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Shoot: Ivy Wall Portrait

Lesson 15 from: Experimental Portraits

Sue Bryce, Lara Jade

Shoot: Ivy Wall Portrait

Lesson 15 from: Experimental Portraits

Sue Bryce, Lara Jade

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Lesson Info

15. Shoot: Ivy Wall Portrait

Lesson Info

Shoot: Ivy Wall Portrait

You get an idea in your head, you gotta execute it. How do you do it? And the things you learned from other shoots quickly to work out my creative shoots don't actually take it long because all of the workers down in post processing, what I need to do is make sure you nail the elements that I need for my chute so that I get what I want in order to make sure I don't have to go back and do it. I team, too, really power shoot my creator shoots, and then I want at least twenty hours to build. The cool thing about building a creative folio is that you kind of have one that exists on your computer, and you can steal elements from other images, backgrounds from other images that you may be a shot until you'll shoot something and you go, are there dancing? Shot would look really great on that wallpaper, and then you already know you have two elements already done so one of the most important components and creative portraiture, his hands and feet. Okay, now, you do not think of hands and feet ...

when you're doing the compass it so today I've got cassidy is my model now, cassidy's, not a model, and but she's, a very beautiful girl, there's, a very big difference between a beautiful girl and a professional model and beautiful girls you find and you asked me if they want to be photographed you either pay them, give them photographs or you know, trade time for prints whatever. But at the end of the day you for find people like cassidy she's photographs like a model she's going to be absolutely perfect she's tall and she's going to be perfect for this so I found an ivy wall with lots of colors the ivy's going along the leaves have colors but they're really just holding to this concrete wall and so what I want is I want an image of cassidy in the wall so I want her against it and I want her to be stack between the wall and the ivy so I want her to be wrapped in the ivy and this to things that are really, really important. One is the perspective I need to shoot her in the same perspective that I shot the wall. Okay, because if I shoot the wall at a full standing height which is five foot two and a half then I have to shoot cassidy at the same height if I shoot her down here and the perspective ratio is up then it's going to look wrong when I compass it her in I shot the wall on the thirty five mill because I wanted a wide shot off the wall I'm going to shoot her on the same linds because I feel like the lens perspective or the perspective compression that you get from different lenses will make a difference. I can show you that life, but I showed you used today how wider the background goes when you get a longer thing, so I'm going to shoot on the same lanes, and I make a point of doing thiss I call it the full height shot where I stand here at my full height and I put it up to my eye and I know that's why I'm going to shoot it. I didn't call it the half squat, which is that power lifting squat, and I'm there and I think to a full shot to a half squat and then do this one here and then I know that when I sit like this, I'm in the same three positions on my perspective. If you screw up your perspective, you have to go select answer, command a free, transformed perspective, and you can shift the perspective of a wall or a person, but it never looks the same. So when you're doing combat that he's a really important tips that I learned the hard way, you can't shoot a perspective on a wall slightly down, shoot a perspective on a girl slightly up. And then get them to work together in the compass it because it's always something out secondly shoots square to the wall square to the subject or square to the landscape keep your food's your rule of thirds and keep your role of foods on the byline and the heart of the horizon line both in a landscape and in the room you're shooting in secondly hands and feet the first thing you do in an image is look at the face for the eyes and then the second thing you do is look to the hands and the feet any portrait if somebody is here and they're doing a pose and they're looking at the camera and then they're hands are here you're going to look down at their hands you're gonna look at their face first and then the hand if they hands doing something certainly doing something significant holding something or attaching something you're going to look at what they're touching there is that the rule of how I looks in a photograph? So if cassidy stuck to the wall and I don't think about her hand or her feet two things are gonna happen I see it all the time and find out portraiture the feet cut off so people do things like put tree roots and leaves over the feet you've seen me do it I've showed you an image up there and you'd nobody noticed your feet are missing because I never looked at her feet when I was shooting it, and then her hands were like this, ok, which is very, very important, but if it's meant to be holding something, I can't compass it, hands holding nothing because hands have a personality of their own right and hands a very strong. So I go out and I do two things. I mean, they're going to take idea off the war or I'm going to just go to whole foods to the old sorry to the florist department, and I'm going to get something like this, and I'm actually going to stick this over here on the wall two reasons her hands really going to hold this so it's going to give her body language, it's going to be real hands, she's going to be really stuck to the wall, and then all they have to do is compass it. The I b leaves over the top of her and she really will blend in because she has really, really little twigs over here. Now, if you don't want to go on by twigs, you can go and, you know, hurt