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Experimental Portraits

Lesson 25 of 30

Sue Photoshops Woman In Ivy Wall

Sue Bryce, Lara Jade

Experimental Portraits

Sue Bryce, Lara Jade

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Lesson Info

25. Sue Photoshops Woman In Ivy Wall

Lesson Info

Sue Photoshops Woman In Ivy Wall

I love how you made me go to the darkest images and work my way back to the prettiest um what I love about the ivy wall is I have I have so many compass it elements that actually don't know what's gonna work so this is going to be crazy to see what's gonna wick I didn't look at the wall last night so I haven't seen the wall or the girl together so let's have a look the first thing I did wass went through the images and just I chose my favorite for um saved them off as tiffs and they are here my jay pig file I'm going to open them up and then I chose my favorite elements so I'm going to quickly do that for you so that you can see how to do it so remember we built the image we put the sticks across here because we knew we couldn't photoshopped them on her as well as photographing on the sticks and twigs stuck to here that it means I just need to copy across the ivy then what we did was we photographed the feet jumping because we want her to be suspended or not but we wanted the option an...

d then we wanted the skirt so I got nicky to throw this good against the background trying to keep the same perspective and then we had a jumping in the air and we had a feat so I took the best feet shut the best two skirts throwing shots and the best four images off her pose and I just threw them or to give us so you can see it no particular style that was what I did this is how I did it I've got my image here I've got a ll the elements off that's the image what it looked like raw I pick it up, I go to here, I go to my less suitable I cut around like his hand, I basically just draw a line all the way around on my les uday go v from a moving tool and I dropped onto there I can't that's how I just put my compass it on and I'm going to leave because I don't need it and I've got the compass it and I've got a compass it off her feet, so I've got two choices for layers with this good I've got this one and this one so I can decide to use both use one of the different direction will take one away now I just want the best post so without looking at her feet and dress but now you can see where I'm going with her pose the structure remember we do the structure of the model first and then put it into our environment or we bring the environment then onto her but the difference is is if we are making a room we bring the body on and if we're making overlays and mohr background elements we bring the elements onto here big difference okay which do you like the most off her pose in expression do you like this one? Are you drawn to this one? Are you drawn to that one which is the sixty one hands up by looking at the camera are you drawn to that one which is kind of submissive her hands were out she just had the dagger she has the option of the dagger I don't think I'll do that today but it's there the option is there and I definitely love the expression in the here I feel like her arms and working I like the way she's holding on or do like this one where she's looking down so interestingly this definitely has a whole different vibe I don't think the arms were strong in this one so I'm drawn to this one would you agree? Yeah a case I'm going to shut down the other three and I'm going to keep this one because when I took this one if you remember she looked down and I went wow this looks amazing so let's see if this works and what I'm going to do first is prepare here so I do everything I need to do with my compass it I make sure the feet of their if we've got um if we've got enough room so I want to put this theater I may have to extend this background because see her feet don't fit so the first thing I do is I make my compass it element around the same tone so I just dropped my curves down and straightaway the war blends in with this wall who think they're around there but you do have to get it right about where her real feet if you need to extend the background you go to your background image canvas size extend the campus through your height I'm going to give it eighteen I'm going to put it in the white background and I'm going to make sure it's at the bottom half by choosing that section and there it is right there just jumps in if she looks too long and it doesn't look real we're going to have to move this layer up so I can go on auto select layer and it just means that wherever I touch my mouth it will pick up that layer which is such a good tip if you're right clicking and going between your layers I want to put her feet where they should be where I want them to be so she doesn't look too long she doesn't look too short and then I blamed this late to give it by going e for a rising toe and then I'm simply going to race back in here and I'm going to use the layer that's already under there with the bottom edge of what's on top of her feet and there it is right there just like that again it all I need to do for your I to believe that those of her feet I don't care about this because it's going in the ivy wall and I just need to make it look like they're now if I'm going to be really careful because imagine that this image is being bought