Experimental Portraits

Lesson 3 of 30

What You Are Going To Learn

 

Experimental Portraits

Lesson 3 of 30

What You Are Going To Learn

 

Lesson Info

What You Are Going To Learn

That was from whence we came and how we'll end and now we're going to show you how to do it. I've got some really gross yearly work to show you I'm going away way they're beginning basically this is what I learned to teach my nephew how to illustrate on photo shop so I'm going to teach you all about shading and cutting and pasting and dropping in and perspective met this afternoon we've got lots of british oppositions I waited thirty six years to stick a fork in my big sister's eye did you think was the face gold award I ever won internationally? I cried when I got it my sister cried she was there to my sister is waist length read curly here and we went shopping and made her look like the world's most boring person and it was like my life was so boring I just stuck a fork in my eye and nobody cares you know I tried to be controversial and so I'm going to show you why I went down a dark way for my awards because they really got noticed one of the guys judging this award city had to leav...

e the panel that he had never seen anything so disgusting and he couldn't judge it another one said it was innovative, incredible, edgy and gave it like gold and another one gave it a bolo professional standards so somebody left the room somebody said I wasn't even good enough to be a photographer and somebody was so moved by it and two of the women on the panel couldn't speak to it because they wanted they felt like they wanted to cry will be sick now I figured that I didn't care what he didn't like it infect what would absolutely maura's if you were indifferent if you were indifferent to me then I was not pushing your buttons in anyway if you've loved it great if you hated it great, but what? I didn't want this feud not here I'm going to show you how I do this I went to the stage of wanting to photograph prostitutes and drug addicts and people that were suffering and in pain because my day was spent photographing glamour and I felt like the paradox was that people suffer so much and I was making these images so every one of these images c c a compass it's not one of the rooms or one of the girls was shot in one of the rooms they were all shot in different places and put into places that I wanted them to be, you know, right down to that motel sign in the window it's all fake all made on thirty sharp crying, trying to create stories and illustrative images you know? She was just sitting in my studio she didn't smoke, she wasn't a prostitute but I would say that somebody would you be a prostitute for me and they'd be like love too would you be a drug addict for me I'd love to you know the people that would I want to do it we're just absolutely amazing I have something similar because I did a crime scene siri's and I loved it I was inspired by the artist melanie pull in and I remember the amount of people they were excited about being dead I was so crazy I'd have them like blood on the floor like a hopscotch and blood coming out and they were so responsive they would like yeah let's do it let's go out there let's you know throw me in some water and made me look like a dead bride washed to shore and I don't care I'm up for that and people really respond to that is crazy isn't it yeah way we're gonna talk tomorrow about styling and creating on a budget we're going to show you how to drop in backgrounds like this how we can create images and then start changing them building them and creating them until they look like this we're going to show you how to build images like this this is not a really image this is to a couple in my studio I'm two different trees from two different parks the tree on the right is a miniature bonds I which was outside of my dentist's and I was looking at it and took a photo where I felt because I happen to have my camera with me the floor, the ground is from somewhere else. This room doesn't exist. That tree is certainly not growing inside that mary doesn't exist the wallpaper is vintage wallpaper and the girls are actually seven years old when I photographed in there but I shrank the bodies to make them look around three so we're gonna build eva's world tomorrow today you get to watch laura shoot three conceptual fashion style shoot that she's going to bring compass it that she's going to bring teachers and overlays back too. So she's going to do there I'll get her to tell you your ideas I got them at the end. But what else you're gonna learn today is this after you watch larry shoot three beautiful shoot she's going to show you how she shot and made her teachers on photo shop so that you can shoot and make your own it's so easy you'll be in her textures are mind blowing so I made her show me how she did it so I can make mine six year war she shooting mind looking good is hiss seriously then if you buy the course, you get all of our textures um, you also get to go and make all of your own original textures, which is so called we want to show you how to shoot them, and larry's teachers looked like this. They're absolutely amazing. And in terms of using with elements, they're going to be really incredible. We're going to get you to make your own library, your own elements, library for compass it you're going to build a library off walls and you know, ponds in water and reflections in glass, and you're going to have this library that is so stimulating, you're going to go on walks. You going to get fresh here and you are from another shot tormented by yes, and you'll be enriched by it. We're going to show you how to swap backgrounds the good way in the naughty way, but they're both