Shoot: Ivy Wall Continued

 

Experimental Portraits

 

Lesson Info

Shoot: Ivy Wall Continued

Before I pull her off this is my opportunity you know right now you think you shoot pretty minutes and you're like I got it I got it and then you get her off the wall you look at the images later on you're like damn it why didn't I do that? I had her there this is where you draw pictures this is where you make a mood board this is where you prompt yourself and draw pictures so you don't miss anything this is really important okay if I was going to do something like this is there any way you can bring this hand up inside and up and over here like it's above your head okay as soon as you bring the hands above the head you watch this body language changes okay straight up good girl straight out here that's it that's it look at this as soon as her hands come up that becomes more sixty right straight away her body line becomes like this it's more submitted that's more sixty it's more shaped it's got so much more on body language lifted higher up through there like that and touch this top on...

e that's it now looks like she wants to be in there okay so she's gone from fighting against it to putting me in the war and as soon as her face looks at me like that turn your hand this way cassidy and touched and such touching it that tech now curl your fingers around it so go ahead two gorgeous alright so from here now bring this hand towards you and as soon as she touches her own body o okay not one of the girls are coming here are they sorry it's an involuntary waxing today don't tell you that don't bother wetting anything we'll get we'll get that six top good gil spiritus see their energy shift straight away now what do we do with sixty hands that has got to go away from your head cassidy it's gotta go higher that's a high attach the touch the twig in front that's a good girl stop beautiful hands pushing a chin towards may kick the booty out booty goes that way stop there it isthe yeah okay so I'm going to set that right three point five okay look right at me care city bring your chin up stop there does not go back halfway beautiful good girl looking down really kick that booty at last one really good shape more more, more that's the one I beautifully done okay, what else can we do with their hands? Something sixty something powerful? What about something submissive? What about we just take one more we go power, we go sixty and then we go submissive changes the mood of how we're going to eat it the image power is going to be dark and gritty right like the sports images it's going to be look I'm stuck in the wall we've got a dagger I'm going to make the ivy dark even though she's in pink I'm going to do muted times to take the prettiness away okay as soon as she goes from that dark teo that sort of tension I could put that into black and white teachings always looking great black and white when she goes up to the sixty it can be really if they're really light really pretty lots of pinks lots of spray and I've got three choices in my mood just by changing her body language still haven't done the feet and the skirt so let's bring her hands down so bring your hands down good girl and the first thing we do to submit has put a hand across our chest okay um stayed in there and just bring your hand to here so when we submit we protect your heart okay when we protect our heart you carry your pride in your chest when you have no pride you carry it on your shoulders when you protect yourself you protect your heart the body languages around here it's about protecting yourself and your body language you kill your shoulders in and you submit you submit you protect your chakras you protect all of the life that flows out of you down the center of your body you protect yourself here so she's going to submit she has to submit by closing her body language down think about the submission think about the body language that's coming from whoever you're photographing and what is that saying look at that I mean that is magnificent she looks incredible. I know how I'm going to eat it. They're based on how she's looking at may now I need her to be here this hand can come down to and if I can get it down here so just help her pull through here and I want you to protect yourself here that's a girl so now she's holding her body straightaway submitting herself here and she can hold her chin forward and looked down she still trapped she still bound look at her face straight away ok who? Body language shifted she shifted straight away and there it is that ice down cassie take a girl no movement, no side movement eyes up to make cassidy beautiful good girl three point five at fifty still, as you can see, I s o thirty two hundred we've got a lot of lights on in the studio if I can just take one without those lights on it's going to go down for a little bit but I just want to get a different effect because I'm going to be working against the light and photo shop which I'm saks for may so I have to I'm just want one where aiken tunas matches like self I could do everything but the host light apparently I'm told you know, something it's really interesting very really when I'm shooting I'm a nervous shooter I'm a high energy shooter because I'm I'm generally and not a comfortable position because I'm always trying to achieve something really great I'm always pushing myself really hard I do most of my shoots at a very high energy, which means I'm usually kind of short tempered and and like great but when I should creative stuff I have this really weird thing where I don't feel that energy like I feel no pressure because I guess it's remained at the end of the day I have this I want everything anything that can go off can go off like that still on that still on off, off off I was talking about you in that one yeah what's her whenever I'm shooting and this got energy I have this sort of energy to go like in between each other like hey, you know you this my happy does you even some people do this but I didn't and I make a really high pitch noise it sounds like a dolphin I don't know why I get really excited I'm like a and they don't like you sound like a three year old okay, thank you okay pushing a chin forward eyes down reelection mouth good girl now we're down to city I'm going to drop my palmer I sew up to six