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Fine Art Women's Portraits

Lesson 4 of 17

Shoot: Outdoor Figure Studies - Canopy Part 1

 

Fine Art Women's Portraits

Lesson 4 of 17

Shoot: Outdoor Figure Studies - Canopy Part 1

 

Lesson Info

Shoot: Outdoor Figure Studies - Canopy Part 1

when we first came out I just like I told you guys earlier that I tend to get a little bit nervous so and I wass and I still am a little but I want to tell you that because I think it's important that people know that I'm really able vulnerable to all of this s so I came out and tried to collect myself a little bit and I just took a little walk um it's quiet and nice and it was able to re center a little and then I just started picking up pieces of flora that I was finding along the edges of this beautiful path and so when I just there's no science to the wreath making ijust take regular twine and come back with my little eye offerings and it's really nice to see the little kind of I think of them as offerings there on the ground from nature and then an offering to my model so I'm taking all those things and I started to make some reason just gather them together form them and kind of a little round shape and tie them up so I think of it kind of as a crowning or gift when I start to ph...

otograph her I don't actually tell her that I don't say this is a crown or this a gift but I think she knows that there's labor involved in that I'm always really interested in the idea of labor that goes behind an image how much physical work goes into it and I think she can see that and I like that idea this is just clean cheesecloth and you can buy to you cloth that hobby lobby um chef stores cooking places um fabric stores uh so I like the cheap stuff the best because it has the biggest gaps in it and it will do this so I just started pulling and tearing at this to get this raj and I'm just pinning it on her and cutting it to the length I want so these were gonna be figure studies so wait there we go perfect um so I want to show the figure get this relatively snug and I want her to feel comfortable so it's not going to fall off of erm just using safety pins back here to pinar she's also wearing an undergarment here she's got a strapless bra on so I can pin right to that and that's helpful I'm doing is looking at the way it's following I like texture a lot so I like this kind of idea I got an idea of how we doing here showing the safety pin get up a little bit higher there okay beautiful okay um in the end when I when I do the final retouching that the actual line at the waist where the undergarments are and stuff I just uh use the lighten brush in photo shop and make that area lighter so you don't see that line so intensely but I'd rather do that than photograph for noon because I'm not really I'm not really interested in nude so much ok and then I have yes I've got to folks in cheesecloth back there and then I talked about it earlier trying to tap into the idea of you think that sort of thing so I've got when what tell me your name one more time alex okay alex in that dress I found that dress on essie and I get a lot of my um antique dresses on etc so if you look on there and google like our search for edwardian gown and warning dressing down um day dress pete cotton day dress those sorts of terms worked pretty well on nineteen ten nineteen twenty all of these are from the nineteen tens that I have okay beautiful soas faras a studio in the woods goes we're on kind of right now you can see maybe a little bit of a narrow path so we can't move this way or that way or turned I kind of have to stand either here or there depending on the time of day you're out the sun's going to come in a certain direction we're almost at noon right now in this time of year I worked still still waiting for the sun to come directly overhead which is perfect but it's on its way right now you can see it's coming in this way a little bit at an angle so what happens is we're going to get that little dappled light over there if that were happening and you were in the middle of a field I can simply take your background and move it to that side that cancels out all that light that's coming in from the side and you get this amazing backlit effect on the background we can't do that here because we've got woods on either side so we're just going to deal with it a little while until the sun comes overhead all stick with close ups and stuff like that but just to let you know that that's kind of how it generally works you can see that we've got some sun coming in from above and the white on these girls that's absolutely stunning you look at their faces under there so yeah um if you were going to look at it as a fashion pattern it's kind of like a really really diffused butterfly light that's coming straight down on the face I like the kind of shadowy dark eyes that kind of hollowed out jaw line showing the cheekbone a lot in that kind of lighting really helps with that but secondly I like lighting that comes from above because I see it is another spiritual symbol as kind of somebody basking in and almost heavenly light that's coming directly from above so almost all my images are light coming from above in some way okay I think that gives a pretty good understanding of how we're set up this is just a drop cloth from home depot I also use kelly beige background from a background maker called david mayhew m a h u and I love him so he makes kind of a similar color background that's painted I use that a lot too so we're going to start with one person at a time and I mentioned to you that I'm a little shy when I start to so I tended to start with something that I know I can have success with and move on and try to get a little more complicated complicated as we move forward but one model standing is a good place for me to start especially when I haven't photographed anything today so I'm starting out brand new today and every day's a new day right it's never the