good ways we're going to show you howto end these overlays, I'm going to show you how to cap paste, compass it elements into images and how to give them perspective and shadows to make them look three dimensional inside a two dimensional image, we're going to show you how to dodge, burn, shadow contour and draw with federation it's a really important one everyone's always about. Dodging buying in how do you do? And this is the part where everybody says to me, how do you draw with photo shop? And this is how I do it? I'm not drawing anything new, I'm cutting and pasting other photographic elements in simply shading them. We're going to show you had a walk, transform, do perspective and shaping, and then we're going to show you both how will use any and skin because there's an editing software, your bomb and we both use it infect laura is the one that taught me about alien skin. We're going, teo talk about conceptualizing tomorrow, but before larry shoot she's going to show you how she's conceptualized two shoots for today, which you're now going to watch. So she's going to tell you about that? I get to go on, build your texture library. Now we'll sit, she shooting so I'll see you guys later this afternoon, and you get to shoot with lau j, which is pretty damn coal, so thank you. You show them what you're going to dio and, um, we'll get shooting, all right? So my first idea from today with that I want to do, but I'm gonna shoot a ballerina and going to the floor oh, so for the floral in the ballerina I'm going to show you how I shoot these soft elements, so for this one with the flower, I shot simply with the model in light on the light I didn't shoot with the stroke, it's just simply modeling light, controlling the white balance and getting that soft thing because everyone asked me in studio, how do you get a wide appetite? How do you get the softness and that's the way we do? And we're going to be showing you that technique and this is simply a mood board that I put together for an example of what I show my team there with colors, the past doors, what I want the hair to look like. I want whiskey. I want the model to look a certain way. I always tend to go for models, they're a bit more a theory or because they kind of add to the concept of what I do and as a fashion photographer that's what inspires me and the color palette as well, and this is what I would send to styling hair makeup. I also showed that to the model a swell for direction. So this was actually I put these together for sushi yesterday, but they're also relevant to the sketches I would do as well. See, I did say that I'm not a good tour, usually a drawer signal, but I made an effort for you guys to try and draw this reference, so we'll see a photo I like in a magazine, I just reference the pose and add my own elements to it and if you know a good story, that's, a really good way of adding something so this I'll give on set, and it really helped yesterday with the seats you try this pose, try it with the hands, copy this and for somebody that can't model or is nervous about modeling, having these printouts and showing them say, try this, and it just gives him that visual stimulation toe work from instead of being quite dead and not known whether going as well. So again, just something really simple poses and looking into fashion magazines is an excellent source of inspiration from this, looking at old master's in fine art to see how they would pose and for what I do it's always about the themes as well. So if I'm doing this, I'm looking into the old themes is just like, renaissance is this, you know, an old vintage things someone like annie liebovitz, I know she does stuff with gowns, tim walker so when I think of a shoot I'm looking at their work, how do they pose girls? How do they light? How, what their models, what are the clothes they wear? What if it has stiles the makeup? So we're lookinto all those elements as well and doing that from the sketch and another one as well? Just about how the composition works the perspective so again, don't worry if you're not good a touring or sketch in even if it's something to show, and if you look at the night of the artist him walker, the photographer, you'll see he doesn't sketch amazingly and he sends those images to vogue and they get it the set designers get it from those a swell, so this is another kind of story board so actually one of these was done by my make a part of me actually good drawing in the middle here, my makeup artist clear and myself we used to be so inspired when we do conception what that would be up all night eating muffins and cake and drinking coffee, staying away till three in the morning and I love that I can bounce off her through having someone around you that's a makeup artist or has that he can bounce off and have these fun nights and I love doing that with sue we did that in us australia, we sit down and we kind of get excited, and even yesterday shooting her, I was excited about the clothes. Oh, let's, just add this to the dress. This is amazing, and I felt like I was going back to where I started as well, and this one here, just pulling out a page of a magazine as sketching over the top. A swell tear sheets are also great, just pulling out some tash sheets and showing your model a swell. So we're also going to be doing a gatsby star shoot today, which is going to be based on the gatsby scene. We've got flapper dresses, we've got the pin curls, we've got two beautiful girls that are both very different, so I'm really excited to show you guys what I've got.

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

photogirl
 

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!!

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!