for a gallery, it ends up being really huge you want the detail to be flawless, then you want to come in here and make sure that you're getting all of this make sure that you're getting you know all of this detail and erasing back and if you're confused about what your racing back just dropped the top layer of what you're doing so you can see the bottom layer underneath and then you'll know what a race back and we're because that's kind of important remember I don't care about blending because what we're going to do is put in a compass it I just want to make sure it looks riel then I'm going to go to here yeah yeah now I've got a little sick way here, I've got a problem I'm running into I'm erasing too much, it doesn't look riel now I'm starting to box it so this is where I have to go to my clone stamp and this is where I have to trust making something out official so if I can use something really I'm safe if I can use something out official er this is where I have to do it okay so it's not working I'm just I'm digging myself a hole okay don't dig yourself a hole just get out of there get out of there now all right I'm going to keep that keep that I'm just going to go to here and I just need it to blend I just needed to look like they're really here leagues I don't need um you know to convince you it's done stop overdoing it all right then I've got this layer here pick up this layer I love both of those billowing layers they both work for mei this is how I do my compass it layers in gland and my glamour work and my portrait work I can go command tea cups I can go um command tea and I can make this bigger I can warp it I can create whatever I like I can put it in any position that I like like this blowing, flicking and once I'm happy with it I can select it was going to drop down there basically a little wee bit because I wanted teo look kind of um therapy and then I'm going tio simply used my erasing tool and I'm going to just put it exactly the same method that I did with the tree roots I'm simply gonna erase back until it picks up the original skin and becomes part of the original skirt on dh then once it looks like it's blending in with the original skirt, then I'm done. I've tricked your eye into believing she was wearing the skin so simply feather around nice and gently, I make it ninety percent on my erase tool because you know, I want to do it fast and now these really pink under there so I can actually a race back and see how it's slowly just becoming part of her real skirt. Now I do as much as I can and if I have to fake it, then I'm cloning, so I'm gonna have to clothe that join I'm going to have to clone through the air so it looks a riel otherwise it's not going to look real and you're going to know that the dresses up suddenly going in a different direction oh, that one I'm going to go up to here asked me to christians feel free have the age old question of is there a particular reason that you are saving too as a tiff versus a psd? Yes um interestingly enough, I work in tiffs more than pierce days because I originally was told that the tiff is the purest highest form that you can hold in an image file whether that's true or not I don't know and it just becomes one of those things that it's what you know so it's a habit more than anything and not because you know it was simply what I was taught at the time that if I wanted to get really high res files I had to save them is a tiff I'm so that's kind of what I did at this stage that's looking really good to may um so then I'm going to decide whether I need this layer so you got my moving total pick it up bring it down what I like about it is the shape so I can definitely lair it on top of that one I want multiple layers and my images I want multiple layers of my skits I want my dresses to look gorgeous and huge and big I want that shadow to sit right on the hip I want to bring that down I want a warp it I want to push it in I want to reshape it I just want to move it around until it belongs in there. You know, a lot of times I see retouching I see people's at work and the one thing that people don't draw very well they don't draw and they don't retouch very well as perspective and size you must size your image the right size you must be in proportion if you want to trick the I it has to be believable, so it has to be in proportion okay, which I think is really important. I'm going to use the shape of this dress and if not, I'll delete it because I don't need it particular eight I've got that good layer under there keep asking questions so we had one from jinky who was wondering if you have a reason why I used the canvas re sizing method to extend your background here, as opposed to what you did earlier, where you copied pasted I didn't I still use the campus resize, and then I cut and paste the background color to fill the campus eyes. So this one here I didn't need to because there's a compass it that filled the layer, but if there was no compass, it there her feet already had the white bit around it, but if there was not, I would have filled it, but I didn't need to fill it anyway because it's a compass it so it's going to go on a wall and I'll be cutting her feet out anyway, so still using the canvas size but just cutting and pasting the background color to extend it on philip on the tree roots guy all right what I need to decide is whether I'm making it better or I'm just over doing