same twice so um can I start with you alright beautiful and you guys can just relax for a little while we'll bring you in one at a time so maybe over here or something would be good so you can see there's dirt on the background and that kind of thing I kind of like that because it's really organic looking I'll leave that in there when I put my finishing touches on in the end it will look old genuinely old so I like that affect a lot you basing my camera that are okay this is penelope we've been friends a long time she's a d three um she's old lady but I love her sorry I'm just tossing in your general direction not at you I will photograph an aperture priority pretty much the entire time almost always men aperture priority um after eight and then I'm gonna let the camera pick everything else so I s o three twenty or four hundred something like that get a bass exposure and see where we're at okay so once I get my base exposure and I know I'm pretty good which I am I won't look at my camera hardly at all anymore because they're there again I'm gonna lose my connection with her and I think if you keep looking at your camera your model starts to think am I doing something wrong is it not quite right you know I think that connection and faith starts to dwindle a little so try not to look at the camera very much okay one more note so you'll see when you look at the image that there's a lot of space on the sides that there's green stuff showing the top of the tent is showing I'm looking for a square crop so I'm trying not to even consider the edges very much those going get cropped off someday when I'm a billionaire I'll have a a square format camera but I don't right now so so don't mind the edges so much the top of the ten I will show you how to extend the background if I need to do that in photo shop tomorrow so okay get my little stump over over here so I can put the camera on it now you guys are okay uh you're great perfect okay put your right in the middle there good you need shoes okay all right good so one thing that's happening is she's downhill a little bit for me so I'm getting a little bit more of the background in there at the top and I would like so that's why mama toes the whole time okay we just have you start with your your feet together beautiful so imagine you know there's a lot of weight that sort of thing so your shoulder's going to be just a slow so go think kind of think of him back in their sockets and push him down as far so go yeah beautiful not already is interesting looking to me because her neck is so long and her shoulders were so beautiful so I would start with that let me just feed together as they are but allow one need to gently just come for and so your hips will naturally swayda one side it's not feel better okay great and then just bring the knee over in front a little bit more good and really pushing those shoulders thing kind of you were present yeah beautiful the hands if there's just a little bit of movement at him isn't that be much but if you just kind of barely break the wrist they can come in this way where they can come up this way it's hutch yeah that's beautiful like that beautiful and just kind of stare me down just kind of straight through the winds chin up just a little beautiful gently allow your head to kind of fall just yeah perfect and then move the hands can keep moving that's great so they're not stuck you know there continue to be fluid was were working there and you lose your balance is no problem with you it's allowed the hand now is kind of fall open beautiful beautiful chin up just a little bit you're doing great and it's tough you're doing great trying to put a little bit more weight on that leg so and you could just shifted the hip more instead of so much of that yeah and imagine you're kind of reaching down toward your knees so those shoulders oppressed way down if you just yeah so their hands are kind of open now see if the head conf all this other way beautiful so to me I'm looking for balance here so if her hips go that way to me your head feels like it needs to go that way to mosquitoes umm delicious for illustration purposes if you turn your head the other way or tip it yeah to me I mean it's got a pretty form to it but it feels off balance so as we talked about earlier I'm always looking for balance you know and this kind of almost an eerie balance like it's too balanced and I like that effect so if I've got her weight going this way which we d'oh let your head fall that way too if you'll notice how beautiful that light is there it's coming right through the top of the tent there so it's a giant soft box and that's exactly what I'm looking for okay no just really kind of touch the sides of your legs with the middle finger yeah just kind of draw the elbows up a tiny bit good everything's just falling over yeah the chin up is really pretty maybe down just a touch your head now almost as if you're trying to touch your ear to your shoulder like it's almost too far yeah that's interesting if you really shove your hip over that way and I'm not photographing your legs right now so really we're just trying to get a lot of movement in the corps beautiful hands what if we bring yeah just up toward your face so this one could come down this way maybe let's bring the other one over top what if they connect barely just that the fingertips yeah and this elbow can come over your head just a little bit so there's a lot of space in your head still falling there we go so you're almost at your cheap there beautiful yes that's lovely the elbow with the top just open it up a little bit perfect perfect this hand if you just turn it toward your face or away one of the other there we go and then just gently roll your face up toward the background beautiful eyes down or close for just a moment you could do it good you can open them back out and chin up toward that there we go so you're really kind of everything is going that direction let's try loosening up the top arm