a tree, but be good to the environment, you know, and use the multiple times, give back like eating meat, you can eat more fish. And so you can stick it to the wall, and so what I'm going to do is I've got to I've got to fake her being in my ivy wall, but I don't want to fake her hands and then I don't want to fake her feet now. Secondly, if she was stuck in the ivy, do you think she'd be standing on the ground? No, right, she's not going to be standing on the ground. I looked, I stood here for so long in this pretty dress that ivy grew on me, she's either going to be elevated inside the image. Now I can't stick her to the wall and do this because she's not going to be a to stand here while I'm sela taping her to the wall, okay, so I need to compensate her feet, and I need to compass it her feet at exactly the same angle as I'm shooting her body, so that when I swap them over and so I've got two choices there one is I photograph here a little bit higher on an apple box, so I get an apple box, I put an apple box about here, she stands on it, so that would be really good if we have an apple box, I know there's heaps of them here heats. Yeah and so what I'm gonna do is I'm gonna get a stand up here I'm gonna get a stand on thank you, felix I'm going to stand on the apple box like this so that she's off the ground and it's all for my perspective because then I'll be slightly shooting up on here on the wall but I'm still standing at my height I'm going to sell a tape it into the wall holding real hands now I want two I want two lots of hands here I want her to be submissive like I'm trapped so I want her hands to be like this you know like and then I want them to be fighting so I want her to be holding it and I want her expression anybody linguist to change I want two different looks I don't know which one I'm going to use so one would just be really haunting and look it's like the girl on the wall and the other one will be she's fighting fighting away from it so it's like a fighting oppression and it has meaning right? So I've got these twigs and now I'm going to stick it to the wall so cassidy come on up now cassidy's tall so soon as she gets up on here she's going to be a lot taller than may and okay, so we're going to stick her to the wall nicky coming this side and bring I don't need another lens but I will have a we've got type I could just come this side from the camera that it so now we're going to stick you to the wall and her post then what we're going to doe is we're going to take the apple box away at the end and just shoot your feet okay? We're going to shoot here fate in various positions and what I would like I'm going to try to things one is I'm going to get her to come up its high she can on her times two I'm going to get hurt it's sort of jump into a point like that and try and capture her feet just hanging and then when I compass it this in I take away the box and I swapped her feet hanging or jumping or I could even do something like you know like a bell a point or something like that so that she stuck in the wall and her feet look like the elevated off the ground that's what I want to do so you need to pre conceived your put your perspective preconceived your hands, your emotion and then think hands feet so what are my posing rules if you follow my posing rules my posing rolls a chin shoulder hands hourglass body language connection okay chin shoulder hands, hourglass body language connection asymmetry those are my rules tick them off have I got her chin? Shoulder hands are her hands look like they're working? Do they look like the holding something real? I'm about to compass it something in does it belong there? Do a hand's belong there if her hands are supposed to be holding routes? Are they just going to be up like a fist? Or would they be back like this? Or do I need to put something in them? Give his somethingto hold, give her a reason to hold it if you want soft belly hands give her a reason to hold the ivy, but don't just expect that her hands are going to know what to do because what you're going to get is a dead face picture off a model standing flat like this going at this and that's not gonna be any fun for anybody. You need to see that image coming alive now, as you see people move, you'll see their own structure, you'll see the hip movement, you'll see their ability to shape the body and, you know you might want to do something working you might want to tip her down, you might want to pin her back, he might want to have a looking out when they hear down there's lots of different things we can do, but you won't know that into stat, so and I just want to read really quick ryan loves you says I've never seen this side of soup rice before everything I've seen he's being about warmth and beauty but the's conceptual shots are wild I'm really excited this is like I said I've known you for a little while and this is something I've seen personally but I'm glad that we're able to actually show it to everyone now you're telling everyone you've seen me dark and unnatural but you just haven't seen it live er yes I'm just getting going take it away okay so the idea is that I becomes across the wall like this so nikki if you cross over this way and you just keep going so lean back against the wall so you're comfortable because you've got to be comfortable we're gonna shoot it in two ways the first thing I want you to do cassidy's put this hand up that's a go and there and then this hand out that's it always asymmetry okay whenever put our hands at the same height because when we look to mexico and that look silly so here in here ok if she spent there and they're the first thing I'm going to do is put this across and I want to cross over here so I'm going to put it here and then I'm going to get this hand here tio just wrap around the fingers around it like that yeah so that you're you're definitely in there, and then we can just start taping. I'm going to take this on, so when you're doing combat, you can come and tape nicky when you're