forty because instantly it went down and I'm at forty years our fiftieth of a second again okay perfect chin forward and down put a little bit more movement in your hips just a tiny amount bring those hands around your body a little bit more good girl that's it nice day the eyes are may push your chin ford cassidy and now a little quickie tipped to the side that's it jin for that so I'm nicely done beautiful. Thank you. Okay see the difference in the dullness I could do that and roll window anyway I just needed to make sure that I wasn't going to get a better result without all those lights on the lights or simply on so you guys can see me on the video you can put them back on. All right? I need to get this good and I need to get a fate. So first thing we can do is girls jump up and take her off this world any questions about posing or body language before I take it two feet and fabric anon cv and a few others uh why are you shooting landscape instead of portrait if you're just going to be compositing anyway because the wallace landscape it's got length and I want linc this is true it's my perspective as I can shoot it's what I want if I shoot it on that leans if I shooted at that height if I shoot it with that with in horizontally I want to try and replicate exactly what I've shot so that I get the same thing. Yeah, really important but mar eban wants to know which do you prefer to shoot more this type of work or the glamour shooting that ugo um glamour work gives me an incredible amount of joy and I was talking about it with a lot of my friends and we were talking about our values and photography came seventh and my values but he promised like but you live and breathe photography how could it be so low in your values? And I see because what I bel you was not the photography what I value is the journey that I get to take women on when I showed them beautiful portrait of themselves this is just pure creation, but when I get to do when I show women photographs of themselves is I get to take an ordinary girl and make you look and feel like a model and give you the experience of being the most comfortable, the most proud, the most powerful, the strongest she'll ever feel and I love to create that space for people and bring people into it and two, may I feel like when I made somebody the ultimate challenge may is to get past anything that's between you and may and something that I just realized when I did my shit with laugh wass there was so much between me and laura in terms of what I bought to the table, I bought so much insecurity about my age and my weight in my body, and I've seen it a million times I've seen a million women bring that to my studio and I fight through it I see it and I fight through it and I get through it and they pull it out and it's so it's right that's it thanks girls, don't worry about that now stay there and then I fight through those that barrier and that to me is my highest value if I could spend my life empowering people through their own boundaries through their own cage through the iron blocks, if I could spend my life pulling that away so that I can stand in front of you and say the ur and then take a picture of you and shop and sell it back to you, then that's the ultimate life form a and it is my life, so the photography component is seven there six values higher than photography that make glamour photography so powerful for may, but this this is at this is so cool this is creating and it's fun and it's just yeah, it keeps me excited it's because you know what? Those barriers are exhausting they're exhausting for may I don't know why I bought them to the table, but I did and they're real and you get to see that tomorrow because larry's a fashion photographer and she photographs women that are there to do a job mostly not there because they want to see themselves they usually wearing somebody else's clothes, somebody else's here and make up they don't get any important how they look and we fight that opposites portrait photographers what I'm trying to do is wade through your crap so I can find you and then take a picture of it to show you how gorgeous you are when you take all that crap away from you all that stuff down or their emotional stuff and it's hard and it's exhausting and sometimes I see it and myself your stuff in may and I don't want to see it and it's really difficult but it's something that I chose ah long time ago because it's my strength love it adrian far from england sue would you ever go and shoot a scene like this in the woods and make the scene out of the environment as opposed to doing a composite in photo shop? Do you have snakes in the uk? My snakes yeah, they have snakes then no, I don't do anything the snakes don't do any bush walking. You know, just my idea ofthe camping is the four seasons in new york. You know yourself if emily and you had to that was just about there's comfort in safety and just that it's easier for you to do it here. Yeah, I kind of get scared walking in the woods. I kind of I don't know. I'm not a woodsy. Would you go if you're in the woods, go in the woods, you know, I'd rather create bring the woods to my studio. Yeah, yeah. It's like, you know, this crap everywhere and stopped the wall and I've seen kreplach today quite ok, we'll forgive you s o we're going to stand up there so we need two things right now. One of them is what I need is I need a robe for here to put around who so I can pull his good off s o if you go and get her a robe or a wrap or a blanket or rejected or something there that she can wrap around, but right now I need to do her feet so let's take the block away, cassidy just kick it to the side and I'm gonna stand at the same perspective because it's very important that I'm here and what I want you to do is just hold the skirt at the top like this cassidy about here stand back against the wall so hold it up a little bit more that's exactly right and I'm going to get you to not jump but I'm going to get you to go just a tiny little jump in point your toes down yep that's exactly why so I'm just going to focus on getting the perfect seat so I'm going to focus there on her I'm right on the bottom of that and I'm just gonna drop that down all right and go oh and I need you to jump a little bit higher okay? So I am getting a little bit of ground there so I didn't