it because if I get rid of it do we need it what do you think you think I made it okay I'm going to keep it then do you think I need it I'm going to keep it can then I'm just kind of let it blend in so I start slowly erasing around the trees and it just blends in it blends into the other fabric it starts telling my eye that it swishing down I started racing back with a little tree roots are I just start working it like this remember same technique is the trees but this is just the pretty vision you're simply using your racy using your dutch in bern using your client is in your brush toe working it so that I believes it using your shading living it blend and to see it you know and then the ice starts believing that that's all part of the same skirt and then before you know what you've built this beautiful shape in these beautiful feet and the truth is is you know that she was not like that she was there you know she wasn't here so now she's you're starting to believe her she's stuck in the wall it looks good all right get going what's that there it's just existing ni that's nothing I thought that maybe it was a brand all right, so going to get here, make sure these come out. I'm not too worried about these elements here because the ivy wall has lots and lots and lots of twigs. What I was more concerned about with the twigs that were going over her body. The whole point of sticking her to the wall was that the twigs were going over her body so let's quickly look at her face, make sure she's all set up there. We're going to have to remove the tape at some stage, which is on his skin because we did tape it to the wall. I'm gonna have to make sure I'm on the right layer in order to clone clone stamp is my go to for everything in the world. Everything I ever do is clone stamp. It is the fastest way for me to do skin retouching. I don't really need thio reed remove that. I don't know why I'm doing it. I need to remove that because she's getting cut out and put on so it doesn't matter what's on the background, I could just cut around it. I do want to make sure you're here looks good, I want to make sure her face looks good and I want to make sure she's ready to go because now I've got to find the wall and put her into it. So there it is. Theis who? Feet. There's her wall. How long did that take me? Um, and then let's have a look here. We've got a little bit of light shift in there. I ke so that must mean we're not a one hundred casino. Pacey, please. It's pumped it up. Go perfect. Okay, at this stage here, I'm going to save this tiff with all of its little layers on, so nobody freaks out. Then I'm gonna flatten it. Say you will freak out quick question from dina su do you are you saving bikram pressing command? S are you taking snapshots on conway? Manned it's never take snapshots. It's a high res tiff. So I wanted to ultimately be a huge shot. So I want a wick it's because I can uh so then I'm saving that now. It's gone. Look for ivy wall. This will be interesting. How did I get my perspective? Right? If I got my perspective, right? I'm so I go down to the ivy war now. When I first photographed the ivy wall, I did it twenty eight days. Remember, I did. The outside glamour show with amanda was so beautiful, and I went in and the ivy was all deed, and you know, scary and spooky, we'll go down there and it's like that, and I was like, no, no, I want to did spooky and then I was like, do I want did and speaking, you know, maybe I don't want didn't speaking and then I was like, so I started to look a tte where the ivy was going away from the brick and I was like, oh, can I get that in there? And I just started to take photographs of us, many parts of it as I could, because I figured that if I didn't use one image, I would use multiple images. Now this is going to be a time consuming piece it's going to be just like philip, I'm gonna have to find the areas that I want and then just a race back through them. There is no selective way to do that other than making it an art work, but that's, the whole point of that image that I did, that one there took me thirty six hours, it took me thirty six hours, I'm really proud of that. I was like I would every brush stroke on that image it is worth, I find out piece to me, and when I printed a large image of it, I will I stared at their image finally twelve months I printed it and put it on my wall and I would sit and just watch it and I made it so the fact that it took me so long just made it more incredible so I thought about how I could do this and I thought this did wall there around the corner so I went around the corner and then I looked up and as I got higher up the wall so way above my head it was really did at the top and I was like all that's how it looked right that's how I wanted her to look like she was caught in this blow and this did sort of ivy but then I saw this and when I saw this I was like hang on this is gorgeous so that's a little bit too full for me, but I'm going to keep it there just in case I need to cut the leaves this is where I feel really excited so I feel really excited by that little half and half and I really liked their gaps in it because I think that I think it's pretty groovy so I don't like this I love all that did stuff that's too many leaves too many leaves and then this I'm like, oh yeah, this is a really cool but I don't want to use the same ivy, so I'm going to choose the second