doing compass, it elements, what you're trying to do is you're trying to bring in outside elements, but try and bring as many inside elements as you can, because it's going to be very easy to put her in the wall when she's got these amazing twigs going over here that looked like ivy, because all they have to do now is compensate the leaves wherever I want them. If she was knowed, I would put the lead in over her boobs, maybe, or just maybe over her nipples, you know, because I don't always want to show everything, but if you're going to do a nude, think about that what you can cover it with, because there's also a lot of publications that won't take nipples, um, or anything like that. So if you're going to do something like that, you can have their hands away from their body, not covering themselves, necessarily. So their image on the back wall of the girl that won that award, you can see her nipples, but we couldn't put them on, I'm creative live, so what we did was we he pulled you here over just to cover them because you know you need the option to do that and you'll find out some people may want to publish you and they can't use pink bits so now I need to consider two things one is she has to hold her hands up and so once they get her arms start getting heavy you know? So we could be the tape you armed to the war or you know, just work as fast as we can. These ones here I want to start wrapping around to have a look at this put your hand in there up to there look at that. Absolutely perfect in here. The more I can do this, the more I can make this into the compass it so hold that like a fist. Okay, now look at that. I don't have to create their own photo shop now and it's gonna be amazing. Those details are what makes it a keep calling mickey throwing heat. So from here you want to come straight up, just keep wrapping them and I just want you to find your groove if if you can try and include it into her body line like anything that she touches is going to be part of that image and anything that's gonna look incredible and we want to come from the other side as well not so much yeah that's kind of good over here waste so maybe a longer piece because then we can read this. Okay, I need a big a tape on that one. Okay, look at that holding here into bondage there. I love that, but you didn't think you'd be doing this this friday. Did you kill today? Cassidy didn't ask me what we're doing. I just could you come and be my model on sitting just like sure she probably thought she was going to be made. Okay, we need to think about this. What I want is cassidy's got great legs and I'm going to show them off so I want the dress to be floating up the war like this now is not a lot of this dress, so I'm going to compass it end so I'm going to stick the dress up here and then I'm gonna add some twine to it. Does anybody want to come and help you guys can just building it so when you've got time I just don't want it to be boring, so just come into I hear it, just make it look don't make it look like it's draping make it look like it's blowing that's the most important part the list work I have to do and finish up the bidder, so if you could take any curly bits like this and just keep sticking them over so if you find a particularly good curly bit I want to go this way I want to wrap this around here and stick that way so anything look at this oh, I love this ticket out this is going to go around you and I'm going to stick that under his opinion albert beck you're gonna get an arm workout today so I did my photo shoot this week and I swear to god every muscle in my core my size might even my bat hits it's like I must have been like holding everything and like this because I woke up yesterday and I was like physical done plati no to think I'm going to go for the curly curly white one first okay let's look at this we need to stick here here so right now more tape longer pieces go for it I can remove tape I start finding pieces like this and I'm thinking this look at this she's going to stop I'm going to start choking here with it I think it's gonna rep up I've got to put her into bondage she's in a wall she's stuck in the I want to hear like this I want this stuff all around here and I want him here to go in this so I'm going to stick that around here face like that and straight across so very significant watch this when something goes over the chin, something goes over the mouth both of those and muslim and I feel like if you were sending a message about being stuck or if you're sending a message about being creatively stuck in this right in the face to me going to be the first thing, the first thing that you would take away and to get that off my face what you something was holding you around the neck and face, so they're gonna work this across here oh, going to go on your chin there, see how this just fits into here so we go from there to the a I want one of you to stand on the apple box and stop pulling a here out to the side so I want here here to go off to the side and I want to hear to start coming into here so she has to be yet exactly right and you can stick it here to the wall some of its extension, some of it hiss okay dumped s so I've already shot the ivy wall. I went out early in the morning and I shot the wall it's a very pretty wall so it's going to be I'm really interesting to see but it's coming to give up and now I can see it in my mind I've already could, but now I can really see it okay at the moment there's no shape in her body I'm never going to shoot anybody straight up and down I need her to shape your body so I think we should do that now before any more twigs go on here so what I want you to do is push your booty out this way mirror me that to go that's it more, more, more, more, more more that's it from there and I want you you're here so you're there I want you to push your chin forward okay? So you're going to be there more here coming out and more here going from this side so get up on the every box pushy here one of you it doesn't matter here