quite get her feet so this time I want you to jump just a tiny bit higher go good girl that was perfect now this time I want you to jump a little bit higher and employ a new and cross your feet every care that I can't go oh, I got it okay, so I got perfect feet they're so her feet are really dangling I really like that now I'm going to compensate her fate ankles in so he hid and faces moving night I didn't catch up so I'm going to go again okay, so what I need to do hang on because I'm gonna share here yeah I'm gonna go up there's just two feet or what? I'm going to make my shelter faster every guy back to the ass I've just doubled it ok and go okay, wait for it on the tip of a soon as I get good freedom gonna move on see what I'm getting lots of cool little jumping and this good too okay, who feed across there that's perfect fit they look like they're hanging I came in this one last one I'm gonna do is I'm gonna take this back and just for when I want to see this I want to see this one come up onto its toe and I want to see just a little movement like this like it's almost like a dance movement where her toes crossed up there so that if she was hanging on the wall you know or I'm going to try one like this so when she jumps this toes going to go up so she's going to hop up on one foot and that's all I need is one good foot and then I'm compensating it in and go actually no jump on the bottles scarcity sorry and so stay on the box and then just jump up on it but don't have to jump too high I just want you to do this like just go kick perfect, perfect okay and go good girl. Now cross that for ever do it again. I can't do that again. Just don't fall off kick. Okay? All sorrow and go. I can't now do this that one because it looked really good and go oh, that was good. I like this because the feeder at two different levels and so easy to bring across. Okay, this time I want you to cross the knee a little bit more like that. So jump and kick up like that. Wait and go. Perfect. This long as they they're not fled on the ground. That's gonna work for me. I can move their change there. Okay. Pointed toes bell a feet. Okay. Crossover bell. A feat. Good, good girl. That was beautiful. Did I get it? Yes. Those feet look hanging to me, and you're gonna be stuck in that wall on those feet hanging down. Okay, I want from there. Now. Come over here. And somebody asked me a question while they take this good off. Now you can take off. Yep. So go. And then what nicki's gonna do she's gonna come and hold this good and she's kind of flick it for me like this, and I'm going to photograph it in exactly the same position. Then I have the feet compass it I have the dress compass it I have her with twigs around her face and all I need to do is drop all three to give up so I will make the image first I will open it and finish up I will pick the best feet the best pieces of the skirt and then the this top part of her body I will make one girl on a white wall and then I will put her in the ivy and then I will come visit the ivy leaves and we'll do that tomorrow morning life okay, so we have a question here in the audience let's ask that feet and of the dress do you understand the exact same position? I'm not existing position but I'm the same height okay, so the distance doesn't necessarily know well it will because if I hear the actress will be different so I just keep coming back to my pay whoever put okay, yeah t try and tape it try and tape it but you know I'm kind of always in the duty frame I was looking always to try and get the bottom line off the floor on the bottom of my friend that was my reference point in the top of their so I was keep coming back to the it's hilarious that interview ok, nikki comes over here and this is where nicky does this for may I get in the same position and what nicky's going to do is get me some flow and I will literally take twenty shots kind and throw and flick and throws and shape it and flick it and nice slow movements in there because when I get there those compass it so when you complicit fabrics I remember how I do all the dancing shots so if I do a dancing shot and she dances and I get to do like a flamenco move now her body look it's insanely perfect in the move but the skits you know bad then I'll just get it to keep flicking the skirt like this until I get a movement in the skin and then I just compass it the fabric and and that looks incredible I do it every week you've seen me do it I compass it this good all the time so never compromise a shot with a dead skirt that's just stuck to a wall like this and think that that's it never enough element elemental elemental element elements elements coming nicki this is where I want you right there just going to change my focal point cause I'm wass on cassidy's I even when I shooting her feet my focal point were still on her I because I always want the drop away if there's gonna be any to be riel why would I do the drop away if that was going to drop wear on their feet and with their feet and focus that's not the point of focus of the image so now it's going to take my point of focus to the center which is where nikki is just so I can get the area in which I want to shoot and go nikki okay so as soon as she starts looking this is what I'm kidding now at this stage this is a question I get asked all the time I'm on a fast shells because I'm a two fifty which is not there first but what I'm going to do is take it from two fifty two a second down to one hundred how do I do that? I dropped my eyes so so I'm gonna drop my eyes so down to six forty and its six forty it two point eight I'm going to get really good drop away and um hang on I just made it faster so what I need to do is show me that and go okay so I'm going to get lower and go ok and not start right down and go there you go one twenty five getting a little bit more movement hang on studious now or I'm going to get good slow here here we go look at they're not too high nikki I want the beer I want the fabric to really flipped that's it and go oh nicely done okay we're slowing right down hang on and go I want riel little bit more wide I I don't want on it a little bit faster than that little bit with wispy so I've gone too slow so all I have to do is open it up so I'm opening up my leans a little bit to point and then I'm going to speed up my