one and then oh yeah this is pretty cool too but I think I'm pretty close to using exactly the same so I'm probably going to use that one mm mmm not this one but that's pretty beautiful and then love that same one again yeah keep taking the same shot so that's really productive love that oh yeah that's so good they go there and then here so you're going to get excited about how many walls you can photograph me teaches you can photograph how many elements you can photograph um did you go home last night when I'm picking this go home and pick your teams did you think about what you were and hooking to find the theme for me in say eighteen words anybody out there is there anybody out there who can define ten work oh too many green leaves on that one isn't it? Well beautiful but go on be brave tell us who you are huh? Were you out there online waiting for them to see what you've got going on there hello severance thinking about the team cheerio see goff says my theme circus flowers, castles, carnivals oh, nice fun people coming folks a money his dark broody and surreal oh serialism anima trio it's magnificent! I know I yesterday came up with um water and earth and all very natural elements water um stone a swell on we see in the pictures that you take as you're like walking around the mile within your house. Yes, I agree. That's definitely. What you're going to kill you when you do your instagramming. It's. Cut the graffiti off there. Enough says they only need one word. And that word is silence. How about in the audience? Uh, one was a dark, conceptual cinematic, uh, stories controversial. Oh, good. Oh, how exciting. Yeah, mix it up. Ok? Can I put the dead one in this one together and see what happens? Okay, when I'm going to do a bigger race, I've got two choices. First of all, I can do stuff like this, you know, like, I can just lay a whole areas and just cut it out. Um, this is one way of may just starting to blame together. So I've created my girl. I've created my background now going to try and bring them to get up a question for you from hayley. And I know we talked very briefly about this yesterday or was yesterday, when you are looking for elements to add to your images, can you just go online and grab any image or you need to take them yourself? You take it or buy it. And then you need to look at the license of what you bought and see if you can sell it because if you create at work that you've been selling or using to make money you cannot use another person's image or likeness in your creative work if you're going to make money from it exhibit it, sell it or publish it in a book if you buy stock library wallpapers you need to look at the stock library I'm see her I'm blaming this on can you put it on my screen? Seiken talk complained at the same time lucky I'm a girl you are so funny I said the whole point is that if you're going to make money from your imagery so I'm just a writing back to concrete layers and building a multi war here which is getting really exciting for me so I want to keep the color with the green and they did so I'm bringing them both together so when I am sitting this on here and pulling back so when you're using other people's images um you're creating an outward from somebody else is at work that's no go that's like using somebody else's photographs teo and build your website not gonna work is it and also imagine that somebody steals your photographs or your painting or your likeness and they makes that look out of it doesn't wick so no you cannot go online cannot take elements from online so I'd like to ask we've talked about this yesterday but for some folks maybe who weren't with us yesterday no dobby is asking why did you shoot the model? Why didn't you shoot the model on the clean background if it's going to be manipulated later why was it that you actually put her up there with the vines um because I knew that I could not get the vines to look really going over here the way I could if I put twigs over here any element that you can possibly shoot that is in real life is going to be easier to photo shop then trying to create an artificial world on photo shop see how time consuming this is kind of gay but it's going to be magnificent already I'm blending in these two worlds I'm bringing in the reds and I'm absolutely loving what's happening said just a racing in a tiny brush and now I can look at extending down so um this one for mei is going to be one that I'm going to really enjoy I actually worried about this image last night I thought maybe I didn't put enough if it into shooting that ivy wall but I really feel like I got this like I really like what this where this is going I also feel at this stage what am I going to do to save it? Um I need to make sure I'm going to save it and then lay our savior should go saving to go all right let's have a look oh, this is gonna take a question from catherine rules who says do you ever use customer images in your creative work and if so do you explicitly build that possibility into your model release contract so somebody comes to you for portrait's jeffer put into your contracts that you can then use that to make fine art that you'll then sell well it's kind of part of the contract if you look at your sounds cotton that sorry your whole contract my contract kind of sees that you know I'm taking your photograph if I'm going to take their photograph for a fine at peace I