I know that I can stand on that one can you sometimes all right other ones keep tweaking so what I want is a few more over her body which is really, really important. So I need to maybe come from the sight of you passed him or tape I need to come from this side and just make sure I'm getting lit try and see what fits in the most incredible thing about um look at that said it would go around her body really well and then push it into the other ones tape tape both broke and when you break one stick it out of here I want more here on the side yeah perfect good girl you're doing good and you're right yeah don't ask your models too much of their okay beauty is pain and you know they do what they have to do yes I know that I be wall goes horizontally oh good he's looking good cellar tape it and a little bit more so if who he was blowing that way yeah so keep it booty kicked out hey that way as long as she can and cross this knee over that's the one and then perfect or even like a little bit of here coming onto her face it was beautiful mor keep flipping I want all over that's it like it's blowing that way it's the one gorgeous all right, now I'm gonna bring this up over I don't want to poke in the eye so tape it at the top and down here would be good because this is the weighty part look I call when can you take this here oh, and when I get really send pieces like this I'm gonna try and do more around your face wow that can you see it? Can you see it in your mind? So I have a question for you that's coming in from the internet on dh that is what is there a reason this is from wax wing ireland? Is there a reason that you're shooting against the wall again instead of against the floor? Yes so against the wall, I really want that I really want her to be stuck in the wall and the knicks shutters on the floor, and the reason I'm doing the next set on the floor is because it is a distinct difference between lying down and standing up, and you're going to see it in the body. So what I'm doing as an opposite, I'm standing her up to stick her in the wall and then for the aerial shot, I'm lying down flat on his back and then flipping her up in photo shop, so I'm going to try and make her float so differently. I've tried both in this one works better, I think I can definitely see that in her physical expression right now, she definitely does not look like she's lying to you, and if she was lying on the floor, she'd look too comfortable. Yes, and also everything falls back it's kind of weird. I also want this to look really haunting. I've got pieces of here, nickie, you could grab the here to can that would be really cool. Um, and now I just want to include a little bit more around her face because the end, nick and throat, because this is what I can't put in, so stick this there there anyway there and tuck it in because that's what I can't ed and photo shop I can add anything else to her body but you're going to look at her face first before you look at anything else and I need to know that everything I want to cross over her face is there now and so have a look how it fits in and if it fits in stick it and if it doesn't don't all right, here we go we're gonna have fun for the shopping this you know what's gonna be the best part is trying not to finish up tonight when I get home around her throat yeah one ok I'm feeling now I could almost put here in a dark forest I could almost change your legs too like a running you know, like she's bound but she's running in if it was really dark, you wouldn't understand why the roots were over here I feel like she could be in the ground I feel like she could be on their ivy wall but also on the did side of the ivy wall as I was leaving, I look back and at the top building these did ivy with no lease, so I took a shot from the ground but I have to shift the perspective to see if I can make it work but I'd love to see it on the deed ideas well in black and white and then cps so it's really strong so there's no pinks that the only reason she's in pink because the idea is very pink and green right now okay, so they're so now I feel like if it was really trapping her in the wall it would be around your arms so I want to kill these around her arms like this and anything I can find that this that can wrap around here okay, so look at that wrapping it around see this one sitting right in there isn't it creepy now I can start to creep literally haha creeper they go putting that in there somebody stick this one on for may just wrapping it around perfect thank you, ladies but mi pensa fallen down okay, where does she need something? I definitely think she needs something here so let's put something in there not that near cross kick that help help form a good girl stick that one dear for me and she needs one coming across his skin and then we don't let's use everything we've got. All right? Can anybody think of some really co elements that they can add to this? If it wasn't twigs, what else? What else could you ed and why look to take keep it coming anybody got the idea online doesn't have to be about twigs don't get limited but get limited and you're thinking mandy says this would be cool to do a sleeping beauty and sweet sassy diva says a rope or chains uh thanks zana is thinking how about fern's whereas via rela is going a little bit the opposite direction saying barbed wire low barbed wire chains burns friends because I'm a kiwi so so fan yes, differently I love that chains whips and chains absolutely bob weir brilliant but love it what with your banking in balloons bugs is another one to range master suggesting seaweed did you say wake buzz sending you know what that is just messed up shit. Whoever said that kick them out fags right? We're gonna put a whole lot of bugs on you now what a face you're gonna get so what way bring in the state paid ma ladybugs but the generic says I saw online somebody did ladybug oh, and butterflies ladybugs now you getting pretty? Yes. Yeah cobwebs, anyone a no studio audience. So what? Hello wayne way don't