just a little bit same idea that's I love you straight like that actually if you just grab your fingertips up there and just kind of let this arm pull its own weight yeah that's beautiful just take the elbow and gently moving this way we'll have it yeah perfect the back of the hand if it turns to your face we're in business yeah other way good I just press that beautiful right there eyes closed for just a moment chin way up for me bring it down a tiniest bit right there let the fingers fold together so they're really gentle you can turn that hand even further almost awkwardly for our far so it's yeah yeah beautiful right there perfect hang in there chin right there right there let your head go this way just the tiniest bit that's perfect close those eyes for just a moment beautiful okay fall apart amazing good feeling okay good okay how about we do something totally symmetrical so bringing the hands maybe birdlike yeah or even all the way over yeah because you've got such beautiful cars I love the fingertips just kind of holding together so one hand could be folded in and one long over the other maybe let the bottom handful they're beautiful just kind of reaching up victoriously yeah but it's close for me just bring the hands down toward your head now try overlapping the arms all the way you're touching the other elbow yeah great how about the top hand just kind of rolling open that's lovely let's take it just just like that to start so you're looking right at me beautiful kind of just really really strong intentional good your chin out with your body and then down like you're looking at your reflection in the water in front of you beautiful chain up the tiny tiniest bit just barely eyes right through me the hand on the top but that could just be a little longer opening up that direction so the fingertips are going to come toward me a little bit yeah maybe even fold him in a little bit more perfect perfect what about now we take this and bend it so you're a total straight line now we totally bend you over and maybe try not to bend at the back so much but more of the side yeah and the arms come in a little tighter if they need to just let your head fall totally over that's great got a little finger showing on the other side if you just folded in er and the top elbow if you open it up just a touch will have it yes you're head is really heavy and it kind of falling over beautiful beautiful eyes closed for just a moment you could let your head fall into that arm here we go the last the fingers just close them in a little bit you're doing beautiful beautiful open that I'll blow up for me if you can there we go face toward me just roll it open ok fall apart amazing so freddie yeah you'll be sore tomorrow okay so this is the stuff I would never say in front of the model if our really shooting um so some of that stuff was an exercise that me trying to figure out what she's capable of so they're not all pictures that I would show her in the end some of them are just how far can I push her what's her waist going to do what's her hip going to dio she's got very narrow hips so when she throws her hip out it's not a big change so that first pose is not it's not my favorite picture I've ever taken but it's a good exercise and trying to figure out where we're going so that's why I had her hip out so far seeing what would happen if we try to balance and working with her neck working with her shoulders and then started introducing arms so you notice in the beginning I didn't use your arms at all so what I was doing is trying to study what was happening with her legs I was washing her legs looking for balance seeing if the legs were continually moving shaking seeing if there was a good shape in there if she's able to dio uh pose on one foot I can't do that um once I kind of established that kind of idea of what's going on for the core I started introducing arms to see what was possible there so we're just I'm just pushing are now at this point and she's doing it she's totally coming with me so bending or all the way because you know the hip is not going to be in a dramatic enough for me I'm looking for a bigger shape than that so bending our rule the way all the way over this way is starting to get interesting so it's not necessarily a beauty portrait you know it's not the way I would photograph somebody who's is wanting a beauty portrait but I'm really loved the idea of spending somebody passed the point of comfort and seeing if that is effective visually and I think it is so now we're just playing yeah I almost always put people's feet together so I'm not really into this look unless it's for you know people do high school seniors or whatever that's fine but I think it makes a more narrow base so it becomes the legs and I'll become one line that lead up to the face so if I separate that line it's almost just distracting to me it's too graphic at the bottom I want the graphic to be at the top okay we have our little wreath you think this is the first one the big one let's try that one hold the baby she cries sometimes just alright I think we need one more piece of twine and we'll be good to make it a little smaller ok so I do like we talked earlier I like a lot of volume on the head so this one's really big and I love it this is that's why I was talking about just closing the crown and a little bit making it smaller and I'll be completely honest sometimes if I don't know what to do next I'll do this and I'd rather take the time because she's not gonna be suspecting anything if I'm working on this but if I start falling apart in front of her and not knowing what to say next or not what to do next then she's going to start seeing through me so if I start freaking out or not knowing what to do I come over here I'll take a little walk but I don't do it wild photographing her just try to keep that totally consistent way need that but I think this will be good okay so what happened here okay that's beautiful gorgeous okay so I feel