father a little bit I met one sixty now that should be perfect go all that's gonna be a good one have a look so I don't want it too out of focus I don't want to slow I don't want it too fast oh look at that that's what I want okay so they're it wass my eyes oh six forty I'm at one sixty two point eight okay and give me some volume on the bottom that's it so not so much flick that's it nice in another one well that was a good one so these little flicks I can have flicking up but I want a full one now they're all that's nice okay something like that nicky good one more perfect one more flick more flick not too much too much good girl that was nice love that okay one more nice there it is to see the movement and the r c this texture okay see this this is all good I can flip it out I can put ivy between it I can put ivy underneath ivy over it I just love all those options and I can put it all through the image I can have it coming right up around her if I want to on both sides so think like this nicky come here you have to think beyond what might I need maybe I need more than there and just be a little bit smartened think stuff like this this is a really good thing to do when you're doing elements is think shaking like like ballooning it out like this and then just do a couple like that just in case you want to make a big flying head or you know you want to bulk up this side or you want to make a bustle you know so it looks good and she wants a big bustle at the back I love you not only nearly started singing a song with I'll explain it to you at lunch okay so bulk it out like give me some like rushing fabric like this and they get a little bit going on that I was so much cool stuff we could do with it now remember here's blind this way so we want the fabric flying this way you're gonna get the bottom there and give me some rushing nicky more of a balloon rush up together not so much flicking a care all that's nice love that shape it's coming it's coming it's coming there it is there it is that's magic for me I just got that perfect looks like a flower ok and it just ballooned out it's not that one it's the one before it's ballooned out and it was pretty clear orders I love that that to me is just the perfect throw I just want to show you where I was going with this and what I drew in thirty seconds and also what's very important is that you understand that yes I can draw and catch and um but you know what? I drew this in thirty seconds because what I needed was I needed to have visual for myself I needed to sit a couple of things that she's in the I b war she stuck she's sleeping and she is bound a case here these are the three words I needed to work on for the body language to be honest with you if I was a little bit sort of I should have been more prepared I should have done six c sleepy on dh then I should have thought about the elements the knife that apple I didn't think about that until she went like that and then as soon as I see an open hand I want to put something in it and then all the ideas came through which was really cool but what this does is it it shows you what I just created and I created what was in my mind from sticks so you don't have to be the carso or that probably looks a little bit more because you don't have to bait you know, divinci what you need to do is be able to show the people around you what you're trying to achieve because when you're excited and you have a visual reference other people get really excited they get really excited and everybody wants to be part of it so you can just go like this, you know? So I've got this amazing idea and she's an ivy and she's stuck in the wall and I found this ivy wall and I'm gonna compass it there in and she's gonna be trapped in there and you can see it because I'm creative so I'm showing you and now you get the visual and now you understand where I'm going so now I'm going to show you the pre visual for the next two shoots so the next one is the tree roots and the guy and the idea around this is I found a tree that's bean repped by its own tree wrote to a point where it just looks completely bound in them and I just see human send you muscle limbs inside it and as soon as I saw it I was like oh, look at this tree and I stood there for a long time. Me and the tree I hugged it. I went home, I got the camera, I walked back, the sunlight was too bright I went back during the next day I went back it dawn it was too foggy I went back mid morning god, it just with a bit of highlight on it. So I'll be having use it when you see the tree you will totally understand it needs to be wrapped around a body it needs to be wrapped around a human body it needs to be tension they can throat ripping, tearing strong on the black deflect it needs to be just so intense and dark and beautiful and yet entirely and casing in safe as well, because it really he will wear it and it will be a beautiful piece. So we're going to do that. We're gonna photoshopped that and then the aerial now the aerial it was about I don't do levitation images although I see that they're very popular on, you know, modern or contemporary fine art. I don't do levitation because I don't believe it's very good on the I I believe when you look at levitation your mind doesn't think that is beautiful, you mind thinks I wonder how they did that your mind thinks that she must have been on a letter, and then they compensated out the letter. Or maybe I think about that, because I'm a photographer. But what I'm gonna do is try and trick your eye. I'm going to photograph cassidy in the black dress on the background on the ground and get her in shapes that she wouldn't necessarily be able to stand in. And then I'm going to take their image and put it on the wall. So it's, almost like she's flying, levitating or underwater. But I'm going to do that from above and then flip her up because I feel like the difference in her body language will be really significant from standing flat. And she will be out to do so much more lying down. But she'd never be able to do, and then I can put on any wall that I want.

Class Description

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

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

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

Reviews

Susie
 

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