Like you're welcome either it slightly yeah, so it's a little bit of phil and you can judge from the modeling light where the light is filling on the faces. Well, so there's settings actually worked quite well. I'm just going to write in it a little bit by simply I don't want much power, I'm going to leave the slightest is because these are really powerful. I'm just going to take my aptitude down to f ten through f eleven I'm just taking it down, okay? So again, I'm still manually focusing but that's just a preference on my part and still focusing in on the eyes always the same always got a lot more detail now as well. Okay, so could we try what I saw when I saw this shot is like a beautiful portrait where you kind of leaning in tio it's? Probably. Aaron, is it better this maybe you can yeah, that way is better but just slightly turned as longer as your face is kind of you've got a sheen on your face with makeup so that will pick up the light? Yep that's great and not too much leaning just kind of lean back into yourself that's great way have any questions or so are we ready to go? Let's go teo beautiful. All right, that is a little bit in your face. No, so I'm seeing that there's quite a lot of trust and I know that laura is going to shoot clean us. I'm going to move this a bit closer that's great shoulders, shoulders in like that and had great, beautiful you can see the lights kind of soft it's not direct on her, which would be quite a high contrast so you could do the modeling light for stuffed option with a wide aperture or just by using the life of phil this is how you would replicate duende window light so again think of it like a window but not direct into the model okay for are you going through what aperture and shutter speed it set up yet so again just I'm just going to run you free that on one thing I didn't mention which is bad of me forgot white balance instead of being humble I switched it over to flash and that was because now we've got a different color temperature we just want to handle that in camera so I'm sorry about that but white balance such remember that we have to be below two fifty the second on shutter speed with got an aperture of f ten which is the only thing I would really meet her with this unless I wanted something a little different and then we have our eyes so of one hundred so as long as you can remember strove equals y eso lo shut us people low to fifty that kind of answers a lot of questions when you say what kind of setting do I need from this and as long as she work from that set in and the meter and cameron test then you'll receive the result she wanted we have quite a bit of shadow here I went over we could kind of bouncing back yeah just yeah well go enough rain that's it that's it so we had quite a bit of shadow in that top left corner which is quite nice because I've been yet but I just wanted so it's kind of equal around so that I have the option to add the vigna after by wanted it is easy to add them to take away a dark apart well, I'm in a little bit more yet great when I shot that shot with the girl with the flowers in the hair this is kind of exactly the kind of posing I would have done with her and I would have took about a hundred or so shots and then I know where I'm at so I'm starting to kind of move around and see where it's all coming together for this we have can you deem or up slightly kind of into the face maybe with the hand more kind of out like that yes let's say beautiful can you just do some a little more straight onto me just that your shoulders kind of go down great and open you looks just a little bit thank you there we go yeah and chin up just slightly beautiful then leaning into your shoulder great they find me of myself a swell the light kind of thing changes so I always move around as much as possible but remember this is experimental conceptual we want a kind of experiment with poses with light and that's how you'll learn by doing such a seven hand just a little bit more straight and just kind of cross your legs and lean into your hip a little bit before election and a little bit more soft with that hand it's up here yet and lean into your shoulder for me. Yeah, great, hold that beautiful. Okay, way. Good. Yeah. All right, so I think we got that, so I'm really happy with the results we got. I'm happy two pro system. From what I've got think I got a good range of shots to work from a good variety, to show you guys what I can work from.

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