make it very well knowing it's actually for a piece because I want them tow a buy it and more importantly I am you know I need them to do certain poses that they wouldn't be doing if they were just having the portrait down but if I'm going to illustrate apiece for them, um you know, so if it's just a portrait that I'm going to illustrate then um I don't need their permission to make it prettier for them to sell it to them but you don't need a separate you don't need a separate model release in order to sell your work your model release will cover that my does so I use top model top model release its and ipad app, and it set up for photographers videographers, and it pretty much covers a really good commercial base selling that work. Also, if you are selling that work with one of your clients in it, and they've signed the release for that, what would be the line between them being your model that would you give them any pavement? E? J, if you sold some of that work, I think you need to make it very clear when you're creating, find out that you're going to sell our exhibit that that's, what you're creating so here's a couple of options, you can create finance for your client and give them a discount to use it in your publication or your exhibition, you can create finance and get them to pay for it. You can create finance, um, and give it to them for free to swap for being a model. But the truth is, is at the end of the day, you do have to be careful because you don't want to surprise people and go surprise you're in an exhibition, you know, you want to tell people right from the start this what I'm creating because a very big difference between selling a private portrait to someone and using their likeness. You know a cz an art piece. So this girl here was my client. She came in for a shoot and then she said, can I be your typical? And so I created this image it went around the world. Now people own this image of here but that's not hannah's portrait that's a picture I created so there's a big difference. She paid me to have a portrait shoot and then came back as a model. If there's ever a blurry line look at it like this, you get a really interesting client in you think oh, they'd be a really great art concept. Do the portrait show let them buy the portrait shoot and then ask them to come back as a model then you get both right. You get paid for the portrait shoot, you build a relationship, then you get a model that you've worked with before. That then does a free shoot for finance works. Every time you get bested by force, I ask you sou um there is a great question here that just totally disappeared and there, by chance is wondering can sue explain why she's spending time working on the vines before you put the models on the wall? Won't the model cover a lot of what you're doing? Absolutely, but once she covers them, I'm going to cut the back layer I'm going to cut the layer around her that she covers and then bring it forward and then erase it again and so I need to blend and make the background first I make the background I make the model and then I blend them together and it's so much easier doing it this way then tryingto work backwards through my layers the other way so let's just bring us back to where what you've been doing, what we've been asking you all these other questions I believe it I blended three images together to make one long compass it of something more than what I liked I can see my mistake or really I have made a long skinny image and I've got a long tall model and she's not going to fit in there because perspective is not going to be right so what I need to do is go back to my image selection and find an image that's gonna fill the bottom of my concrete wall so I'm going to leave this open in case I need leads uh this one might work but see how my perspective is right off so I photographed this right up at the top of the wall I wanted this peace so I'm going to go select day copy and paste I'm gonna put a layer over there I'm going to go command tea and what I'm gonna do is go to my perspective and well first let me go um distort so the first thing I'm gonna do is try and line up the distortion that I've got from shooting at such a low perspective so distorts going to give me that movement up and down so I'm just distorting it until they get a backdrop that is looks like it's shot straight on and I can also use perspective as well now I'm going to lose some of the outside of the image but when I do say I'm just going to crop in I'm going to try and trick your id to believe that when you saw this you saw it exactly the same angle nearly okay said the answer that's moving the perspective moving the distortion you could distort it and in the perspective is like this so perspective is when you take at the moment I'm shooting a low perspective up so you can make the top half wider which brings the perspective back to what it wass that's what I would have done with the girl lying on the ground of the perspective was way off I would just shift the perspective so I make the outside wider so it fixes the distortion that comes off that both the leans in shooting it that wrong hide in case and now what I'm doing as I like that so have a look with it wass can you see I was shooting up on it and then all of a sudden I made the brick the right size so I've got to extend and fit this into my background because I want to make one big ivy wall