like it's gonna fall immediately only by like tip back really far ok do some stuff with your face for a minute so we can okay work with it then we have a moment when we can pin that into her hair if there's nobody pens available oh that's wicked cool you look amazing okay can I move you toward the background just a touch yeah I do tend to put people flat against backgrounds too and when I'm not in the studio in the wood o put people on the background leaning on the background so I like to have that flatness so it's the thing I don't mind if she's right upon their act like it okay there you are okay how about hands up to the face yeah let's go ahead and let the risk touch there you go that's beautiful already can your head fall slightly this way it's still roll this way beautiful chin up just the tiniest bit right there good lovely maybe just falling a little bit more really really some kind of softened breathy yeah eyes closed is beautiful yeah try the same idea but really pull those shoulders down so that you have long long neck gorgeous couldn't keep that hand close yeah it's beautiful with one folded that way you just roll your face up toward me even a little bit more and was like you're basking in this kind of heavenly feeling light turned this shoulder straight onto me though you would hear beautiful good eyes closed what's that the hand that's on the inside roll all the way open actually just maybe touching the wrist is pretty bitter let their hand be open a little bit more they're beautiful let your ways fall to the side a little bit so you're wait there we go beautiful so pretty if you would just look deadpan right at me here taylor that's a little bit okay how about hands directly just like they are right into your face I like the little bin that's happening in the wrist yeah that's cool can you bring that up to your chin that's interesting and can be all those touch when you're doing that or no so that there's no it's it's kind of a weird idea let's start with the thing we had before and what will move through it so you had your yeah yeah the little bend in the risk think try but yeah and then bring the elbows down there they're beautiful really really staring at me great now go ahead and close the elbows together didn't see if they'll touch all the way the elbows and then just gently let the hands full perfect perfect hand that's in the front if you would rotate it just not even so far come on right there perfect okay so just if you would rotate the hand back where it was a moment ago yeah so this is pretty and it's the same gesture but the back of the hand is heavy and large and the line isn't as pretty but if we turn on even just there this becomes narrower and there's a bend in it so it's it is more graceful but it's also a name or interesting shape that just the blunt hand the fatty hand right there okay her arms are making a great shape already so I'm gonna try to complete the line is the only thing I'm pressing the shoulders as far as they'll go beautiful maybe you just allow some fingertips to creep up on dear face perfect beautiful eyes closed for just a moment like you're basking again really corgis the head's still straight up and down for me tipping just letting it fault maybe other way not even that far we're just going to try to get it perfectly symmetrical what about now bringing that second hand up to the chin and let this hand creep up even war yeah gorgeous so pretty eyes closed for just a moment okay relax I think it's important when you're finished with a serious santiago good you know because he just loser it's like thank you you did your job now let me see how great I am so I don't know how they interpret that but it's it's strange to me to do that it's like we didn't used to do that and suddenly that the thing we're you finished with her and then you're into your own little world for a minute you get back okay perform okay now I'm in my world okay perform no memorize just there's that's a weird thing to do to me in what I'm trying to build anyway so okay can we were gone pinning the crown into her hair and then I'll photograph can I have you for a moment alex waken bring her off set just for a moment in the wall we'll keep working with alex here okay that dress is perfect for you I just got that so excited um okay let me bring you in dead center in there and so now the why it's working really well if I were to be on the floor that might become an issue but where she's standing it's pretty pretty beautiful really happy with it okay I mentioned earlier that I wanted her in something more simple as faras costuming and a little bit more innocent or sweet um we're going to focus on her face for a while so just like with anybody and I'd start with her standing okay let me try it was like bird like arms if you bring them that's awesome yeah yeah that's cool what is it the hands come into the hair just a little bit yeah so they're kind of underneath there if you take the hare and sweep it back there so your hand's gonna be almost on your neck right there we go and in the beautiful yeah and then the elbows out is wise we'll go beautiful so pretty you look like a feathered bird try and allowing these fingers so gently just fold in on just this side I think like I really lose fists in your hand they're just about to fall apart beautiful just take a breath in through your mouth for me eyes closes beautiful cool what if we flip this hand over to something into this effect almost many spotted out and just keep the elbow all the way out for me yeah I'm the head falling this way is really beautiful so pretty eyes right at me for just a moment good and see if we can push that even further so you're falling even further right gosh mcguinness yeah that's so pretty as clothes just for a moment good fantastic so we're gonna souping push that one step further it was beautiful if you lean this way if this makes any sense and then take your lower body and push it that way so you're yeah we're balancing