have big halloween but we still have halloween party in new zealand. I got this like waist length white silver wig and I had this white dress so there I was about twenty three second this is a white dress and I got this long white wig and then I got these fake cobwebs and you just pull them apart like this you can pull them and they stretched right out look like real cobwebs and I just draped it over may so look haunted and went to a halloween party like that except I had to make a hole to drink throw on my red lipstick got all over my cobwebs so but you can buy fake cobwebs that look really so we could have come with you and that would be really freaky because then you could just have a little spider leg or just the idea that she's caught in a web you know with a haunting dress on all right so two things are gonna happen now we've got to push that hip out we've got to make sure her expression is good we've got to make sure your hands are engaged with body language and we've also going to make sure that we get some more shots of the skirt because we're going to have to compensate the skirt and we're going to have to make it look good afterwards because frankly that's good looks bad and your feet look bad but we're not photograph sing her feet in this one we're doing compass it okay so after we take these shots we have to see how fast the girls can get here off the wall I'm an out of there on which would be pretty easy she'll have to step forward all right you think we're nearly done looking good yeah can you just take this one here yeah yeah perfect let's say they're very good people leave it it's done bigger yes all right now my camera is sit at the moment it is on um three point two we're gonna put it on two point eight I'm risky business I'm going to go three point five all right let's just take a taste of here I'm standing at my full height this is very important that you remain the your postures your postures I'm girls can nikki come around this way and just take that here victor they're in the oval box back to the answer let's have a look where we are so when I stand at my full height the bottom off my camera frame is a right on the bottom of that wall which is perfect because that's exactly where I want to say it's about the distance I was standing on when I wass shooting the wall I'm going to focus on her face I need you to push your chin forward who puts it on manual focus larry j I'm going to get you to push your ten forward as far as you can cassidy good gilmore that's it and what I want you to do right there is kick your hip out as far as you can I know it's hard but more more more more good girl okay now just stay exactly there right there and now I'm just right on the bottom there okay so have a look you can see my perspective I'm standing straight and shooting square I'm directly straight to here and it's right there can you see this come to life it's like a ll that so far okay so I don't like this good don't let the feet but we're gonna complicit that in that's the whole point we're making fake worlds we can do what ever we want okay we can put what ever we want in here so I just need to get her face in her hands telling story in a body language so from here push your chin forward a little bit more cassidy that's it stay there I'm going to get another one focus on the I am right there now close your mouth lips together push your chin forward a little bit more good girl tonight half an end start right there. Okay cassidy I want you to look down at the ground so lips together eyes down push your chin forward okay go see this is pushing into her bottom lip and it's making who look like that so I don't want to do that so I'm going to lift this up and so when you push your chin forward a little bit more that the guy I'm gonna hold on it's not working either is that okay? Okay, so you're really stuck in there and keep your chin up distant one inch up okay so now I want you to turn your head like this like you're almost fighting against it that's it stop okay everything's great but this hand here looks too passive I want you to bring it higher on the twig that's it and then to sort of wrap your fist around it so bring it towards me that sick a girl holding tight to that one there to reach down there's another one that set to reach forward reach towards may no no no no no down down that not here I'll put it in your hand reach down here you go see that here it is okay good girl perfect ok lots of hip action here so you're really trapped the net will push your ten four good gil right there just close your mouth cassidy sew your lips it together pushing your chin for just a tickle that's the wine ok now chin all the way down there so you're really fighting against it that's it stop that's perfect can you see her here just looks magnificent so we don't like the feet or the skirt but that's okay she's on a really great face angle and what it is is I've actually lost this around her face and going to push this forward and bring it back to here okay? And I really like this movement I like it look at that it's almost like she's sleeping so if she's like that then let's make her a little bit more peaceful and a little bit more languishing in the wall as opposed to fighting against it so let's do beautiful fingers belly hands note stay there are nicky come in ok, so stabia ballet hands just relax your fingers that's it so this one's long this one's here belly fingers that's a go while she's fixing people notice that you're shooting at about one fiftieth is that something you're concerned about getting camera shake about blur or is that just okay? Because it's a more conceptual portraiture you're not worried about sharpness what ideo is I yeah I'm even worry about sharpness who cares about sharpe images? Um what I care about is um I can hand hold it fiftieth of a second I can't hand hold it katie through this again or lower as soon as I hear it clunk clunk a soon as I hear that con clunk that slow shutter speed I will go up in my eyes so but I do not need to go