here that is really gorgeous and sixty so I'm going to go canvass eyes I'm going to make it long I saw this image originally is a horizontal I told you that when I shot it and look what it's becoming it's becoming a big square and if not a square it's actually becoming a vertical I think it's becoming something that is totally not what I thought, which is cool I'm gonna work it and see what they get and then I can only match the brick so that's not going to give me a whole bottom half I can't make this this size because in the book's gonna be smaller I'm going to keep the brick you know what I think at the end of the day the bricks going to go I don't think the bricks gonna stay but at the moment it's in the air so I'm gonna leave it in and I've got to build this wall so let's have a look, I'm I'm goingto be too slow if I'm building it this way, so I'm just going to keep going until I find exactly the same with the tree roots and the guy I'm going to keep going until I find the blend where you can't tell the difference between when the statin and when this finished and I've got to go and get another corner for the bottom hand side, and I've got tio a race back here. It's exactly the same technique. Okay, I'm gonna have tio if I'm going to be on a show, you all of this, I'm gonna have to start putting here into the wall and keep and leave the bottom corner so I can keep building the wall behind here. But you guys need to see her go into it because otherwise I'm going to run out of time because we don't have a lot of time and I'm sure you don't want to see me photo shopped for thirty six hours. I was going to say, I think people would disagree with you. Uh, quick question while we're talking about color, we have our perez who wants to know when working in your studio? Do you work off your laptop? Is you are now, or do connect to a separate monitor asked to color, looking different on a laptop? And when you're considering printing these fine art pieces, what do you do for your color? It's a big one cause color is terrible on the laptop and it's something that is definitely you know it's not suitable I'm often I've spent thirty six hours working on out print to go on print it to sit there and cry because it looks nothing like it looked on my screen um you need to take it home to big monitor as soon as you can I was very lucky this year for the first time in my career I was able to purchase an ayso monitor I feel very blessed to have it and I simply I adore it and now I'm waiting on the new mac tower I'm so I can have my I call it my big mac daddy this my magneto set up and I'm pretty excited about it I've gotta look for a bottom corner but I need to stop putting her into the senate so his one that I prepared earlier not really but I just always wanted to say that I don't need the twigs remember and you need the twigs over here I need the outside of the skirt and I need that much image and I'm going to take her and I'm going to put andy here oh she sits in there nicely I thought she was going to be much bigger than that so that means I don't have to do much you know what I have today I have to do this get my perspective make her the size I want to put her in oh she's looking good around there the aunt that I get this thing uh often I'll try an image and it's not working I get very frustrated I need to go for a walk or going in the shower or, you know, put some clothes on instead of my pajamas I'll get really frustrated and I mean and then I go and do this work I'll come back and I'll just drop in on something else and it just works and then you can't stop it's like once it's working it's like on it just gets those thrilling and it's so wonderful and then you know, the emails that mounting up life starts happening around you and it's just horrific when I've got lots to a race like this, I go w is my shortcut for magic net wand and I just select like that and a late I just get really lazy and I just start doing this oh, don't do that and say that's, what happens? Keep your eye on the ball a little too late yeah, that was a little I just clicked the wrong thing see what I'm doing. I'm just doing this selective one tour and I'm just a racing thing because that it's a selective background it's one color that's, the beauty of shooting your compass, it someone color I could just walk around and do this really first I know this probably multiple ways to do this but this is how I do it because I want that control of keeping it where I wanted not having up where I don't want it and very, very slowly the background to starts disappearing and she starts appearing on my wall be very careful during this around here would take chunks of here and we'll pick up highlights and skin really quickly when you get me them and as you can see like I expected the twigs of disappearing see that doesn't work the twigs of disappearing around her body into the wall but not across her body and now all I have to do is copy and paste these beautiful little colored leaves down onto her twigs and already she's spitting in here quite nicely there's something that's happening that's not working for me and that's the wall's got a little bit more contrast and a little bit more blue than she does so let's have a look at that and try and fix that so here's my layer there and I'm lightning this up and so I've got to make sure she fits in there she's gotta look like she belongs I'm going to