it out a little more just keeping those elbows is open to still be there we go in fact the bottom one can be a little more relaxed there we go cool the hand on the top was just flatten it out they're pushed table back a little further if you can do it good eyes closed for me beautiful okay fantastic you know all kinds of interesting lines going especially with the designer of the dress okay in the same effect let's see if we lend you over this other way and try to glue the feet together and try to get a full length of you dragging my court yeah so the leg that's on the the short side convention in and over a little bit as you're falling that direction in fact if you can pull the foot up a little bit and glue it to yes see if we can do it ni can it come toward me before you've been too far not even that much I just want to see the other leg there we go so the legs are perfect if we could get the upper body falling over I love this arm just kind of deadpan like a broken doll let's bring this one open over though that kind of khun just you're you're getting you're getting there it's tough yes it's cool let the top arm if you would just fall on us so it's the weight of it yeah fantastic eyes closed for me if it's possible now to glue the feet together we'll have a so there's no space between them at all yeah yeah the arm if it can reach over even more there we go there we go eyes closed see if you can push the bend a little further right there see if the other hand now can reach up and grab the fingertips beautiful got it fall apart you good fun yeah you doing okay okay um okay let's see she pinned okay that's what you guys out we're gonna come back teo you seated let's try one of these guys maybe that one since it's free so we talked earlier about looking for organic props and stuff like that sometimes I'll use a chair some something to that effect but I just like stuff like this that looks like a found object that fits and it's not especially with a wreath on her head because she looks kind of super organic and a sense so just something simple to give her some height is what I'm looking for so before and you are all the way down on the background I'm going to try on this first and see how we do because this is easier than feeling all the way down have you sit there and turn your body that direction good that's gorgeous already okay so looking for a lot of designed to happen in your torso so yeah we could go either way if you try too hard to kind of like a mad cat gorgeous that's already really beautiful if we bring your left foot up just a touch on the log so it's gonna come straight toward you your war left right and the one closest there we go beautiful yeah I get left to right wrong all the time so it's in a way if you kind of reach over to where your foreheads touching your knee is that possible yeah so the arms maybe they could just fall to either side and and work with that the log somehow I'm just watching they could even go underneath your foot maybe yeah so the back shoulder if you can push it back a little bit this yes okay so are you okay there for a moment just for a moment if you bring it forward can you guys see from camera angle that's interact interrupting the line of her face not only doesn't do that it makes her look a little bit wider rather than if I turn the shoulder and push it back so push that now she becomes this long narrow tiny frail looking line which is really beautiful and interesting mi ok the hand if you can just turn it where it's a poem that's pretty like that you know either way so they're turned beautiful a nice clothes is good and trying to push the shoulders way down into the socket there is it possible to bring the other foot up a cz well that's okay that could work we're trying to make the hands is gentle and graceful as possible so rather than a grab see if you can support the weight of your lies with your wrists so the hands could kind of fall open as much as possible it's tough and if one foot needs to be done we'll work with it okay in that case let's bring the top light down a little bit so there yes how's that work good okay let's bring the arms inside so they're kind of tucked and hands back up towards your face if you bring the arm slightly to the outside of your leg yeah it's still gonna be really tight yeah and then the head under the four under the knee at the spring that I put down a little bit if we can go yeah it's it's still possible to reach that far for length comes from the torso yeah they're so if you can touch all the way down with the forehead let's draw the arm back just to touch back the other hand doesn't need to be involved we can just let it go away there we go good a lot of gesture and that hand so it's really kind of grabbing and being yes beautiful that's fantastic press that hand real flat against your shoulder there we go gorgeous okay fall apart for a moment so pretty how you doing um this idea of kind of talking you is is working really beautifully if we like there's not room to put all of you on the log is their feet and bum there is fabulous yeah can you put the hands under the feet yeah what if the palms air open this way yes yeah so they're kind of like offering hands like open gathering and then the gym is gonna come out and down over the knee for me you know if all that's killer so pretty yeah the shoulders air down if you bring your chin toward me under the left leg we've got it yes and eyes closed is there a chance the hands can fall open a little bit more yes beautiful beautiful thing in there got it I'm anything relax a moment okay as you can see I'm pushing her further and further and just think what we've got in there but I'm also looking for and it's not just the idea of pushing somebody it's I'm trying to find really odd interesting shapes the idea of somebody purse on this tiny little space that's that kind of befriending disaster thing I was talking about earlier where it's it's obviously a little bit tense there that