up on my eye so until they hear it slow down fifty years danger zone anything under fifty put your eye so up but you know I'm prohibited it I'm also shooting one stop under I always shoot my creative for once stop under my glenn it with one stop under one stove over one stopover is to clear the skin at one stop under is to bring the depth and the highlights down also, my camera is set to neutral, so I have neutral portrait mode with the contrast to stops down. So what you're seeing on this screen here is very different than what you're seeing on the back of my camera also very different what you're saying at home so last time I was shooting at home it looks blowing out on the screen it looks slightly under on my screen and it looks slightly over it home because he wants like it's over exposed in the sidewalk it's perfectly exposed you're working on screens I'm not it's not tinted and or because I'm shooting a commercial zone it's cheated because I want to show people in the back of my camera so you're not seeing exactly what's on my camera but no fiftieth it's fine with me any slower I'll turn it up I came from there I like the right hand more bell a good girl so bring this finger up that's the one in this one here you're pinching so I want you to languish so that's it so push it back don't hold the twigs just go like this that's it perfect so just let your some relax a little bit more it's stiff so bend it that's a girl in so you like this okay just talk to me from it or look at may cause a soon as you look at me your hand's gonna relax tune them this way and now lean it back like that that's it you don't have to hold anything you can let go that's it perfect now turn down push it forward and eyes down election mouth had to go right there this is beautiful nice cassidy nice okay chin down a bit more mouth lips together good girl perfect okay let's do one where you're really stay there you've got relaxed hands so I want you to kick this this wrist out a little bit more like you smoking cigarette that's it push your chin forward against that twig that's the one I'm going to put just for one shot I'm going to put this under your chin just so you can really push your chin forward to mei that owe you ok right yeah if it gets uncomfortable in your throat okay so from there push your chin for leaving eleven nikki I love it yeah push it forward push it forward eyes down I could really relax those hands so this hand here I want it more like that more yes it tip it out can you push your arm out reseller tate I can't perfect go oh I love this stay there nice iced may bringing let's together a little bit more cassidy good girl push it towards may and down eyes to may and now eyes down to the ground and just give me a quickie little tilt like that that's it beautiful now look what's happened here open your hand up on your left hand cassidy a little bit more like you're holding something okay so like this good girl now tip it down your can you push your your arms taped to the wall okay at this moment here I can put something look down I can put something in her hand what am I gonna put in a hand okay think about it a bid um a cup like what? A nest I've got a nest today so I bought a nest to compass it yeah, she can hold a nest chick an apple or eve absolutely keep going. What else about a flying I'm snake always may yes they could be stuck in that way have a suggestion a heart oh, like a beating heart or fake heart like a beating hat actually said a bloody heart a bloody hard and then maybe some blood on her chin we have a dagger a dead bird so people are in the dark oh, I did but nine I love it like a limpet wings of flat it's fantastic it's a death of innocents you know what else speak to me come on that's fantastic people want centipedes well bring it santa paid my teacup as an alice in wonderland if you take a dagger to cut herself free yes oh, yes casey she needs to hold a fist for us so we could put a dagger in there that to gil but it looks better when she has the dagger so we can give her the end of a twig toehold or a pin because when she has something, she actually has a real digger so let's look at that and is there and that she's free she wants to break free but she can't now tune it this way so we could see the dagger like flat that's a go now if you're gonna hold a degas I need you to really put tension in your body as much as you can that's the one stop look at there that's absolutely perfect and it's cutting herself free. And so somebody wrote I posted a pin picture of the twins the little twins and I had in the studio and somebody wrote why didn't you have an ex and one of the little girl's hands? Because that would have been really messed up and I was like I did I had a machete knife, a long knife and instead of a titty beer she had a lamb so one girl had a baby lamb on a leash and the lamb was beside her and the other one just had a knife down by his side and it was too much. People were just like, you can't show people that I'm not like you eat lamb, right? And that you can't do that, you can't do that, and I think, yeah, you can sew how controversial you want obey is what you put in her hand and how you make her body language. So now let's, look at this. I just want to do one cassidy is so pretty and she's wearing a pretty outfit and she's stuck in this beautiful either war but let's make it like she's stuck in there and he's anguished about it. So lots of teaching, like move your body like this for me. Cassidy, maura, maura, maura, like as much as you can like squat down if you can, like, move you hit this way. I know you don't get a lot of movement, but just try that's it that's it. And instead of being like a beautiful faith, I just want you to be like anguish. Just close your eyes that stay there. Stay there tight, fists flex the muscles in your arms. Perfect. Look down, chin down and go looks together really tight like you're fighting against it, that such beautiful good girl, nicely done.

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