take this entire corner and moved across because I'm loving that little top green corner and I like this idea that she can actually go in this image right here and I can cut it off there so the one thing I didn't consider that I could swap out now if I'm going to be cheeky as I put her dress over the most amount of flowers so imagine if I swap the that caf behind her around so that the flowers are on the left side and then I still get the flowers hiding under her dress and I get the twigs on the right so let's look at that right now that layer still exists as a layer I can go free transform I can flip it oh no I flipped the wrong one say no there I want to flip this one there so I can change whatever I want you know this is the cool thing about compass it's is oh I kind of like how it goes in this way in this way it's giving me something entirely different the bricks all blending into each other it's working for me I don't want to disordered to matters won't just sit here I'll fix this bit and the one thing I really want to do here is take the section what do we got going on here what's that ha ha that's here so I just want to cut it out it's annoying me gone all right top left hand side from wax wing in ireland when you stretch the image like that and like when you were placing her on the page doesn't that damage the quality it stretches pixels but be careful how many streets you can stretch them to a certain degree before it's gets noticeable but most of you will find if you make it if it's a small imogen you're making it really big it's going to be hard you are going to move a lot of pixels and stretch them and make it obvious but remember whatever you distort you just don't just caught the eye at this stage really interesting the twigs have become quite irrelevant right behind here so they can fit in really easily I need to bring the leaves in front of here so I left another image open and I'm going to save this image like this because I'm kind of getting to that stage where I'm like well this is working okay so this is now where I start trying to make her she's the tree roots and the wall is philip you know I'm trying to make her really part of that wall what is what is the one component that's going to push her into the wall? His shadow okay? And the only way you can create shadows is by making it darker in the end there's lots of ways to make it darker and photo shop but I'm going to use boone okay so I'm slowly going to burn it and as I burn it it's just going to push her back but I have another option to I can get my less who tall on my background and already this is what I hate this is where I'm already using too many backgrounds okay, so this is where you might want to do this but I'm going to show you where I get really cheating here I'm gonna get real basic that doesn't work all right, folks in the chat room who are saying that you're like a new bob ross playing with some happy vines okay, see how that little selective tall works really well when it when it does work it's going to save me a lot of a racing, isn't it? And just to clarify you're using a magic wand to select a am deleting family and then I'm going command x, which is cut it was cutting out little sections and getting rid of it, right? Okay, so from here but I'm going to do is I'm going teo duplicate this entire image and I'm going to delete here and I'm going to flatten it because my ideal world not before I flatten it it's going to make sure that the join is where I want it because my ideal world is to have these all going in different that background flecked very important for me to work in my flat layer because that's how I like to work I'm sorry, I know it's weird and I know it's hard for you to accept um but you know, it was hard for you to accept that I didn't shoot with a flesh light and then you will get over it and then it was had to accept that I, um, shoot glamour, but you'll get over it, prepared a little background first, try and make it look as good as possible and then there's my wall love it perfect three different walls made that four different walls we love it if maybe you could talk just briefly about the colored bars on the righthand side for those folks who may not have seen your show. So if you go up here and you take off but mode and then you're in your layers and your actions where you touch the action and press play go up to here put but mode back on and you'll have one button press actions change your life beautiful okay, here we go we're looking good she's going in here now I fled in the background, so I'm not working and all those layers, but I know that it's really hard to accept, so I'm going to save that so that nobody has a heart attack over it's okay, I really did I really did save it off for you my sister is an illustrator so she can draw better than most human beings on the planet she is so crazy, talented, she can draw on a napkin with a ballpoint pean and make it look like a photograph. So if she is a white napkin in a black pin, she can shade a picture of a person until it looks like a black and white photograph on fiber based paper and my sister lin, to draw on a napkin with a ballpoint pen because she was a solo mother with four children, and she was at home with them and didn't have anything else. So, you know, I really don't care what anybody says about how I create my outlook.

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!