it's a kind of hard to do but it's also still beautiful so she's making it look effortless and a lot of that comes from the shoulders being down people show attention up here in the shoulders a lot the show attention their muscles in their face so pushing getting the longer lines helps actually make it look more arrestable um for instance if we did that same pose and this is for demo on lisa sorry for the extra pain but if you turn your body to me so you're almost three court and do that same idea so they can see a difference in this kind of the thickness of it yeah so it's still pretty and the gesture and stuff around the arms is nice but the way I see it is there's no there's not enough form in the legs and arms there's not enough line first of all I wouldn't put her arms they're because they're interrupting a line of her leg so that's why I keep wanting him down here so that's already better but when she's three quarters under the camera it sickens the line so I teach see two legs two shoulders two of everything I turn all the way the way we had her um kind would take you about fifteen degrees from camera angle she because she just became this one unified wine that you follow from the toe to the name if we bring the arms back down this way somehow under the feet yeah now the elbows don't interrupt the line of the legacy much and the line of unified a sense if that makes sense I don't know if it does but okay that's what you rest for a minute there um let me turn you the other direction for a moment so I can work with this one prop for a really long time and be perfectly happy here just seeing what's possible with one with one thing so I'm not ready to give up yet I'm happy with image that we got but I'm like can we push this any further can you do anything even crazier with it um and I think we can uh see let's first try something where you're legs are kind of long out this way good one and let's switch the high leg to the front so I just reversed there we go can that foot come upon its toe yeah ok so it's not this all comes of ballerinas do it all the time but if you let the put the flat for a moment the gestures different first of all there's not as much energy in the leg if she's up on our toe it's it's a little bit more tense you know it's a little bit more attention the muscle and the line is longer so it's beneficial both ways let's uh go and let the other like ben just a touch too and then bring it to its toe if you can yeah let's draw it in just a tiny bit more right there good all right so let's see if if you really lengthen grow way up first and then fold yourself over your legs your head is gonna fall over your knee you're gonna press your body down and your hedges falls heavy all the way along the line of the leg so yeah and we're almost there what I'm looking for us for the chin to go past the knee quite a bit yeah and all that comes out of the torso so you're kind of stretching through the back okay if you roll your face toward me and just let your head fall down that direction that's gorgeous just tip your head toward me a little bit and now let it fall so your chin is kind of tucked into your body a little bit talking and this there we go now see what head can fall over that me we're getting it yeah okay um arms maybe khun follow the line of the longer leg yeah and the poems were still kind of open and unkind of yes beautiful beautiful stretching the neck and bacchus faras you khun go then eyes closed gorgeous try this if you would draw that back leg and where it's even with your other leg so they're together somewhere in between yeah maybe they're just lined the feet up and kind of glue the feet together they could be actually right in line with each other uh yeah so same idea tell you what draw the legs a little bit more that'll make it a little bit easier and shorter now let's try that one more time so pretty so pretty we'll take the fingertips right underneath your heels or jess um a goodness it's lovely to make your head is heavy as it could be just let it really phone if he would press the shoulder down their eyes closed barely touching the feet with the fingertips so there's a connection then eyes closed softly beautiful beautiful ok good let's fall apart of it so that's a lot to push somebody to get their tenacity I could never do that but I like this the line of it it's a really pretty line all right let's see if we get crazier can I bring you to this other side of the log from moment me how can I have you sit on the floor in front of it so your your bum will go right we're headed actually yeah what happens if you lay yourself back on and there's a little spire in the back so be careful there it could be that you lay it might be a little tall huh yeah is there a shorter one yeah that'll be perfect and we put the angle side toward her it'll help I think yeah that's amazing my friend ok can I draw your legs and just a touch to your kind of tucked in uh yeah so one leg more than the other if we can do it and then if they'll come up on their toes will have it if that thing falls off just let it go it's not a thing yeah oh that's lovely and their hand could just be a down on the ground and open I love that hand falling over it's gonna bring the elbow up a little bit so we see the length of it yeah close if you'll draw your left leg in just a touch more on the right uh there we go there we go you doing a beautiful job try just dropping the other arm so it's not in it at all it's just going to do its thing on the other side yeah if you'll drop back a little bit more uh there let's try one where you're roads full profile so your face is gonna roll there we go bombing in this it's so pretty hang in there let's draw that wright left now which is the back arm back just to touch um a little bit more if I'm seeing it in the gap there is the deal if you pull it back at the elbow there there it is perfect good okay free the moment all apart all set got it good good yeah unbelievably beautiful

Class Description


Are you ready to delve into the magical world of fine art photography? Join innovative and award-winning photographer Jennifer Thoreson for an immersion into everything you need to know to conceptualize, style, and shoot photographs that double as works of art.

Jennifer will share her unique method for turning a natural setting into a fine art studio, including her one-of-a-kind-technique for creating water portraits. You’ll master the essential principles of posing, lighting, styling, and costuming. Jennifer will also cover working effectively with models, communicating your personal vision, and using Photoshop to add a fine-art-style polish to images.

By the end of this course, you’ll be inspired and empowered to bring a new level of artistry to your photographs.

Reviews

a Creativelive Student
 

I can't review the course as I haven't seen it yet, but I am buying it. I'm buying it based on the one free session on inspiration. I was so moved by who Jennifer is and her courage and commitment. I want to know her; be her friend, because she is so fearless and courageous. She admits that it took a long time for her to find her path. She reminds us again and again that it is hard -- art is hard. She was inspired by amazing paintings -- I completely understand why they inspired her, and in the direction that they did. I can't wait to watch this whole course, because I can't wait to witness more of Jennifer and her courage, her creativity, and her big lioness heart.

Joshua Pheneger
 

Jennifer is a talented and genuine artist with a gentle soul. Her perspective on how to approach the creative process and how to "quiet the little voices" and practice quiet observation are very helpful. I have been tremendously inspired by this course and I feel as though I am a better artist for having participated. Thank you for bringing this wonderful artist to the amazing creativeLIVE community.

Laura Arrowsmith
 

I love her work and her teaching. Her perspective is so beautiful and inspiring. I had the opportunity to attend a workshop with her in Colorado this summer and it was a life-changing experience. The location was spectacular. Jennifer is so brilliant, yet so warm and friendly. I really just don't have enough glowing adjectives to describe this event.